:00:00. > :00:11.The London Film Festival. For 12 days, London is under siege from
:00:12. > :00:22.some of the world's very best film-makers and their latest
:00:23. > :00:25.celluloid offerings. Unlike Cannes or Venice, this festival isn't an
:00:26. > :00:30.industry-only shindig, but a pure celebration of film - and everyone's
:00:31. > :00:33.invited. Now in its 57th year, the festival
:00:34. > :00:36.will show a staggering 235 feature films and documentaries, plus 134
:00:37. > :00:42.shorts from 57 countries from around the world.
:00:43. > :00:45.But tonight we focus on the wealth of British talent and real-life
:00:46. > :00:51.stories. From Captain Philips starring Tom
:00:52. > :00:57.Hanks. We have two skiffs approaching with armed intruders.
:00:58. > :01:09.To home-grown tales of friendship in The Selfish Giant. Probably about
:01:10. > :01:11.500 quid! Don't think about it. And an Oscar-tipped drama with
:01:12. > :01:14.Chiwetel Ejiofor, Michael Fassbender and Benedict Cumberbatch that
:01:15. > :01:20.reveals the terrible chapters of our past.
:01:21. > :01:34.Before travelling into the future with Alfonso Cuaron's jaw-droppingly
:01:35. > :01:43.beautiful sci-fi fantasy Gravity. A truly diverse slice of this year's
:01:44. > :01:46.festival moments. The festival opened with Captain
:01:47. > :01:48.Philips by one of the biggest British directors working in
:01:49. > :01:52.Hollywood right now, Paul Greengrass.
:01:53. > :01:55.This former documentary maker often deals with gritty, real-life subject
:01:56. > :01:58.matter - from the Bloody Sunday Killings, to 9/11 in the
:01:59. > :02:11.Oscar-nominated United 93 - as well as two of the high-octane Bourne
:02:12. > :02:15.films. Captain Philips is the true-life
:02:16. > :02:34.tale of a cargo ship, hijacked by Somali pirates. Everything OK? I
:02:35. > :02:38.don't like the look of that. One of the ways that we know it's a
:02:39. > :02:41.Paul Greengrass film is that we begin very early on meeting the
:02:42. > :02:44.Somalians before they're pirates. You're very at pains to do their
:02:45. > :02:48.back-story. That actually they are as much victims of the situation as
:02:49. > :02:51.the people they are about to hijack. Tell me about casting those
:02:52. > :02:55.characters because you went to great lengths to make sure you cast them
:02:56. > :02:59.properly? Well, one of those important issues was to cast
:03:00. > :03:03.Somalians to play those four parts. Because it's a part of the world
:03:04. > :03:07.that's got a story to tell but I can't tell it. Only people who've
:03:08. > :03:12.grown up there, you know, and who understand what would lead young men
:03:13. > :03:16.to do that. Francine Maisler, who is the casting director, she phoned me
:03:17. > :03:20.up one day and she said, "You've got to see these four young men" - and I
:03:21. > :03:23.didn't know that they were all friends. And you could just see
:03:24. > :03:27.immediately that they had a chemistry, that there was good
:03:28. > :03:40.definition between them. And that central character playing Muse - he
:03:41. > :03:43.just had real charisma. What is it that you get from casting in certain
:03:44. > :03:46.roles non-professional actors? You've done it before. You know
:03:47. > :03:51.there are characters in United 93 who are the genuine professionals.
:03:52. > :03:57.You get an interesting dynamic because there is nothing comfortable
:03:58. > :04:00.about the encounter. You can't quite predict what the less-experienced
:04:01. > :04:05.person on the other side is going to do. And that makes them all
:04:06. > :04:08.together, live more dangerously, you know, and, on the other side, you
:04:09. > :04:16.look at Barkat's performance there. That's acting of a high quality.
:04:17. > :04:19.Yeah, he's good. I remember, very clearly, I decided to keep them
:04:20. > :04:23.apart, Tom Hanks and those four guys, so they'd never actually met,
:04:24. > :04:26.they'd never even seen each other - they knew about each other - until
:04:27. > :04:47.that moment when they come on the bridge. GUNFIRE Don't move! You
:04:48. > :04:50.could see from the energy, straight away there was something good
:04:51. > :04:53.happening. They were hollering and throwing people down on the floor
:04:54. > :04:57.and all that stuff, but I just remember very early on Barkat turned
:04:58. > :05:02.to Tom and said, "Look at me, I'm the captain now" - and it's in the
:05:03. > :05:03.film - and it's a great moment - and I remember thinking, "We're going to
:05:04. > :05:16.be good here." So Look at me. I'm the captain now. So
:05:17. > :05:24.what is it in the end about real stories that constantly draws you
:05:25. > :05:28.back? That is your forte? Well, I think it's where you come from, you
:05:29. > :05:34.know, if that's where you start, it's your - it's deep inside you.
