:00:30. > :00:34.This programme includes some strong On the review show tonight, the
:00:34. > :00:39.secrets of Bob Marley, his white father and much more in a feature-
:00:39. > :00:46.length documentary. Why did those leet lads get hooked
:00:46. > :00:50.on heroin, Irvine Welsh returns to Trainspotting land with Skagboys. A
:00:50. > :00:57.Streetcar Named Desire in dance? And Damien Hirst reassessed at Tate
:00:57. > :01:01.Modern. On our parpbl, the journalist and documentary maker,
:01:01. > :01:06.Sarfraz Manzoor, the author, Louise Welsh, whose novels include The
:01:06. > :01:10.Cutting Room and Naming The Bones. And the writer and writer, Natalie
:01:10. > :01:16.Haynes, author of The Ancient Guide To Modern Live.
:01:16. > :01:19.We are also going to have live music from Don Broco, specially
:01:19. > :01:23.selected by BBC introducing. You are welcome to join in the
:01:23. > :01:27.Conservatives if you are on Twitter. Somewhere there must be a queue of
:01:27. > :01:34.cinema directors waiting to pay homage to their favourite musicians.
:01:34. > :01:39.We have had Neil Young, and both Bob Dylan and George Harrison from
:01:39. > :01:46.Martin Scorsese, now comes Marley, a lengthy film profile of the
:01:46. > :01:53.Jamaican reggae superstar, from the Myint Aye ward winning director of
:01:53. > :02:03.The Last King of Scotland, Kevin MacDonald. Three or four places
:02:03. > :02:03.
:02:03. > :02:09.here. They were verseing every day. It was Bob, Peter. We used to call
:02:09. > :02:14.ourselves The Juveniles, people who we went to rehearse, said you came
:02:14. > :02:19.from a land where people always balling and wailing, you should be
:02:19. > :02:24.called The Wailers. He's definitely an icon, but there is the negative
:02:24. > :02:34.side, he's a symbol of rebelliousness, and marijuana
:02:34. > :02:36.
:02:36. > :02:41.smoking. What this film is trying to do is reclaim him. He noticed
:02:41. > :02:45.his use of words in the song, Judge Not was a song about his rights as
:02:45. > :02:50.an individual. It occurred to me that this guy was a good poet.
:02:50. > :02:53.didn't know what the film was going to be until I got to the end of it.
:02:53. > :02:57.I was on the search for who is this character, how do I understand it.
:02:57. > :03:02.I started interviewing, family, friends, musicians, and more and
:03:02. > :03:06.more people, I interview 80 or 90 people. You were right in the mix,
:03:06. > :03:12.the most important thing culturally happening in Jamaica at that time,
:03:12. > :03:17.was happening right there. That was the headquarters, the centre of it
:03:17. > :03:22.all. Bob never left 56 Hope Road, people came from all over the world
:03:22. > :03:29.to see him. Did you live at Hope Road with your dad? We lived a
:03:29. > :03:36.couple of miles from Hope Road. Hope Road was really a "spot".
:03:36. > :03:41.is a long film, it is two hours 25 minutes. One of the reasons it is
:03:41. > :03:44.so long is the stuff that is really revealing and new is the detail. It
:03:44. > :03:48.felt like you have a responsibility to history to make a film that
:03:48. > :03:52.isn't just a piece of entertainment, in a way, that can stand the test
:03:52. > :03:56.of time and you can say this is something if you really want to
:03:56. > :04:03.know that Bob Marley watched that film. He was strict, we were like
:04:03. > :04:08.an army, we called him Skipper. We had certain strict rules at that
:04:08. > :04:13.time, woman supposed to wear dress, not pants. You had those kind
:04:13. > :04:16.coming in with the war paint, lipstick, and eye shadow, this is
:04:16. > :04:26.the roots, if you come on Rasta, you have to throw away those
:04:26. > :04:26.
