:00:13. > :00:17.This programme contains strong language.
:00:17. > :00:21.The review show is back on track for a colourful autumn of cultural
:00:21. > :00:28.highlights. She made millions, and wowed millions of Muggles with
:00:28. > :00:34.Harry Potter. Can she do the same for grown-up fiction? JK Rowling's
:00:34. > :00:41.the casual casual. On The Road finally -- The Casual Vacancy. On
:00:41. > :00:47.The Road finally makes it into the cinema. Is it true to the book. 50
:00:47. > :00:54.years since The Beatles relosed their first single, The Magical
:00:54. > :01:00.Mystery Tour is up for grabs. And the Turner Prize. The return of
:01:00. > :01:04.007. My name is Pussy Galore. review show celebrates James Bond
:01:04. > :01:08.Day. I'm joined by critic and
:01:08. > :01:12.broadcaster, Paul Morley, novelist Julie Myerson, and writer and
:01:12. > :01:18.critic, Natalie Haynes, and Mika will be in the studio later. She
:01:18. > :01:24.made her name with a boy called Harry, and a villain called
:01:24. > :01:31.Voldemort, now JK Rowling attempts to cast a spell on the adult
:01:31. > :01:35.audience, with Middle England. Cheek-by-jowl it is set in a run
:01:36. > :01:41.down council estate. A million Muggles have pre-ordered the novel.
:01:41. > :01:44.It is top of the book charts already. Set in the seemingly
:01:44. > :01:48.idyllic fictional West Country village of Pagford. The Casual
:01:48. > :01:52.Vacancy is a tale of local politics and poverty. It is a move from
:01:52. > :01:58.fantasy to social realisim, which features adult themes such as
:01:58. > :02:02.violence, rape and drug addiction. The "vacancy" of the title, is a
:02:02. > :02:05.seat on the local parish council, where there is a long dispute
:02:05. > :02:13.between fields and the local council estate, which has long been
:02:13. > :02:18.seen as an unsavoury blight, by Pagford's middle-class majority.
:02:18. > :02:21."there was nothing, as far as Harry could see, to stop the Fielders
:02:21. > :02:25.growing vegtables, or stop them pulling themselves together as a
:02:25. > :02:28.community and tackling the dirt and the shabbyness. Nothing to stop
:02:28. > :02:31.them cleaning themselves up and taking jobs, nothing at all. So
:02:31. > :02:35.Howard was forced to draw the conclusion that they were
:02:35. > :02:39.choosinging of their own free will to live the way they lived, and
:02:39. > :02:44.that the estate's air of slightly threatening degradation, was
:02:44. > :02:49.nothing more than a physical manifestation of ignorance and
:02:49. > :02:53.indolence. Rowling says the book's characters reflect the snobbery and
:02:53. > :02:57.pretensions she sees in Britain's middle-classes, and society's
:02:57. > :03:02.treatment of the less fortune was something she witnessed in her
:03:02. > :03:06.early years as a young single mother. Wefrpblgts talk about this
:03:06. > :03:10.homogeneous faceless mass. With the best intentions of the world, one
:03:10. > :03:15.of the first things to go is your individuality, you are seen so
:03:15. > :03:18.differently. I think if you have been there, you never forget that
:03:18. > :03:21.experience. Rowling claims she doesn't mind how sales figures
:03:21. > :03:26.measure up to the Harry Potter series, which has sold almost half
:03:26. > :03:31.a billion copies around the world. But will the citizens of Pagford
:03:31. > :03:37.work the same magic on the British public, as Harry in Hogwarts.
:03:37. > :03:42.Julie, you have a got family breakdown, alienation, troubled
:03:42. > :03:45.teenagers, in a funny way, a lot of elements in Harry Potter, but
:03:45. > :03:48.shape-shifted to the adult market. Did it work? I was very surprised
:03:48. > :03:54.by this novel. On the one hand I think it comilts a lot of the
:03:54. > :03:59.things that I think -- commits a lot of things that are fictions for
:04:00. > :04:03.crime writing so, many adverbs, you could go through it with a red pen,
:04:03. > :04:07.she tends to tell, not show. But I have to say I thought it was a
:04:08. > :04:11.really good read. I thoroughly enjoyed it t I was moved, affected
:04:11. > :04:17.and engaged. The last 200 pages really, I thought were really good
:04:17. > :04:22.story telling. I think in some ways, the Dickensian element, some of the
:04:22. > :04:26.tragedy there, I found it very moving. She did succeed. Did you
:04:26. > :04:31.become immersed in Pagford? I felt a responsibility to read it, after
:04:31. > :04:34.a few pages you think it will be a lot of effort. She is unbelievably
:04:34. > :04:37.brilliant at something, that is a form of writing. She can describe
:04:38. > :04:41.something so wonderful. You start to get into the idea of this is
:04:41. > :04:44.interesting, this is how she managed to weave her spell with the
:04:44. > :04:48.children's books, she is unbelievably brilliant at decribing
:04:48. > :04:51.things. After you have read the 512 pages, at the end of it, it is
:04:51. > :04:58.amazing how little there is in there for all that work. I give it
:04:58. > :05:02.a lot of credit. I love the idea she has stopped the momentum of a
:05:03. > :05:07.successful career to do it. She has earned it. It is the kind of book
:05:07. > :05:12.without Harry Potter would have sold 200 copies. I applaud that. It
:05:12. > :05:16.is oddly old fashioned, considering it is set in the Internet world.