:05:35. > :05:37.When they said, "Come and make a film about a band of Somali pirates
:05:38. > :05:40.attacking a modern container ship" you go, "I love that idea, there's
:05:41. > :05:43.something so simple about that that's so simple and characterful,
:05:44. > :06:04.so intensely dramatic, but yet it has the power to illuminate a larger
:06:05. > :06:14.landscape. Captain Philips, can you hear me? Captain Philips, can you
:06:15. > :06:20.hear me? In cinema, reality is of course rather fluid. When you see
:06:21. > :06:24.the words "based on real events" flashed up at the beginning of a
:06:25. > :06:28.film, it can either mean "Hey, we made a lot of this stuff up to make
:06:29. > :06:30.it more dramatic" or "the facts are so alarming it's hard to believe
:06:31. > :06:34.they're true." So where do you draw the line
:06:35. > :06:42.between invention and reality? They said you had abandoned him as a
:06:43. > :06:45.baby. I did not abandon my child. Stephen Frears' film Philomena is
:06:46. > :06:49.the story of an Irish woman's search to find the long-lost son that
:06:50. > :06:55.Catholic nuns forced her to give up for adoption.
:06:56. > :06:59.Philomena is played by Judi Dench. The screenplay is by Steve Coogan,
:07:00. > :07:05.who also stars in this as former BBC journalist Martin Sixsmith, on whose
:07:06. > :07:10.book the story is based. I know this woman, she had a baby when she was a
:07:11. > :07:15.teenager and she's kept it secret for 50 years. You are talking about
:07:16. > :07:20.a human interest story. I don't do those. Why not?
:07:21. > :07:24.The search to find Philomena's son took Sixsmith to America but the
:07:25. > :07:30.road trip they take in the movie is a pure dramatic invention. I was
:07:31. > :07:38.inspired more by seeing a photograph of Martin and Philomena sat next to
:07:39. > :07:41.each other. That inspired the story more than Martin's book because I
:07:42. > :07:55.just saw the opportunity to tell a story about two very different
:07:56. > :07:58.people. We needed to manufacture circumstances where they would spend
:07:59. > :08:02.a lot of time with each other. Because that would inevitably lead
:08:03. > :08:12.to a clash of cultures and a clash of ideas. God feels a need to wipe
:08:13. > :08:31.out hundreds of thousands of people, that escapes me. You should ask him
:08:32. > :08:34.about that when you are in there. There's one thing I don't like it's
:08:35. > :08:38.crude language but when that came out, I just burst out laughing when
:08:39. > :08:43.I saw that in the film. And the first time I saw it I didn't think
:08:44. > :08:46.it was me at all, I just kept thinking it was Judi Dench. The
:08:47. > :08:50.third time it hit home, you know, that it was my story. I think if
:08:51. > :08:53.there's one thing that is actually absolutely accurate in the film,
:08:54. > :08:56.it's the relationship between Steve and Judi, there's that sort of
:08:57. > :09:00.bantering friendship, they're very different characters and we're very
:09:01. > :09:03.different characters. Fortunately, because I'm writing about a writer,
:09:04. > :09:06.so he understands the creative process, in fact in his book on
:09:07. > :09:09.Philomena and Philomena's son, at times by his own admission he used
:09:10. > :09:13.creative license, so he understands the principles so, of course, it was
:09:14. > :09:17.very easy with him. So I'd say, "I want to do this with your
:09:18. > :09:21.characters, I want to make it more like this..." In, fact there is
:09:22. > :09:24.quite a bit of myself that I put into Martin's character on the
:09:25. > :09:29.screen so it's some of Martin, some of me, and some invention. I'd feel
:09:30. > :09:35.more comfortable if I can speak to Philomena in private... I was very
:09:36. > :09:39.clear about the ethics of what is and what isn't permissible. I think
:09:40. > :09:43.when you're using creative license to tell a story and you're playing
:09:44. > :09:45.with chronology and all the rest of it, to me that's entirely
:09:46. > :09:49.legitimate. If you're saying things that are - if you're making
:09:50. > :09:51.accusations about a person or an institution that are, or making
:09:52. > :09:55.statements that are quite derogatory, then you need to, I
:09:56. > :10:05.think they need to be based on fact. I met him at the White House. Do you
:10:06. > :10:09.remember anything he said? Hello. They were the times, weren't they,
:10:10. > :10:21.in the 1940s, '50s, that was the era where all this went on. When people
:10:22. > :10:26.have watched the film I obviously want them to say that was a very
:10:27. > :10:30.good film, I want them to say I laughed at the right places, I cried
:10:31. > :10:34.at the right places and I felt that they did the emotion properly. But I
:10:35. > :10:37.also want people to think about it, that things were done in those days,
:10:38. > :10:41.and very wrong things were done, and actually the wrongs that were done
:10:42. > :10:43.in those days haven't all been righted. People today would never
:10:44. > :10:46.believe the story. They would not believe all this went on.