:04:26. > :04:31.Babylonian things. We heard there about the attention
:04:31. > :04:37.to detail, 80-90 interviews that Kevin MacDonald took part. To me
:04:37. > :04:40.one of the most fascinating aspects was Bob Marley's early life, and
:04:40. > :04:44.this elderly white father? One of the things that makes, I think
:04:44. > :04:47.Kevin MacDonald has done a brilliant job. He contextualised
:04:47. > :04:51.the music against a racial and political background. Some people
:04:51. > :04:55.don't realise that Marley was mixed race. What I didn't realise until I
:04:55. > :05:00.watched this, of the sense that he was bullied growing up in Jamaica,
:05:00. > :05:04.and bullied for not being fully black or fully white. That identity
:05:04. > :05:08.crisis eventually led to the music he made. The interesting thing I
:05:08. > :05:12.noticed, a parallel with Muhammad Ali and Barack Obama in this, these
:05:12. > :05:16.are people who find some kind of identity, it is not what they are
:05:16. > :05:21.born with, but creates some of their work. For Marley it was
:05:21. > :05:29.Rastafarian. There was those details, and that made it more than
:05:29. > :05:34.entertainment. It was that which drew him to
:05:34. > :05:38.Rastafarianism. It always comes up when you find a vaguely hippyish
:05:38. > :05:43.philosophy and religion, you think I wonder will they be extended to
:05:43. > :05:48.the women? No just the men, the women get told what to wear and do
:05:48. > :05:53.and the men have a nice time, one of those. No Babylonian war paint?
:05:54. > :05:59.Much of which I'm wearing now, no room for anyone else to have some.
:05:59. > :06:07.It is an incredibly revealing film. Verging a little bit too much on
:06:07. > :06:12.the hag iog raphy, the executive producers are his ex-tour producers
:06:12. > :06:17.and his son. There was a limit of people saying what was wrong with
:06:17. > :06:21.him, that was limited. I kind of want the one that people make as a
:06:21. > :06:27.backlash to this and can I find out the rest of the story. Did it feel
:06:27. > :06:32.as much of a hag iog raphy to you, we heard about his relationships
:06:32. > :06:36.with women and children? I can see what Natalie is saying, there is
:06:36. > :06:46.that element there, the great thing about this documentary is the
:06:46. > :06:47.
:06:47. > :06:50.people we get to hear the voices of. Not only band mates, but family
:06:50. > :06:54.members, Bob Marley's mother, the guy he shared a room with behind
:06:55. > :06:58.the recording studio, when he was young. Also the way that Kevin
:06:58. > :07:04.MacDonald's managed to piece together the early life, without
:07:04. > :07:09.any footage. When you think about Martin Scorsese's documentary about
:07:09. > :07:12.George Harrison, there was so much there. They were preparing to be
:07:12. > :07:16.famous since they were boys, it is not the same with Marley. Do you
:07:16. > :07:19.think the fact that there were family members in it, with editoral
:07:19. > :07:26.control, did mean that Kevin MacDonald did have to cede some
:07:26. > :07:29.kind of editoral grounds? When you are dealing with icons like Bob
:07:29. > :07:33.Dylan, or Bob Marley, the only way to get access to those people, and
:07:33. > :07:39.the only way you get a chance to play the music is if you have to do
:07:39. > :07:43.a dance with the devil. Chris Blackwell, who popularised Marley
:07:43. > :07:48.as one of the executive producers, journalistically, Kevin MacDonald
:07:48. > :07:54.walked the line well. There is a bit where the late Peter Tosh
:07:54. > :08:00.described Chris Blackwell as Chris White-well, there was a sense where
:08:00. > :08:03.they thought he was ripping them off. As we mentioned before his
:08:03. > :08:08.relationships with women and infidelity, and the relaxed
:08:08. > :08:13.attitude. We did have one of the executive producers being slag off?
:08:13. > :08:17.His relationships with women weren't criticised, he had 11
:08:17. > :08:20.children by seven different women. Everyone loves him, he's a very
:08:20. > :08:23.beautiful and charismatic man. You get why everyone loves him. I think
:08:23. > :08:27.my favourite thing about it is that Kevin MacDonald, I think, must have
:08:27. > :08:30.got a little tired of everyone going he was perfect and wonderful.