:05:16. > :05:20.is a campaigning novel, she speaks so passionately about her own
:05:20. > :05:26.situation those years ago, clearly things have affected her very
:05:26. > :05:31.deeply? It is very serious, it is a very serious, 70s, lefty-sort of
:05:31. > :05:34.book. I would have liked it if they hadn't gone through all the
:05:34. > :05:39.ridiculous pal lava with the PR, and they had withdrawn it a bit and
:05:39. > :05:44.we had to find it. It withdraws what is going on. There is a quaint
:05:44. > :05:48.worthiness about it. The PR campaign is slightly corrupted.
:05:48. > :05:53.PR campaign, she could have done without it, I know a lot of big
:05:53. > :05:56.novels are shrouded in secrecy now? They want to shift copies, they
:05:56. > :06:00.have one million pre-orders, they won't take the high road, she may
:06:00. > :06:04.not need the money, but the publishing house certainly wants it
:06:04. > :06:08.and needs it. I agree, it would have been nicer to discover it
:06:08. > :06:13.rather than having it thrust upon you. Wake up one morning and there
:06:13. > :06:17.it is, magically appearing at the bottom of your bed. Like a letter
:06:17. > :06:22.from hog wart. I wanted to like it very much. I like her hugely as a
:06:22. > :06:29.writer, I like her hugely as a human being. She seems to decent.
:06:29. > :06:37.In the -- seems so decent. The last 200 pages were good, the first 300
:06:37. > :06:41.were in need of an edit. Because of the tonal lurch, it is a comedy of
:06:41. > :06:46.manners, look how hilarious the middle-classes are for the first
:06:46. > :06:49.300 pages. Then it is a terrible tragedy. I can't be moved by these
:06:49. > :06:54.people's awfulness, because we have been laughing at them for 400 pages.
:06:54. > :06:59.It seems to me, she just has a fantastic affinity with teenagers.
:06:59. > :07:03.They are by far the best people in it. In a weird way, two of the
:07:03. > :07:06.teenage characters, Fats and obviously Crystal, who are actually
:07:06. > :07:10.the kind of beating heart of this novel. In a sense, you felt that
:07:10. > :07:16.maybe she wanted to do that, but it wouldn't be seen as an adult book.
:07:16. > :07:19.If she had centered on them? would have been a better book.
:07:19. > :07:23.don't agree, one of the strengths is the huge cast of characters. I
:07:23. > :07:28.found the first 200 pages hard, because she's giving us a lot of
:07:28. > :07:32.people to keep up with. I think the novel is so well observed, that is
:07:32. > :07:37.what won me over. There was not a single detail I thought, no, that
:07:37. > :07:42.wouldn't happen. The teenage thing, you kind of think this is like
:07:42. > :07:47.Krystal, surely that is Tulisa, I think I won't question it because
:07:47. > :07:50.she seems to know what she's doing it, that "I ain't done nothing
:07:50. > :07:54.wrong", then you think you won't question it, I think she knows what
:07:54. > :08:00.she is doing. I wasn't ready for that. I think the funny thing is as
:08:00. > :08:04.well, when you hear her reading passages, that has strong languages,
:08:04. > :08:10.you think of all the kids with their children listening to it.
:08:10. > :08:13.says life is about trying to get a fuck and trying not to die.
:08:13. > :08:16.think JK Rowling said that! It is about sex and death. It is about
:08:17. > :08:21.difficult, and hard things, drug addiction and rape. She is very
:08:21. > :08:25.convincing about that. She has taken it seriously, I was very
:08:25. > :08:30.suspicion of, the idea that -- suspicious of, that if you were
:08:30. > :08:35.reading Harry Potter you would go on to read literature, and it might
:08:35. > :08:41.be that it is. It is a serious book, that if someone moves on from
:08:41. > :08:45.reading Harry Potter as a ten-year- old, they would go to this and look
:08:45. > :08:49.at serious issues. My children did do that, I don't think they are
:08:49. > :08:53.ready for this, it is a book for older people. A lot of people who
:08:53. > :08:57.started with Harry Potter at 12 will now be adult. All those
:08:57. > :09:01.million pre-orders, because we didn't know much about the book, do
:09:01. > :09:07.you think it is hopeful parents thinking it will be a young adult
:09:07. > :09:10.book? No, because of the publicity. Because of the PR campaign everyone
:09:10. > :09:15.knows there will be swearing and drugs and sex and rape, and all
:09:15. > :09:20.things you don't want your children to read about. She gave a good
:09:20. > :09:23.quote saying she hasn't represented herself as the child's teacher or
:09:23. > :09:27.babysitter. She wrote good books, that doesn't make her the thing of
:09:27. > :09:31.children. She is allowed to move. think the million people buying the
:09:31. > :09:36.book are wanting to be educated by JK Rowling on how to write book. I
:09:36. > :09:41.get that feeling, those first people want to know how does she do
:09:41. > :09:45.T there is an element, in a middle brow way, that she does something
:09:45. > :09:51.magical, there is an illusion about her. I don't want to criticise t if
:09:51. > :09:57.she could lose the thing, she will give you a scene, and sum it up
:09:57. > :10:02.with one line, and then prequels things, saying "guess what happens
:10:02. > :10:07.next". What do you think it will do for her reputation. With Harry
:10:07. > :10:10.Potter she has moved on, maybe she will write fiction for children and
:10:10. > :10:14.adults again. Harry Potter was also for adults. Do you think this is
:10:14. > :10:19.her saying I'm out there now, I have changed, I'm moving on to a
:10:19. > :10:23.different kind of writer? It has that passion. It has the passion of
:10:23. > :10:28.someone writing what they wanted to write. It shows nudges she could
:10:28. > :10:36.move into the literary world, she could pull it off. The Casual
:10:36. > :10:40.Vacancy by JK Rowlingcy -- is available now.