:10:47. > :10:50.British film has a strong tradition of exploring truth and reality.
:10:51. > :10:53.Directors such as Ken Loach and Mike Leigh are synonymous with social
:10:54. > :10:56.realism. This tough, documentary-like approach is also
:10:57. > :11:03.shared by director Clio Barnard, in her feature film The Selfish Giant.
:11:04. > :11:08.About time, what have you been doing? What have you been doing?
:11:09. > :11:18.Trying to climb that, waiting for you. It's really about a loving
:11:19. > :11:22.friendship between two teenage boys and how that unravels when they get
:11:23. > :11:25.involved with a dodgy scrap metal dealer.
:11:26. > :11:27.Her film is in part inspired by an Oscar Wilde short story but also a
:11:28. > :11:31.true-life friendship between two boys that she met whilst filming her
:11:32. > :11:34.critically acclaimed film The Arbor. The Selfish Giant is the acting
:11:35. > :11:45.debut for Sean Thomas and Connor Chapman. What you doing sat here? Go
:11:46. > :11:51.out and make some money. Got that bridle too tight on the horse. Let
:11:52. > :12:01.me come and sort it out for you. You are a bad influence! In some ways,
:12:02. > :12:05.what I had to do was put the Oscar Wilde story at a certain point to
:12:06. > :12:09.one side and then write the story of the sort of emotional lives really
:12:10. > :12:13.of these two boys and then I suppose what I realised when I finished that
:12:14. > :12:20.was I had written a script with was about the wounds of love.
:12:21. > :12:23.Set in a deprived Yorkshire town, The Selfish Giant draws from
:12:24. > :12:30.real-life experiences of kids who turn to scrap metal to supplement
:12:31. > :12:32.their family's incomes. The kids are really scavenging through this
:12:33. > :12:35.post-industrial landscape and that ideology of greed I guess it's a
:12:36. > :12:38.Thatcherite ideology and when Thatcher died, Glenda Jackson made
:12:39. > :12:40.this speech and said, you know, under Thatcher, selfishness and
:12:41. > :12:53.greed became virtues rather than vices. I think thematically that's
:12:54. > :12:56.at the heart of it, what happens if selfishness becomes adopted as an
:12:57. > :13:06.ideology and about children being pushed out to the margins.
:13:07. > :13:10.Director Richard Ayoade has also adapted fiction for his second
:13:11. > :13:23.feature. His film The Double is based on a Dostoevsky novella. I'll
:13:24. > :13:30.have a coke and a bagel. We are out of bagels. I'll just... Come on.
:13:31. > :13:39.Sorry. I'll just - I will have the coke then. A coke? Ou? Coffee and
:13:40. > :13:45.scrambled eggs. We don't serve breakfast in the evening. Do you
:13:46. > :13:56.have eggs here? Yes. Then make me some scrambled eggs! So Richard the
:13:57. > :14:02.film is inspired by a Dostoevsky novella. Tell me how close it is to
:14:03. > :14:06.that literary source. The central idea is the same I'd say in that
:14:07. > :14:09.it's about a lowly person whose life is slowly overtaken by a double.