:08:30. > :08:34.The last word of the film goes to his daughter, who, you know, even
:08:34. > :08:38.at his death bed they can't get close, his children can't get close,
:08:38. > :08:41.because there are so many hangers on and friends and political
:08:41. > :08:46.acquaintances and all kinds of other things, she's allowed to say,
:08:46. > :08:52.we thought this moment might be for us, but not so much. It is a very
:08:52. > :08:55.touching moment, I wanted more of that, in truth. I I did find the
:08:55. > :09:03.final months very intriguing to hear about. Rita his wife saying
:09:03. > :09:07.about his cancer, that it was the white man in him that killed him.
:09:07. > :09:11.He ends up in this white place, he ends up with snow trying to find a
:09:11. > :09:16.cure for his cancer. Putting together a life is a very
:09:16. > :09:20.complicated thing. What story do you choose to tell, you are
:09:20. > :09:24.imposing a narrative on something that didn't have a narrative, you
:09:24. > :09:29.could feel the end of his life could be one itself. There is a
:09:29. > :09:35.driving seen and Redemption Song is playing, it is one of the best
:09:35. > :09:39.endings of a documentary, they end by hinting at the global nature of
:09:39. > :09:43.Bob Marley.Ing going back to the beginning, it was the conflict in
:09:43. > :09:47.him that led to him making music, he was conflicted but the music he
:09:47. > :09:52.made united. Beautifully made, I thought, some of the editing, the
:09:52. > :09:56.archive was so sparse, we had black and white stills cut together
:09:56. > :10:01.beautifully, and some of the other archive they managed to get, Haile
:10:01. > :10:04.Selassie's visit to Jamaica. There is incredible footage, and footage
:10:04. > :10:09.of the peace concert, where he gets the warring politicians to hold
:10:09. > :10:12.hands in front of a baying crowd, all desperate for it to happen. You
:10:12. > :10:15.realise how crucial it is. The credits at the end are cut over
:10:16. > :10:19.from people all over the world who are Bob Marley fans. As I was
:10:19. > :10:23.watching it, I was wondering if they had to ask people, or they had
:10:23. > :10:28.to find people. Today I swear this is true, I walked down the street
:10:28. > :10:34.and there was indeed a man playing No Woman, No Cry, and you think
:10:34. > :10:38.they just walked around. I thought starting off the record of
:10:38. > :10:43.splashing rum all over the studio to bless it.
:10:44. > :10:48.The only Marley note for me was subtitles, so patronising, I wonder
:10:48. > :10:52.if they were a late addition. was hugely annoying, luckily I had
:10:52. > :10:56.a man with a big head in front of me, I couldn't read them any way.
:10:56. > :11:01.didn't have a man with the big head, I was annoyed by the subtitles, but
:11:01. > :11:05.not the rest of it. Marley is released next Friday. Irvine Welsh
:11:05. > :11:10.has published ten books since his sensational debut with
:11:10. > :11:15.Trainspotting, but, a bit like the addicts in the book, he has never
:11:15. > :11:20.been able to forget the pleasure of the first hit. His new book,
:11:20. > :11:24.Skagboys, he's drawn back to the area of Leith, to tell the back
:11:24. > :11:28.story of the characters, with strong language.
:11:28. > :11:33.Trainspotting quickly acquired cult status and commercial success, with
:11:33. > :11:37.harrowing descriptions of drug use and Edinburgh squalor, laceed with,
:11:37. > :11:46.literally, filthy humour. The subsequent film was an
:11:46. > :11:51.international hit, and helped make stars of Ewan McGregor, Robert
:11:51. > :11:55.Carlisle and Danny boil. There is already a sequel, Osborne, from
:11:55. > :12:02.2002, which picked up where Trainspotting left off. Now in
:12:02. > :12:08.Skagboys, Welsh brings us the earlyies of Renton, Sick Boy and co,
:12:08. > :12:13.from opportunities to disinfection and devotion to heroin.
:12:13. > :12:19.So I get out the gear in a foil pipe, I have practised making
:12:19. > :12:25.tonnes of them, and we have a blast. You can feel the all lum anyone yum
:12:25. > :12:30.particles with the heat sticking to your lungs, it starts to feel
:12:30. > :12:36.elated and euphoria spills through my soul like a burst of sunlight.
:12:36. > :12:40.Spud with his cricket eyes looks like a reflection of me, we share a
:12:40. > :12:49.solitary thought, "everything else can go and Fukushima itself".