:10:40. > :10:47.Many thought On The Road was unadaptable for the screen. Walter
:10:47. > :10:55.Salles, perhaps buoyed by his 2004 success, the Motorcycle Diaries,
:10:55. > :10:58.has taken on the challenge. After its publication, it was labelled as
:10:58. > :11:05.an anti-establishment piece of literature, bringing the arrival of
:11:05. > :11:09.the Beat Generation. Largely based on Jack Keroac's experiences of
:11:09. > :11:19.travelling across America. It charts their collision with a post-
:11:19. > :11:20.
:11:20. > :11:28.war America. To living and to life. Sal Paradise,
:11:28. > :11:32.Keroac's vision of himself, played by Sam Riley, embarks on a journey
:11:32. > :11:40.with anti-hero, Dean Moriarty. day before my father died, he took
:11:40. > :11:44.hold of my hand, and he looked at it, and he said, "you got no
:11:44. > :11:50.callouss Sal, that's because you don't do any real fucking work,
:11:50. > :12:00.boy". Fuelled by jazz, poetry and drugs, they embark on a road trip,
:12:00. > :12:03.
:12:03. > :12:09.with Kirsten Stewart's Marylou. Can't you wait until Frisco.
:12:09. > :12:13.don't care. Dean's going to leave me any way. But how do the leads
:12:13. > :12:17.convince as the pioneers of the Beat Generation? And 60 years on,
:12:17. > :12:27.does the film lend a new interpretation to this classic tale.
:12:27. > :12:33.I just had a great idea. You guys are gonna love it. Do you think
:12:33. > :12:37.Salles nails the spirit of the book? I don't think he does, but
:12:37. > :12:42.I'm not sorry, I always hated those boys who read the book, and said
:12:42. > :12:46.they were free spirits, no they were a tit. It has always irritated
:12:46. > :12:51.me, I wasn't looking forward to the film. I was kind of dreading it,
:12:51. > :12:56.but I kind of liked it. I think those two boys are terrifically
:12:56. > :13:01.booed, Garrett Hedlund, especially, as Dean Moriarty, is super-
:13:01. > :13:05.charismatic, doing that Brad Pitt in Thelma and Louis, turning up,
:13:05. > :13:10.saying I'm enormously handsome, and will be around for a while, as you
:13:10. > :13:15.were. He absolutely has the capacity to come in at the end and
:13:15. > :13:19.remind you that character is super charismatic and also fragile.
:13:19. > :13:25.Dangerous and fragile. Did you love the book as a
:13:25. > :13:30.teenager? Yes, it was biblical properties, and what I imagine and
:13:30. > :13:33.remember of it is not what the film is. This film is respectful to the
:13:34. > :13:39.text itself. That is what you yes or no for from a film version of
:13:39. > :13:43.this, is not that at all, but something that gets into the spirit
:13:43. > :13:47.of it. It is an American ideal of what a teenager would be, viewed
:13:47. > :13:53.from the perspective of a teenager looking back now and looking back.
:13:53. > :13:56.It is too decorative and loyal. is like a Leviad? It is a
:13:56. > :14:00.commercial for a weird idea of a teenager. It is nothing to do with
:14:00. > :14:04.the book at all. What you would really want from a film version is
:14:04. > :14:08.something so experimental and adventurous, it doesn't go anywhere
:14:08. > :14:12.near, being slavist to the text and we don't have Keroac sat in front
:14:13. > :14:16.of a typewriter with a bit of paper, wondering what to write next.
:14:16. > :14:21.agree, it is an irritating thing with a film that thinks it is cool,
:14:21. > :14:24.and the actors are flawed by it, thinking they were in a very cool
:14:24. > :14:28.film. It was irritating. It is years since I read the book. But it
:14:28. > :14:34.suffers from the fact that there is no drama. Because nobody ever does
:14:34. > :14:40.anything that has any consequences. It is a fatal lack of come up pence
:14:40. > :14:47.for anyone. Not that, Sal and the girl, Marylou finally get to sleep
:14:47. > :14:53.together, he has been wanting that for ages, in a morning she leaves a
:14:53. > :15:01.note saying goodbye and that's it. He has dysentery in Mexico? And the
:15:01. > :15:06.next shot he's fine. That stopped me feeling bad, he made a brilliant
:15:07. > :15:11.film about the road, and not this. That is why people thought he would
:15:11. > :15:15.be the one to make this film. only way to do it is to do
:15:15. > :15:22.something experimental. It is about finding freedom at the time, now it
:15:22. > :15:27.is so far removed, if you put a bunch of sudden dough teenagers for
:15:27. > :15:31.now, it is like a commercial. It is difficult to get to be a teenager
:15:31. > :15:35.in 1940s, and now, now you are liberated by the experimental work
:15:35. > :15:39.done in the late 1940s, if you are going to be genuinely faithful to
:15:39. > :15:44.the book, you are not faithful to the text. They did a lot of work,
:15:44. > :15:47.all the actors, all this improvisation with Salles. Your
:15:47. > :15:51.heart sinks as soon as you hear that. You can see there is a big
:15:51. > :15:57.music scene, a big jazz scene, where you think we are all thinking
:15:57. > :16:03.we are juing actors having a lot of fun. -- young actor having a lot of
:16:03. > :16:13.fun? It is not how they would dance now and not then. They were dancing
:16:13. > :16:14.