:14:10. > :14:13.It's just that no-one else notices and also when he points out that
:14:14. > :14:17.this person looks just like him no-one else is bothered. But there
:14:18. > :14:22.is something very funny about the double's reaction to the main
:14:23. > :14:25.character. He's always laughing at him, he's always winking. There is
:14:26. > :14:32.brazenness to the taunting that I found very interesting. One of the
:14:33. > :14:36.most impressive things about the film is the look of it now, it's got
:14:37. > :14:39.a specifically non-dated feel, they're using very arcane technology
:14:40. > :14:43.and yet you're not sure if its future, past. It's got a very
:14:44. > :14:50.retrofitted future. What were you thinking of in the design for that.
:14:51. > :14:53.It felt that it needed to be an unplaceable nature that it didn't'
:14:54. > :14:56.feel that it was culturally specific because what we're doing wasn't
:14:57. > :15:04.satirical of a certain kind of culture or milieu in anyway. And if
:15:05. > :15:14.felt like the world should be quite unresponsive to human need. You
:15:15. > :15:22.don't exist anymore. Put me back in the system. I can't. You don't
:15:23. > :15:26.exist. I used to be in the system. One of the things that the film does
:15:27. > :15:30.achieve really well is it has a dream quality, not a woolly dream,
:15:31. > :15:34.but it's like it has a dream logic to it. Well, first off, let me say
:15:35. > :15:38.that dream logic always spells box office. But whenever I think of
:15:39. > :15:41.directors who do dreams very well I think of Fellini or Polanski and in
:15:42. > :15:47.those films because you know at that time a lot of them were dubbed, you
:15:48. > :16:05.don't have sync sound. The sound and image have a dissociation which is
:16:06. > :16:09.what it feels like in a dream. Also just the timing of dreams, you go
:16:10. > :16:14.from one place to another you don't take time out to go we are here, you
:16:15. > :16:20.just go oh, now the boat is full of geese, there is no sense of seeing
:16:21. > :16:23.the geese fly in. I think, putting things there with a kind of
:16:24. > :16:30.inevitability in some ways that they're not questioned.
:16:31. > :16:32.Cinema has always been feted for its creation of fantasy or parallel
:16:33. > :16:42.worlds, where the constraints of reality are stretched to the limit
:16:43. > :16:44.and the impossible is made possible. To explore themes of loneliness,
:16:45. > :16:52.adversity and responsibility, Alfonso Cuaron has set his latest
:16:53. > :16:54.feature in space. With the some of the most
:16:55. > :16:59.sophisticated special effects to date, it's the first realistic
:17:00. > :17:00.portrayal of zero gravity. It was created in Britain and took
:17:01. > :17:21.four-and-a-half years to make. In Gravity, Sandra Bullock and
:17:22. > :17:26.George Clooney are astronauts stranded in space after a
:17:27. > :17:36.cataclysmic accident. Will they survive and make it back to earth?
:17:37. > :17:39.You always wanted to do a story set in space since you were a child and
:17:40. > :17:50.you've written this with your son, so it's been a lifelong project for
:17:51. > :17:54.you? I'm sure that you saw Neil Armstrong on live TV, stepping on
:17:55. > :17:58.the moon, if you're a kid of that generation 95% of kids wanted to be
:17:59. > :18:02.an astronaut, I wanted to be an astronaut but also I wanted to make
:18:03. > :18:06.movies, since I was a kid I wanted to be a movie director, so when I
:18:07. > :18:17.decided I was going to be a director I said, ok one day, I'll do a film
:18:18. > :18:21.about space. Mission abort. Can you tell us about the look of
:18:22. > :18:24.Gravity, it's an astonishing visual experience. Describe for us how you
:18:25. > :18:27.went about creating that look? Well, the thing is that I collaborated
:18:28. > :18:31.with Emmanuel Lubeski, we called him Chico, and with Tim Webber the
:18:32. > :18:34.visual effects supervisor. And the whole goal was to create an
:18:35. > :18:38.experience where you feel that you're actually in space, so in
:18:39. > :18:41.order to do that there was a lot of exploration about the physics and
:18:42. > :18:45.dynamics of zero-G and as important, the behaviour of light, light is in
:18:46. > :18:47.space unlike any light in earth because there is no atmosphere and