:12:49. > :12:55.backdrop is Edinburgh in the mid- 1980s, a time when everything was
:12:55. > :13:04.saying its reputation as AIDS capital of Europe. Welsh was
:13:04. > :13:07.exploring characters choosing death not life. Everybody needs a
:13:07. > :13:11.compelling drama in their life, mostly we get that through being in
:13:11. > :13:17.a relationship, work, it gives us a place and status. That is not been
:13:17. > :13:24.there for people for two or three generations now. Of course drugs
:13:24. > :13:29.will fill that void, what else is there. Everybody is getting into
:13:29. > :13:33.skaing nowadays. Boys on Tenants lager and laughing at us months ago,
:13:33. > :13:37.are now hunting it down. Basically because they have nothing else to
:13:37. > :13:42.do. In Skagboys there is plenty of what made Trainspotting such a huge
:13:42. > :13:48.success, biting comedy, eye- watering sex, wild drug taking,
:13:48. > :13:54.even pathos, all served up in Welsh's characteristic Leith slang.
:13:54. > :14:02.Can this prequell, weighing up at 500 pages, match the original for
:14:03. > :14:08.style and impact. What did you think of the idea having a prequel
:14:08. > :14:12.going back to the characters? interested in the idea of every ten
:14:12. > :14:16.years revisiting characters, other authors have done that. Do you do
:14:16. > :14:21.something new with them, do you see development within the writer? I
:14:22. > :14:26.think you do with this. I think Skagboys is a development on
:14:27. > :14:34.trainspotting and on Porno -- Trainspotting and on Porno,
:14:34. > :14:38.structurally it is more mature. This is the product of a mature
:14:38. > :14:42.writer. It is a historical novel, and like the best it reflects on
:14:42. > :14:49.the current period as well. Prequels can be tricky? They really
:14:49. > :14:54.can, I completely agree that in the microstructure of it, it is
:14:54. > :14:58.brilliant. Over and over again he sets up a da-da moment, and the
:14:58. > :15:02.narrative switches to a different person and you get the in the next
:15:02. > :15:07.character. Overall it has a structural failure, it is always
:15:07. > :15:13.hard with a prequel, because we know who survives. The jeopardy is
:15:13. > :15:16.seriously limited. When Spud collapses with wound botulism, we
:15:16. > :15:20.know he survives. There is a sense in the beginning that the people
:15:20. > :15:23.not in Trainspotting are the people in Star Trek wearing a red jumper,
:15:24. > :15:28.you are like, oh dear, I'm not liking your chances of seeing the
:15:28. > :15:32.end of the book, and they don't. It is a pity, given that you don't
:15:32. > :15:37.have the momentum of needing to know what happens to the characters
:15:37. > :15:41.as we did in the other book, I would have brought it in less pages.
:15:41. > :15:45.Do we learn more about them, the cause and effect that Irvine Welsh
:15:45. > :15:48.was talking about in the film? starts with the Battle of Orgreave,
:15:48. > :15:52.the miners' conflict with the police, there is a famous quote
:15:52. > :15:55.from Margaret Thatcher with "there's no such thing as society".