:16:14. > :16:18.like it was a rave? That Kirsten Stewart scene, it is very modern,
:16:18. > :16:23.isn't it? It is the most exciting performance she has given in
:16:23. > :16:31.anything. She was modern in it. She seemed like someone from now. She
:16:31. > :16:35.has meernd face. There was a lot of wasted actors in there. You go from
:16:35. > :16:42.Steve Buschemi, and Amy Adams, he jumps about through generations and
:16:42. > :16:45.actors. You have Kirsten Dunst and you
:16:45. > :16:51.wanted her to turn around and do something, because we are modern,
:16:51. > :16:55.but she was sat upon. I thought she was the most dramatic of characters.
:16:55. > :16:58.It is like women putting up with this for 20 years, and then it was
:16:58. > :17:01.like which bit of free a liberation means you get to treat everyone
:17:01. > :17:08.terribly. That was one of the pieces that seems real in terms of
:17:08. > :17:11.the 40s, girls did just go, that is just free spirity, and sat there.
:17:11. > :17:15.Her performance was the best in the film. The scenes she was in came to
:17:15. > :17:21.life, I cared about them. Even if there was no consequence, you felt
:17:21. > :17:23.there might be one. She plays, that is the way Keroac wrote her, as an
:17:23. > :17:28.intelligent woman, that Neil Cassidy was giving a really hard
:17:28. > :17:35.time to, in the book as I remember it. I thought also, the way they
:17:36. > :17:41.treated, you were meant to know this was Ginsberg and Burroughs?
:17:41. > :17:49.Viggo Mortensen does that, almost corny set piece, a corny idea of
:17:49. > :17:57.what life with William S Burroughs would be and Ginsberg. Almost pop
:17:57. > :18:07.videos, insip pid and let tharpblgic. The men are all -- Ince
:18:07. > :18:08.
:18:08. > :18:11.sip pid andlet thatic. -- Inspipid and lethargic.
:18:11. > :18:15.thought the best way is to start at the end, and end with them at the
:18:15. > :18:18.beginning, all young and fresh. That would have been moving. As it
:18:18. > :18:21.is we didn't care. There was no journey, for a book called On The
:18:22. > :18:27.Road. To begin the film with a conversation like this, but how it
:18:28. > :18:36.is impossible to film and then do it. Do it with bravado. The Keroac
:18:36. > :18:39.observation character, Sal, he was an incredible insipid character.
:18:39. > :18:43.fundamental error, a series of so obvious fundamental errors that you
:18:43. > :18:46.cannot believe it eventually got made. However long it is, it is
:18:46. > :18:51.that long, too long. We talked about it being a bit of a
:18:51. > :18:55.commercial the way it was shot. Is it did look, I thought, terrific?
:18:55. > :18:59.They cut 20 minutes out of it since it showed at Cannes. They knew it
:18:59. > :19:04.was too long, they were right. still have a way to go. It would be
:19:05. > :19:08.a great three-minute edit. Do you think people will return to Keroac
:19:08. > :19:13.because of it? I wouldn't have thought so. On The Road drives into
:19:13. > :19:16.cinemas next Friday. It was 50 years ago today that The Beatles
:19:16. > :19:20.relosed their first single, Love Me Do, pop music changed forever, it
:19:20. > :19:26.wasn't until five years later that they made a film to capture their
:19:26. > :19:33.own creative explosion, and the next chapter for Keroac's Beat
:19:33. > :19:39.Generation. The Magical Mystery Tour screened on Boxing Day in 1957
:19:39. > :19:43.tuned in, and the BBC was inundated with complaints. Tomorrow the BBC
:19:43. > :19:48.will show the film, and we look back at the making of The Magical
:19:48. > :19:54.Mystery Tour. When The Magical Mystery Tour was
:19:54. > :19:59.broadcast on Boxing Day in 1967, nestled in the BBC One schedule
:19:59. > :20:03.between Petula Clarke and the Norman Wisdom movie, it caused a
:20:03. > :20:10.sensation. Listen, this film. us something about the storyline?
:20:10. > :20:15.It is about a group of commoner garden strange people, on a coach
:20:15. > :20:19.tour, around anywhere, really. Things happen to them, you see.