:18:48. > :19:01.Chico was really obsessed about dealing that sense of light and
:19:02. > :19:06.space to create this photoreal look. The joke we had is that we wanted to
:19:07. > :19:11.be sued by NASA and try to figure out where we sneak the cameras when
:19:12. > :19:13.we went up there. The biggest challenge here, with all this
:19:14. > :19:16.technology, I think the biggest thing is Sandra Bullock's
:19:17. > :19:20.performance It was she was insulated inside a cube, it was a box, a
:19:21. > :19:24.perfect cube 9X9, all of the walls were LED lights and she was in a rig
:19:25. > :19:35.that was like a torture chamber, it was like very uncomfortable and she
:19:36. > :19:55.was there for like 8-10 hours a day. Completely insulated because no
:19:56. > :19:59.other crew member could be inside. But I think also, for me, it's not
:20:00. > :20:03.only something which tries to be reality based, and by the way it's a
:20:04. > :20:07.movie, it's not a documentary, so I know that there is still stuff that
:20:08. > :20:09.could never happen, but I think the most aspect is that attempt of
:20:10. > :20:13.truthfulness and that truthfulness comes from experience- I mean the
:20:14. > :20:16.film is about adversity and in many ways I was trying to through the
:20:17. > :20:21.film channel my own understanding of my own adversities and hoping that
:20:22. > :20:24.there is a good outcome of them. While Alfonso spent $80 million
:20:25. > :20:27.creating HIS sci-fi truth - a more low budget version of our everyday
:20:28. > :20:30.existence can be found in the festival's line up of 40 odd
:20:31. > :20:33.documentaries. What do the festival's cinema
:20:34. > :20:40.ushers, projectionists and box office staff think is worth a
:20:41. > :20:44.ticket? A film I really urge you to go and
:20:45. > :20:48.see is The Sarnos, a life in dirty movies which is a documentary about
:20:49. > :20:55.a couple who in the early '60s were making porn films, or they called
:20:56. > :21:01.them sex films. I'm awake. Very much awake.
:21:02. > :21:05.I wouldn't usually be interested in going to see a porn film but his
:21:06. > :21:07.films just seem actually really interesting. Actually it's really
:21:08. > :21:11.touching because it's about this couple's struggle to keep going cos
:21:12. > :21:17.they're both quite elderly now and they don't have much money. The one
:21:18. > :21:23.film I would recommend would be 20 Feet From Stardom. It is a fantastic
:21:24. > :21:28.musical documentary from Morgan Neville. It follows a fabulous group
:21:29. > :21:41.of backing singers who have worked on some of the most iconic pop tunes
:21:42. > :21:46.of the 20th Century. The Unsung Heroes of so many pop tunes that you
:21:47. > :21:50.have never known about before and suddenly, it is their turn in the
:21:51. > :21:54.limelight. It is heart-warming, heart-breaking, goose-bump
:21:55. > :21:57.endeucing, it's got a fabulous soundtrack and I dare anyone to
:21:58. > :22:03.watch it to try and sit still in their seat for the whole screening.
:22:04. > :22:06.I am exciting about Teenage. It is a documentary about the emergence of
:22:07. > :22:13.the teenager as a cultural phenomenon. Are you pregnant? Yes, I
:22:14. > :22:17.am! Before watching the film I thought that the concept of a
:22:18. > :22:22.teenager was a purely 1950s construction, but there's this whole
:22:23. > :22:32.journey that led up to that point that's full of teenage oppression
:22:33. > :22:46.and rebellion. Can't something be done? I would recommend Frederick
:22:47. > :22:54.Wiseman's At Berkley. He is a veteran film-maker of 83-year-old
:22:55. > :22:58.and is still making films. At Berkley is quite lengthy - four
:22:59. > :23:02.hours - but don't let that put you off. It makes you feel like you are
:23:03. > :23:13.there on campus with the faculty and the students. Highly recommended. To
:23:14. > :23:19.complete this pick of the Festival, we end with the extraordinary 12
:23:20. > :23:25.Years A Slave, a real-life story of a free black man who was kidnapped
:23:26. > :23:30.and sold into slavery in the mid-19th Century. This story is told
:23:31. > :23:39.by British director Steve McQueen and boasts a brace of powerhouse
:23:40. > :23:45.performances. I was born a free man, I lived with my family in New York.