:15:56. > :15:59.It is about the definition of the times and understanding some of the
:15:59. > :16:03.motivations. I was struck by the Thatcher quote ending saying "there
:16:03. > :16:06.is no such thing as society, it is just men and women and families",
:16:07. > :16:10.the book is more about men and women and familiar leets, rather
:16:10. > :16:16.than no such thing as society -- families, rather than no such thing
:16:16. > :16:18.as society. The reasons they get into the drugs are not to do with
:16:18. > :16:23.society, it is more about relationships and the death of
:16:23. > :16:27.somebody in a family. I felt it was a personal book pretending and
:16:27. > :16:33.setting itself up to be more political than it was. I sometimes
:16:33. > :16:38.wondered if the politics was shoe horned? The politics was essential,
:16:38. > :16:41.Irvine Welsh was showing people don't turn to drugs only because of
:16:41. > :16:45.societal reasons. There are other emotional things. There is the
:16:46. > :16:49.perverse, as Poe would call it, the moment you do something against
:16:49. > :16:52.your own interests and you know it. All of that is present. There is a
:16:52. > :16:55.moment when Renton's father looks at these boys and he says the
:16:55. > :16:59.problem is not that I don't understand them, the problem is
:16:59. > :17:04.that I do understand them, and I cannot see what is going to save
:17:04. > :17:08.them. He was saved by a family, by all of these structures that
:17:08. > :17:10.existed before, being a docker, the mines have gone, all of these jobs
:17:10. > :17:14.that people would have gone into before have left. There is not
:17:14. > :17:19.going to be that moment that there is at the end of clockwork orange,
:17:19. > :17:23.when you see the reformed hooligan on the street with a wife and pram,
:17:23. > :17:28.that option is not on the cards for these boys. What did you make of
:17:28. > :17:31.the political parallels drawn, going back to the 1980s, a time of
:17:31. > :17:34.unemployment and the Conservative Government? I wanted to find it
:17:34. > :17:38.more important than I did. The trouble is, the central character,
:17:38. > :17:43.which we have to assume Renton is, he gets most narrative time. He
:17:43. > :17:46.doesn't turn to heroin because he as unemployed, he turns to heroin,
:17:46. > :17:52.like our parents warned us, soft drugs lead to hard drugs, he has
:17:52. > :17:57.tried everything else and he wants to know what it's like. He's a
:17:57. > :18:01.student at the golden time of the grant, you didn't pay fees and no
:18:01. > :18:06.loans, he has everything and chooses to squander it. I think
:18:06. > :18:11.that could be counter point to the nihilism of Spud's life, it
:18:11. > :18:17.undermines it for me. As he says towards the end t doesn't matter
:18:17. > :18:21.which Government was in power, I would be shooting up any way.
:18:21. > :18:25.the narrator we have multiple voices, we see the failure of
:18:25. > :18:29.society to cope with this. We need when all of the needle exchanges
:18:29. > :18:33.are closed, as did happen. It is a very good scene in the shooting
:18:33. > :18:36.gallery, people are handing around this giant syringe that they have
:18:36. > :18:40.stolen from a hospital. These things don't always need to be
:18:40. > :18:45.stated, I think they are there, I think they are in the book.
:18:45. > :18:49.And also, in a way, what we are looking at here is the strength of
:18:49. > :18:59.Irvine Welsh's language, for people who like Trainspotting, the same he
:18:59. > :19:01.
:19:01. > :19:05.can sub regins, the same filth -- he can sub regins, the same --
:19:05. > :19:14.exuburance, the same way he captures the Scottish language.
:19:14. > :19:20.guess you said it in the vt, people say f-ar- king. Apologise for
:19:20. > :19:25.anyone here, because of the way you pronounced it, it might be fine.
:19:25. > :19:28.Apologies. The The dialects of Edinburgh are incredibly good, you
:19:28. > :19:34.can tell the difference of who is talking without a moment of context.
:19:34. > :19:38.They are brilliantly done. With the London scenes it sounded like Dick
:19:38. > :19:42.van Dyke with Tourettes. If that was that inauthentic with London, I
:19:42. > :19:48.didn't know how much I could believe the Edinburgh.
:19:48. > :19:51.It is terrific with the Edinburgh, the joy of the language, the humour
:19:51. > :19:57.unlike the Marley film we don't have an explanation or glossry, you
:19:57. > :20:03.get it, you don't get it, sometimes you get it after the book it put
:20:03. > :20:08.down, you realise what "manto" is, for the working girls, I can't tell
:20:08. > :20:16.you what it is. When they have the Agatha Christie you realise they
:20:16. > :20:25.have an infestation with mice, Mousetrap, you get it. Irvine Welsh
:20:25. > :20:30.is a very good story-teller. There is a black sense of humour, with
:20:30. > :20:34.the scene with he and his son. are not allowed to describe that on
:20:34. > :20:42.television, it is dark and funny. You have to read the book, it does
:20:42. > :20:52.vofl a Scottish news reader, very famous, called Mary Marquis,
:20:52. > :20:52.
:20:52. > :20:57.Skagboys is published on the 19th of April. She famously relied on
:20:57. > :21:00.the kindness of strangers. Blanche DuBois has long since left the
:21:00. > :21:04.stage. Now there is a dance version of the Tennessee Williams classic.