:20:19. > :20:24.think the younger people would get t people who knew it was going on,
:20:25. > :20:30.in society. They would get it, and the older people, who were
:20:30. > :20:37.expecting mother came and Wise or the British -- Morcame and Wise, or
:20:37. > :20:42.the Royal Variety Show, would feel annoyed, and been cheated out of
:20:42. > :20:49.their Christmas Special. Speaking to those involved, Arena looks back
:20:49. > :20:53.on the impact of the movie, and the contribution to the cultural
:20:53. > :20:57.change? I was 15-year-old, and we sat and watched it right the way
:20:57. > :21:02.through in silence. Afterwards we looked at each other and said, what
:21:02. > :21:05.was that all about? When a man buys a ticket for a
:21:05. > :21:11.Magical Mystery Tour, he knows what what to expect. We guarantee him
:21:11. > :21:16.the trip of a lifetime. And that's just what he gets. The incredible
:21:16. > :21:22.Magical Mystery Tour. So how significant was The Magical Mystery
:21:22. > :21:31.Tour to the rise of counter culture, and how successfully does this film
:21:31. > :21:33.examine that particular moment in time. Two things here, we have the
:21:33. > :21:39.documentary about The Magical Mystery Tour, the making of t and
:21:39. > :21:44.the movie. First of all, on the documentary, did it show Paul
:21:44. > :21:48.McCartney and Ringo Starr in a different light, the conversation
:21:48. > :21:53.they were having? Paul McCartney is claiming to be the avant garde part
:21:54. > :21:59.of the group, we don't think of him like that, he has gone out of his
:21:59. > :22:04.way that it was him jamming in the 60s with the avant garde band in
:22:04. > :22:07.front of eight people, and it was him that pushed the idea. Ringo
:22:07. > :22:12.hasn't taken any responsibility for the movie, that is pure Ringo. I
:22:12. > :22:20.love it so much, now it makes sense in the historical context, the
:22:20. > :22:26.jamming together in the 1970s that The Beatles epitomised, and the
:22:26. > :22:31.things. 1960s? What did I say, 1970s. Sorry, I have taken
:22:31. > :22:37.something. The merging together of psyche Dell ka, it was interesting
:22:37. > :22:40.variety with European avant garde, it is the merging of ...That Whole
:22:40. > :22:44.thing about Paul McCartney and the avant garde, the former editor of
:22:44. > :22:47.the International Times, talking about the amazing thing at Crystal
:22:47. > :22:51.Palace where they did the benefit. That is modern his treatment it is
:22:51. > :22:56.fantastic to see that? We are shifting from lived memory, living
:22:56. > :23:01.through it, to recorded memory. I have spent 30 years ducking The
:23:01. > :23:03.Beatles, because it gets in the way of radical movement. It is like a
:23:03. > :23:08.distorted autobiography of four young kids from Liverpool, having
:23:08. > :23:11.the time of their lives for four years, and they were in a right
:23:11. > :23:17.state, and you see right inside. They earned the right to do
:23:17. > :23:22.whatever they wanted, nobody could tell them what they should wear and
:23:22. > :23:27.sing and they earned creative freedom, and God, they had it.
:23:27. > :23:31.you look at the movie you see later Python stuff? I don't know if I did.
:23:31. > :23:34.I don't know that stuff well enough. It is a funny film. If you want to
:23:34. > :23:41.talk about the documentary, I thought that was a thin documentary,
:23:41. > :23:44.but shed an interesting light on the film, I which had already
:23:44. > :23:52.watched that first. When I first watched the film I thought it was
:23:52. > :23:56.padded and dreadful in places, apart from when they played. The
:23:56. > :24:00.red nosed wizards in the caves? It was really bad. When I watched the
:24:00. > :24:03.documentary, there is an innocence to it, it is four lads using their
:24:03. > :24:06.imagination. It couldn't happen today and that is sad. The story of
:24:06. > :24:11.everyone watching it on Boxing Day and being so furious, is very funny.
:24:11. > :24:16.Natalie, we have to take it you have a pathological dislike of the
:24:16. > :24:19.Beatles. Let's just. I hated them my whole life, I hate them though
:24:20. > :24:24.my parents and my boyfriend like T I hate them so much I think the
:24:24. > :24:27.rest of you are tricking me by tree tending to think they are good --
:24:27. > :24:32.pretending to think they are good. That is a given, let's look at the
:24:32. > :24:37.set pieces, not even the set pieces for you were quite engaging to
:24:37. > :24:41.watch? No they were lamentable. You look back and think why were people
:24:41. > :24:47.so dull to think their drug experiences were inspiration for
:24:47. > :24:53.the rest of us. People of the 1970s were wise. Walter Salles is looking
:24:53. > :24:56.back and thinking he's doing it for Keroac? In fact Ringo and Paul
:24:57. > :25:00.should have made On The Road. This is On The Road. Can you imagine.
:25:00. > :25:06.Ringo Starr talking about taking his camera with him. That was the
:25:06. > :25:13.age of small cameras. They had technology for the first time.
:25:13. > :25:17.McCartney doing home movies, he was 25, why not? What he says about the
:25:17. > :25:21.slicing of the eyeball leading to Psycho, every second of the
:25:21. > :25:26.original film leads to pop video. The imagery, the way of presenting
:25:26. > :25:31.pop music through visuals, it is the source of all video in the
:25:31. > :25:36.1980s. I wouldn't miss video if it never existed for pop songs ever.
:25:36. > :25:40.Nobody I like has produced pop videos, I couldn't care less about
:25:40. > :25:44.everything The Beatles have done, has an impact in a world I haven't
:25:44. > :25:50.got an interest in. Everything you wouldn't like would not be here
:25:50. > :25:53.without The Beatles. It would be fine without them. I'm not as bad
:25:54. > :25:58.as you! But I don't love The Beatles, I never got them. This
:25:58. > :26:02.film is fascinated as a piece of archive. Also, I thought the
:26:02. > :26:08.funnyiest thing in the documentary is Martin Scorsese is so influenced
:26:08. > :26:11.by it! There might have been revisionist there? Paul Gambacini
:26:11. > :26:15.is bewildered, floundering to explain what is going on. The idea
:26:15. > :26:18.that you had a pop group that was the most commercial pop group of
:26:18. > :26:23.the time, embracing the experimental, and the avant garde,
:26:23. > :26:28.in way we yes or no to happen now. It is so ex-- we yaeorn to happen
:26:28. > :26:32.now, it is so exciting. All the things you love in popular culture,
:26:32. > :26:38.from Batman to Dick van Dyke, would not have happened without these
:26:38. > :26:43.people opening up. What is the most recent film. At that time you were
:26:43. > :26:48.having all the kind of, you know, before that, the Cliff Richard
:26:48. > :26:52.summer holidays, and all, that the inheritors of that is Spice World.