:23:46. > :23:57.Till the day I was deceived. Kidnapped. Sold into slavery. How
:23:58. > :24:03.you feel now, boy? My name is Solomon. I'm a free man. You have no
:24:04. > :24:10.right to detain me. You are not a free man. I always wanted to make a
:24:11. > :24:14.movie about slavery, always. It was always about how one got into the
:24:15. > :24:20.material, what was my in as such? I had this idea of a free man in the
:24:21. > :24:24.North, who basically gets kidnapped into slavery and through his journey
:24:25. > :24:30.we, the audience, sort of follow him. I was sort of trying to write
:24:31. > :24:34.this idea and then what happened was that my wife said, "Why don't you
:24:35. > :24:40.look into true accounts of slavery?" She came across this book called 12
:24:41. > :24:44.Years A Slave. As soon as it was in my hands, I opened the book, opened
:24:45. > :24:49.the page and I didn't let it go. For me, living in the Netherlands, it
:24:50. > :24:55.was like looking at Anne Frank's diary. It was this first-hand
:24:56. > :25:01.account of slavery. Tell me about working with Chiwetel. Tell me about
:25:02. > :25:11.him, how you cast him and how you discussed the role with him? I rang
:25:12. > :25:16.him up and he said, no!" I said, "I just offered you this..." And he
:25:17. > :25:19.said no. Because? It was like having the role that you had been waiting
:25:20. > :25:25.for all your life and this thing landing on your lap and him being
:25:26. > :25:35.paralysed and him saying to himself, "I can't do this." Tell no-one who I
:25:36. > :25:42.am, that's the way to survive. I don't want to survive. I want to
:25:43. > :25:47.live. I was just very aware of, like, the responsibility of it, you
:25:48. > :25:51.know, the responsibility of telling Solomon's story. Because it is a
:25:52. > :25:55.real story and an important story? Yes, it is this man's life and
:25:56. > :26:00.experience. It was not until I looked at the book properly that I
:26:01. > :26:03.could connect to him. Then I was deeply struck by his own
:26:04. > :26:08.personality, that it is a story about this man going through this
:26:09. > :26:12.and the way that he is able to survive it and the way that he is
:26:13. > :26:16.able to get through it with his mind in tact is because of his own
:26:17. > :26:20.individual approach to life. Clearly, one of the things that's
:26:21. > :26:23.played a large part in this is the location, you know, to breathe the
:26:24. > :26:27.air in those places. Tell me about how that affected you? Yes, I mean,
:26:28. > :26:32.you feel that you're connected to something. The place is rich and
:26:33. > :26:36.alive with that history. We shot scenes by actual lynching trees and
:26:37. > :26:45.it's impossible not to feel that, to feel, to know that you are really
:26:46. > :26:53.dancing with spirits. The film is a portrayal of the brutality that the
:26:54. > :26:59.slaves experienced. Michael Fassbender plays a sadistic
:27:00. > :27:07.plantation owner and Brad Pitt also co-stars. Don't obey his Lord. Shall
:27:08. > :27:12.be beaten with many strikes. The condition of your labourers, it is
:27:13. > :27:23.all wrong. Say that with pride. I said that as fact! I said come here!
:27:24. > :27:28.Do you have a non-censorious approach to your vision? No. How
:27:29. > :27:35.could I make a movie about slavery and not show certain aspects of it?
:27:36. > :27:40.Yeah. I cannot. It would be for my ancestors, you know, and for other
:27:41. > :27:53.people's, a travesty. You can't do that. What is slavery? Slavery is,
:27:54. > :28:00.you know, making people work in servitude. How do you get them to do
:28:01. > :28:09.that? Well, you punish them. How am I sitting here? Because certain
:28:10. > :28:17.people survived that. So there was not a choice. It was not a question.
:28:18. > :28:29.Welcome, Sir. My regrets for the intrusion, Sir. No intrusion. Good
:28:30. > :28:32.day, Sir. Good day. Many of the films shown here aren't yet on
:28:33. > :28:38.release but there are still four days and over 150 films to go here
:28:39. > :28:43.at the Festival. In the closing film, Saving Mr Banks, Tom Hanks
:28:44. > :28:48.plays Walt Disney who perhaps sums up the ambition of all film-makers
:28:49. > :28:51.when he says, "The world is restored through imagination and the
:28:52. > :29:05.film-maker can provide us with new hope." Good night. She has a lot of
:29:06. > :29:16.ideas. What kind of ideas? No, no - that is not a word. We made it up.
:29:17. > :29:25.Unmake it up. The house doesn't look like that. It is all wrong. Stop!
:29:26. > :29:28.Mary Poppins is not for sale. I won't have her turned into one of
:29:29. > :29:29.your funny cartoons.