:21:04. > :21:07.We went along to film the dress rehearsal.
:21:07. > :21:13.A Streetcar Named Desire put a brutal and sexually-charged story
:21:14. > :21:19.of jealousy and possession in front of post-war Broadway audiences. It
:21:19. > :21:26.won Tennessee Williams the pults Sir prize for drama. It was peedly
:21:26. > :21:32.made into a film, starling Marlon Brando as Stanley, and Vivienne
:21:32. > :21:37.Leig h as the faded southern belle. You are surviving on my liquor, you
:21:37. > :21:42.know what I say, ha ha. You hear me, had a, had a, had a.
:21:42. > :21:47.-- ha ha ha. The film won four Oscars and is still regarded as the
:21:47. > :21:50.definitive take on the play, setting a challenge for all
:21:50. > :21:53.subsequent versions. It is really important if you are making a
:21:53. > :21:56.ballet that you are not just trying to put a play or film on stage.
:21:56. > :22:02.That is really very unsatisfying, if you are trying to repeat
:22:02. > :22:06.something from one medium to another. As a play, it's so rich,
:22:06. > :22:10.and has so much resonance, and so many images and ideas in it. It
:22:10. > :22:17.really lends itself to being thought about as a ballet. That is
:22:17. > :22:22.what we really set out to do initially.
:22:22. > :22:27.This new version fleshs out the back story, a brief marriage to a
:22:27. > :22:32.bisexual man, the loss of her planation mansion and family, as
:22:32. > :22:36.she falls into the isolation and promiscuity, which leads to her
:22:36. > :22:43.being run out of time. The challenge of adapting a classic
:22:43. > :22:46.play, led to a collaboration that is still rare in the dance world.
:22:46. > :22:50.It is an experiment, it is unusual to put a director and choreographer
:22:50. > :22:55.together and ask them to make a piece, a story ballet. I think
:22:55. > :22:59.really there has just been a huge amount of crossover, I don't do any
:22:59. > :23:06.choreographing, but Annabel is also used to directing the dancers in
:23:06. > :23:10.terms of acting. I think this on this particular
:23:10. > :23:14.project it was clear from the beginning on, whatever idea I would
:23:14. > :23:18.put in, Nancy has the last word. She doesn't like it, we change, we
:23:18. > :23:28.change, until you know, she's the captain, so she has the overall
:23:28. > :23:37.view on everything. Has Scottish Ballet managed to
:23:37. > :23:47.translate the theme of domestic violence, sexual addiction on the
:23:47. > :23:51.
:23:51. > :23:54.stage. Our's is different, but just We know the film so well, I was
:23:54. > :23:58.trying to work out whether it is a disadvantage, because you are
:23:58. > :24:01.constantly making comparisons, or an advantage, when you are watching
:24:01. > :24:06.a work of dance, because you do know the plot? I think it is an
:24:06. > :24:10.advantage. If you turn up to this going, I xerbgted it to be exactly
:24:10. > :24:14.like the play -- expected it to be exactly like the play, you are an
:24:14. > :24:18.idiot, it is a ballet and exactly like a ballet would be. You know
:24:18. > :24:21.the story. With most ballets you know the story before you go, you
:24:22. > :24:26.know the story of Swan Lake or something, it really does help. I
:24:26. > :24:30.think they do an amazing job of story telling. Tennessee Williams
:24:30. > :24:34.is the big southern melodrama that he has designed to be turned into
:24:34. > :24:42.ballet or opera, he's absolutely somebody you can understand without
:24:42. > :24:49.words. I'm glad to see they don't resist the urge to put in someone
:24:49. > :24:52.yelling "Stella" at one point. did? They failed to resist. I
:24:52. > :24:56.apologise, you were right to pick me up on that. They go into a great
:24:56. > :25:02.deal more detail, themes that we don't really get in the play,
:25:02. > :25:07.although only hinted at in the play? The early life. They start
:25:07. > :25:12.with the relationship between Alan, blanche's husband, and another man,
:25:12. > :25:15.and this is something that we know in the play, but we have to read a
:25:15. > :25:20.bit deeper, perhaps. It is interesting Tennessee Williams is
:25:21. > :25:24.writing at a time when these things have to be hidden, that is no
:25:24. > :25:28.longer the case. How do we cope with these things within narrative
:25:28. > :25:33.now. Perhaps the strangeness of ballet is a nice way to approach it.