:26:52. > :26:57.Who is doing that now? 45 years later you looking at On The Road,
:26:57. > :27:02.it is not 45 years after that film, and it should be. What we are going
:27:02. > :27:04.next to the Turner Prize, is what we should be, it should be 45 years
:27:04. > :27:08.after The Magical Mystery Tour. Were weren't there more of their
:27:08. > :27:12.songs in it. When they were performing their songs in it, it
:27:12. > :27:19.was brilliant, there were only four or five. Your mother should know.
:27:19. > :27:24.It is fantastic at the end, the set piece at the end. There was a tonal
:27:24. > :27:29.world, in four years after Love Me Do, that urban harmonica that
:27:29. > :27:34.begins Love Me Do, that completely cuts open popular culture. I'm not
:27:34. > :27:41.a Beatles fan, four years later they are here and the sound is
:27:41. > :27:45.extraordinary. It is amazing. have to say they can't act.
:27:45. > :27:50.with Kirsty it is Monty python. go finally someone else has in
:27:50. > :27:59.theed. We have to agree to -- Notice Noticed. We have to agree to
:27:59. > :28:02.disagree. Unseen footage at the Beatles is at
:28:02. > :28:07.space.org. Who knows if The Magical Mystery Tour had been around for
:28:07. > :28:10.the Turner Prize, it might have been a contender. Artists who revel
:28:10. > :28:14.in detail and others are shortlisted for the prize. Going by
:28:14. > :28:20.the postcards pinned on the wall of Tate Britain as visitors leave,
:28:20. > :28:25.passions are running high. Paul Noble's intricate pencil designs
:28:25. > :28:35.are part of a larger body of work that has consumed the artist for
:28:35. > :28:41.decades. Newton's is an urban Metropilis and dystopian dream.
:28:41. > :28:46.Palaces, rain drops and pebbles, and even feeies, are rendered in
:28:47. > :28:51.pencil drawings and marble sculpture.
:28:51. > :28:58.When the city chambers were built, a quarter of the city of gas glow
:28:58. > :29:02.lived in tenement blocks, like this, this is one of the finest examples.
:29:03. > :29:08.Glaswegian artist, Luke Fowler, explores the life of controversial
:29:08. > :29:13.psychiatrists RD Laing, a 90-minute video collage, including archive,
:29:13. > :29:17.specially shot sequences and testimony. Laing confronted the
:29:17. > :29:24.medical profession with new ways of healing and treating the mentally
:29:24. > :29:30.ill, they ran contrary to popular medical culture. He explores
:29:30. > :29:35.Laing's fragile mental state and holding up a mirror for our own.
:29:35. > :29:39.The Woolworths Choir of 1979 by Elizabeth Price unites disjointed
:29:39. > :29:46.ideas under a common binding aesthetic, which shows how divided
:29:46. > :29:52.subject matters can be united by art. Ecclesiastical architecture,
:29:52. > :29:58.pop music, and a fatal fire in Woolworths in 1979, is combined
:29:58. > :30:02.with arresting graphics and a powerful landscape. This year the
:30:02. > :30:11.Turner Prize has nominated a performance artist for the first
:30:11. > :30:16.time in history. Spartacus Chetwynd invites gallery goers to interact
:30:16. > :30:20.with dancers, with a papier mash chet structure to look into the
:30:20. > :30:27.future, and puppets that look at the Bible story between Jesus and
:30:27. > :30:37.bar rab bus. It has polarised critical opinion, who from this
:30:37. > :30:37.
:30:37. > :30:42.challenging quartet stands out. The Tate judges don't look at one
:30:42. > :30:48.piece of work, it is a whole body of work for the contention of the
:30:48. > :30:57.Turner Prize. Somebody who has a body of work here is Noble. It
:30:57. > :31:03.disPopeian vision of Knobs and Newton? It is my least favourite,
:31:03. > :31:07.it is not that I don't think he can draw, but I can never shake the
:31:08. > :31:16.belief as I went around perfectly and neatly rendered shit, that the
:31:16. > :31:22.whole thing has been put on by Vizf they thought let's satirise the
:31:22. > :31:28.whole thing with drawings and things made of shit. I can't
:31:28. > :31:33.believe no-one jumped out and I think well done Viz you, you got me
:31:33. > :31:37.again. I note at no point does it mention in the skrigs of his work
:31:37. > :31:41.in the catalogue that is the majority of what he has drawn or
:31:41. > :31:47.skutped, you think it is not there, that is most of what you have done,
:31:47. > :31:51.let's pretend it is not there. Like the description of what he was
:31:51. > :31:54.about to do, before I had actually seen it, much more than seeing it.
:31:54. > :31:58.I thought that's going to be interesting until I saw it, I
:31:58. > :32:01.didn't fall for the maps he was drawing and what was happening.
:32:01. > :32:09.spent decades drawing this thing. If you think about other artists
:32:09. > :32:13.who have done brilliant intricate work, like Michael Landy doing
:32:13. > :32:18.Weeds, beautiful in the humanity of it. I couldn't find the heart of
:32:18. > :32:23.it? I'm going to be like Natalie about The Beatles, I hated the room
:32:23. > :32:28.so much, I almost can't talk about it. I thought those drawings were
:32:28. > :32:33.empty, lifeless, I don't know what it was about them. Because I found
:32:33. > :32:38.them so difficult to look at. I disliked them so much, I made
:32:38. > :32:41.myself go back and look at them again. I'm wondering if it is a
:32:41. > :32:45.very small fraction of the universe. He's the favourite to win, isn't
:32:45. > :32:50.he? I don't know if he's the favourite. Let's not deal with that.