:25:33. > :25:36.But I thought the use of the narrative was fantastic. I thought
:25:36. > :25:40.it was absolutely brilliant, one of the things I liked about it, there
:25:40. > :25:44.was a problem of how you don't use words, and the creative ways they
:25:44. > :25:53.solved them. There is the bit where Blanches relatives are dying, they
:25:53. > :26:00.organise a family-like photograph in front of Bell Vue, each, one by
:26:00. > :26:03.one they crumble, they are dying. Trfs an interesting way -- It was
:26:03. > :26:07.interesting. In more ways in terms of sexuality it is more interesting
:26:07. > :26:12.than the film, there was a rape scene further on, that was more
:26:12. > :26:16.sinister and disturbing than the one in the film. We really saw the
:26:16. > :26:19.inventiveness of dance in a way that the past was able to be
:26:19. > :26:26.referred to, in literal form. So dead characters could be danced
:26:26. > :26:30.with. She sees herself, as another person in the past. Absolutely. I
:26:30. > :26:34.almost invariably hate a dream sequence, but whack it in a ballet
:26:34. > :26:40.and I cheer right up. The music goes back to the music when she was
:26:40. > :26:43.happy, we know it is a memory or a dream. Another girl will come on
:26:43. > :26:48.and dance her in the past. She's wearing the same costume and the
:26:48. > :26:51.same hair. The coding of ballet is extremely easy to follow, even if
:26:51. > :26:55.you don't know the story. You would follow it with relative ease. They
:26:55. > :26:59.did an amazing job of taking her madness and fragility and putting
:26:59. > :27:04.them right at the front where we could see them. It worked
:27:04. > :27:09.incredibly well. It starts with a very classical music, and goes off
:27:09. > :27:13.to jazz for New Orleans and becomes later metalic, it was a beautiful
:27:13. > :27:21.soundtrack. I wondered if it was almost too beautiful, when Blanche
:27:21. > :27:31.is at the height of her pros mus cute, in a twauddree bedroom
:27:31. > :27:32.
:27:32. > :27:36.sleeping with strangers, it was too beautiful? I don't think so. It was
:27:36. > :27:39.a moment like in Skagboys, there is an escape for her. The contrast
:27:39. > :27:44.between that and the sexual violence, the rape we see later is
:27:44. > :27:50.clear and defined, Blanche is not a willing partner later on. We saw
:27:50. > :27:56.the theme of addiction going on, through the metaphor of a moth to a
:27:56. > :27:58.flame, she dances towards the light, there is her addiction to alcohol
:27:59. > :28:03.and promiscuity, and Stella's addiction to Stanley. That is much
:28:03. > :28:08.more to the forein this, than the play. In the play we are given some
:28:08. > :28:11.idea that he might stop being quite so aggressive, and so on, in this,
:28:11. > :28:17.there is never even the suggestion of that. What is so beautiful about
:28:17. > :28:24.the way they decide to cor glaf it, Blanche is -- choreograph it,
:28:24. > :28:30.Blanche is the only of the women and men to dance on pointe, she
:28:30. > :28:34.locks like a ballerina in a pink dress, everyone else is dancing to
:28:34. > :28:39.the ground in a New Orleans way, everyone looks more grounded than
:28:39. > :28:42.she does, it is incredibly smart. agree with you, the tragedy of
:28:43. > :28:46.Blanche doesn't come through, in the film there is a sense of a
:28:46. > :28:49.woman terrified of ageing and trying to appeal to younger men. As
:28:49. > :28:53.you said, when she's flouncing around with lots of men, she looks
:28:53. > :28:59.like she's having a good time, that is not what you are meant to be
:28:59. > :29:03.thinking. This is a 21st production. Chronologically you are right.