:32:50. > :32:56.I thought this is a universe that I need to spend the rest of my life
:32:56. > :33:01.looking at, but I wasn't sure. Fowler and his work, looking at RD
:33:01. > :33:05.Laing, the kind of psychiatry he espoused and what was going on with
:33:05. > :33:09.RD Laing's fragile state. 45 years after The Magical Mystery Tour, is
:33:09. > :33:14.where certain sort of films should be in the mainstream. The fact that
:33:14. > :33:18.it has been shoved to concept actual art shows the difficulty
:33:18. > :33:22.people have with a non-linear exploration of a great mind. This
:33:22. > :33:27.is how a great mind should be explored in film. It is not my
:33:27. > :33:32.favourite of the exhibition, it is tremendous. I love Luke Fowler's
:33:32. > :33:37.subjects. I also love the idea that this is how you should really do a
:33:37. > :33:42.profile of a graert artist and mind and thinker. And -- A great artist
:33:42. > :33:46.and mind and thinker. Also the beautiful way of compiling the
:33:46. > :33:49.information in a way we are used to in our own life. It is 90 minutes
:33:49. > :33:53.long, you would have to say the exhibition will take four or five
:33:53. > :33:56.hours to see. It bears sitting through that film. It is a very
:33:56. > :34:00.moving exploration of human fragility and vulnerability, and
:34:00. > :34:05.mental health, which needs to be talked about. But my only problem
:34:05. > :34:10.with it, I would have happily gone to see it at the cinema, he didn't
:34:10. > :34:13.know why it was in an art gallery? The mainstream world has become so
:34:13. > :34:19.banal, this type of work that should be on television and cinema,
:34:19. > :34:23.has been shoved out to the fringes. Whoever commissions film in this
:34:23. > :34:27.country has allowed that to happen. Let's talk about this, for the
:34:27. > :34:34.first time the Turner Prize has a performance artist. Spartacus
:34:34. > :34:38.Chetwynd, there a bit of her work here, and she traced David
:34:39. > :34:43.Copperfield's wok over from Dover. She has always been a performance
:34:43. > :34:47.artist and looking back at history? I feel like Paul does about Luke
:34:47. > :34:54.Fowler, it is not my favourite piece or the one I would like to
:34:54. > :34:58.win. She is so happy and sin see, I find it improsable not to like her.
:34:58. > :35:05.-- sincere, I find it impossible not to like her. I like that it is
:35:05. > :35:12.handmade. She reminds me of everybody, most of all Josie Long,
:35:12. > :35:22.the handmade appliqueed nonsensicalness of it.
:35:22. > :35:26.With such since certificatity. not -- Since sert. It is not -- I
:35:26. > :35:30.would like to see it 25 minutes a week. I might be mitsing the larger
:35:30. > :35:33.universe, I have to say, having gone through -- missing the larger
:35:33. > :35:38.universe. I have to say having gone through a lot of things I loved at
:35:38. > :35:45.the Turner Prize, then I made a quick exit, it was like I'm going
:35:45. > :35:48.to punish you now. Let as talk about the Elizabeth Price that
:35:49. > :35:54.brings together ecclesiastical architecture, the shaing gri las,
:35:54. > :35:57.and a dreadful tragedy at Woolworths in Manchester. It is
:35:57. > :36:02.wonderful. It is hard to talk about it, it is 20 minutes long, it is
:36:02. > :36:06.one of the most original, eerie, strange, jep upsetting, beautiful
:36:06. > :36:10.elating things -- upsetting and beautiful and elate things. I
:36:10. > :36:14.watched it six times, I wish there was a way of buying it and having
:36:14. > :36:20.it to show on your wall. It is amazing. It is so heartening that
:36:20. > :36:23.you know there are artists out there diagnosing the contemporary
:36:23. > :36:28.circumstances, this absolutely does it. It is a revelation for the
:36:28. > :36:34.turner price that it transcends, it is slightly glimicy, classic award
:36:34. > :36:38.kind of thing -- gimmicky, classic award kind of thing. I hope she
:36:38. > :36:41.wins, I thought it was beautiful and harrowing, the opposite of the
:36:41. > :36:47.opening room, the Paul Noble room, where you go in and say this is
:36:47. > :36:52.what the grown-ups are doing. melds together different things,
:36:52. > :36:57.old pictures of architecture. woman's arm coming out of
:36:57. > :37:04.Woolworths where she can't get out. The moment when the film changes,
:37:04. > :37:08.it is the twist of the wrist and then the arm comes out. It shows
:37:08. > :37:12.you how banal On The Road is, when you look at these things. I know
:37:12. > :37:17.you have Elizabeth Price as the winner? Elizabeth Price. Elizabeth
:37:17. > :37:23.Price. I will be very upset if she doesn't win! We have hyped her now.
:37:23. > :37:29.The winner will be announced on 3rd of December, you can see all four
:37:30. > :37:34.shortlisted artists until January. 1962 was an auspicious day on
:37:34. > :37:39.Boxing Day, when Love Me Do was released, the start of another
:37:39. > :37:45.culture brand began. Dr No, the first James Bond film hit the
:37:45. > :37:51.cinemas, it is still going strong. In a few weeks Skyfall will be in
:37:51. > :37:59.the sin mals, with Daniel Craig in his third outing. James Bond Day.
:37:59. > :38:05.He has been in every Skype possible, glamorous galls and the odd qip and
:38:05. > :38:08.thrills and spills. What are you doing? Keeping the British end up.
:38:08. > :38:17.Our enduring fascination with the spy who loves us is half a century
:38:17. > :38:22.old, and it hasn't gone unnoticed. To coincide with his landmark
:38:22. > :38:26.birthday, the theme tune to the latest film, Skyfall by Adele, was
:38:26. > :38:31.released in the early hours of this morning. It is already topping the
:38:31. > :38:37.iTunes Chart. # This is the end
:38:37. > :38:41.Aityure-length documentary, the untold story of 007, Everything or
:38:41. > :38:46.Nothing, is also released today, unveiling the key players behind
:38:46. > :38:51.the bond movies, past and present. After his successful skydiving
:38:51. > :38:56.mission with the Queen at the Olympics, VisitBritain have
:38:56. > :39:00.launched their campaign with Bond as the poster boy. Seeing him as a
:39:00. > :39:09.British brand shaken not stirred. Some men are going to kill us, we
:39:09. > :39:15.are going to kill them first. Only a couple of minutes on this.
:39:15. > :39:19.Paul, what is your favourite Bond theme tune? Anything by Bassey, she
:39:19. > :39:23.should do them all. I was disappointed this time, I was
:39:23. > :39:30.hoping it to be Morrisey or Susan boil, Adele should have come down
:39:31. > :39:37.the line. Victoria pendle done could have given it a good --
:39:37. > :39:41.Pendleton could have given it a good go. What is your favourite
:39:41. > :39:46.Bond film? Anything with sharks. I love the pool with them dangling
:39:46. > :39:52.over the sharks. My favourite bit is the bit where they are on the
:39:52. > :39:59.train and you think it is all right, and the bed is flipped up so the
:39:59. > :40:05.girl is stuck there for the whole time he fights and then it comes
:40:05. > :40:10.down. Mine is Odd Job throwing the hat. Why is it such an enduring
:40:10. > :40:20.brand? Personally I think it is because Ian Fleming taps into
:40:20. > :40:20.
:40:20. > :40:27.figures and myths we want all the time, the shadowy figures. The
:40:27. > :40:32.first-ever Bond villain has a pool of man-eating rays, when a slave
:40:32. > :40:39.boy drops one of his crystal glasses, he orders that the boy be
:40:40. > :40:43.thrown to the man-eating eels, and someone stops it happening.
:40:43. > :40:47.think it will continue through the centuries. We are talking about
:40:47. > :40:52.theme tunes, you have listened to the Adele, we have all listened to
:40:52. > :40:58.it, has it all the makings of a classic Bond theme? My rule is
:40:58. > :41:03.could this person thing Goldfinger karaoke at their aunt's wedding,
:41:03. > :41:07.Adele could do that, that makes her perfectly suitable. I only heard
:41:07. > :41:11.half of t it gave me a thrill feeling and made me want to see the
:41:11. > :41:17.film. As a musician, we are about to hear Mika singing his own song,
:41:17. > :41:24.if had you a chance to sing the Bond team what would you seen?
:41:24. > :41:28.Louis Armstrong, All The Time in the World. We will discuss the film
:41:28. > :41:35.in few weeks time. Thank you to all my guests. Next Friday we will have
:41:35. > :41:40.a run down of the six books competing for the Man Booker price.
:41:40. > :41:50.More music, including Bobby Womack on Later. Here to play us out, we
:41:50. > :41:51.
:41:51. > :41:54.have Mika, with a track from his album, The Origin of Love.
:41:54. > :41:57.# From the air I breathe # To the love I need
:41:58. > :42:01.# Only thing I know # You're the origin of love
:42:01. > :42:05.# From the God above # To the one I love
:42:05. > :42:09.# Only then that's true # The origin is you
:42:09. > :42:13.# From the air I breathe # To the love I need
:42:13. > :42:16.# Only thing I know # You're the origin of love
:42:16. > :42:20.# From the God above # To the one I love
:42:20. > :42:24.# Only thing that's true # The origin is you
:42:25. > :42:31.# Love is a trap # And you are my secret
:42:32. > :42:34.# Love is addiction # And you are my nicorett
:42:34. > :42:37.# Love is like chocolate and cigarette
:42:37. > :42:41.# I'm feeling sick # I have to medicate myself
:42:41. > :42:43.# Like everything you fear # And hold dear
:42:43. > :42:47.# Everything you keep in your pocket
:42:47. > :42:56.# You are the sun and the light # You are the freedom I fight
:42:56. > :43:06.# Go will do nothing to stop it # The origin is you
:43:06. > :43:07.
:43:07. > :43:11.# You're the origin of love # Love is a drawing
:43:11. > :43:18.# And you are my cigarette # Love is addiction
:43:18. > :43:23.# And you are my nicorette # Love is a drug like chocolate
:43:23. > :43:29.# And cigarettes # I'm feeling sick
:43:29. > :43:34.I have to medicate myself # What if God is a priest
:43:34. > :43:37.# And the devil and slug # Like every word you teach
:43:37. > :43:40.# Every rule you preach # You know the origin is you
:43:40. > :43:43.# The air I breathe # To the love I need
:43:43. > :43:47.# Only thing I know # You're the origin of love
:43:47. > :43:53.# From the God above # To the one I love
:43:53. > :43:58.# Only thing that's true # The origin is
:43:58. > :44:04.# Like stew bid Adam and Eve # They found a love in a tree
:44:04. > :44:09.# God didn't think they deserved it # He taught them hate and pride
:44:09. > :44:14.# Gave them a leaf and pushed them # Let's push the stories aside
:44:14. > :44:18.# The origin is you # To the air I breathe
:44:18. > :44:22.# You are the origin of love # To the God above