:29:03. > :29:07.idea of they are being worried about ageing is not so relevant. I
:29:07. > :29:11.guess the other thing we lose is the idea that Stanley is more
:29:11. > :29:16.complex, that he might actually be attractive, and that we might also
:29:16. > :29:23.be attracted towards him. That is also a product of the 21st century
:29:23. > :29:25.dealing with the worries of a different age. Many more shades of
:29:25. > :29:29.ambivalence. You can see A Streetcar Named Desire tomorrow
:29:29. > :29:35.night, and then it travels to Edinburgh Inverness and other
:29:35. > :29:39.places. Given that Damien Hirst is probably Britain's most famous
:29:39. > :29:44.living artist, counting tabloid inches and the wealthiest too. It
:29:44. > :29:48.is amazing he has never had a retrospective at home. That is
:29:48. > :29:51.remedied with a 14-room career- spanning show at Tate Modern in
:29:52. > :29:56.London. Spanning three decades of
:29:56. > :30:03.creativity, encombassing pots and pans and pharmaceuticals, from
:30:03. > :30:06.beach ball, butterflies to blue bottles, it is a wide range of his
:30:06. > :30:09.work. As I have got older I have got better and better, I have
:30:09. > :30:13.learned the language of visual art. In any piece of art, since the
:30:13. > :30:17.beginning, what I tried to do is go beyond my expectation. In the first
:30:17. > :30:22.room it is a little less than what I was attempting. I actually
:30:22. > :30:26.thought when I painted the pans, I would create this iconic
:30:26. > :30:31.contemporary object that would make people fall down dead. When I made
:30:31. > :30:34.it, it looks car-boot sale. I hate art that you have to think about it,
:30:34. > :30:38.but art that grabs you. Like it does in the Natural History Museum.
:30:38. > :30:45.A lot of people say I deal with death. I don't know. The diamond
:30:45. > :30:54.skull seems very much alive to me. That skull called For The Love of
:30:54. > :30:59.God was a one-off created in 2007. Cast from platinum, adorned about
:31:00. > :31:03.8,601 flawless diamonds, at a cost of �40 million. Hirst's output is
:31:03. > :31:07.controversial for quantity as well as quality. All the things I have
:31:07. > :31:11.done because they feel right. I have taken a leaf out of war hole's
:31:11. > :31:16.book. He said a great thing, if people slag off what you are
:31:16. > :31:19.working on, do more. That is kind of the right way to go. When I
:31:19. > :31:23.first started making the spot paintings, people didn't like them,
:31:23. > :31:26.I got slagged off. I just think you have to paint. The only thing you
:31:26. > :31:30.can believe in really is your feelings. I had no money when I was
:31:30. > :31:34.a kid. I became aware of the importance of money, and the
:31:34. > :31:37.importance of money in two ways. We need money to survive, you have to
:31:37. > :31:41.respect money, because there is so many people without money. After I
:31:41. > :31:46.had my auction at Sotheby's, I started getting noticed on the
:31:46. > :31:50.street by businessmen, that can't be a bad thing, when you are an
:31:50. > :31:59.artist. I always thought you have to get people's attention before
:31:59. > :32:05.you can change their minds. longer a WBA, Hirst still courts
:32:05. > :32:10.controversy, and shares passion with fans. Where does this
:32:10. > :32:14.retrospective place him among his contemporaries, and will his work
:32:14. > :32:17.outlast its notoriety. A lot of these works were genuinely
:32:17. > :32:21.shocking at the time, do they still have this kind of power? It is
:32:21. > :32:25.interesting, I think in a way, it is a bit like the Bob Marley
:32:25. > :32:28.documentary, you kind of have to go there and drop your expectations
:32:28. > :32:32.and try to see if you can look at the material fresh again. In a way,
:32:32. > :32:36.the fact that they have lost some of their power to shock is good, it
:32:36. > :32:39.means you can look at them for more works of art rather than shock
:32:39. > :32:44.pieces. I found it really impressive. It was game of two
:32:44. > :32:49.halves. In a sense, I can't just find, any piece of art that looks
:32:49. > :32:53.like my daughter's nighty, I can't be Imrie pressed by. The spot
:32:53. > :32:58.paintings, the fact there is 1400 of them, and they are clinical and
:32:58. > :33:08.other assistants make them, I'm not impressed. The stuff about animals,
:33:08. > :33:09.
:33:09. > :33:16.mortality and life, I found that powerful, I think there is a
:33:16. > :33:20.nervous laughter about mortalty. Particularly the mind of someone
:33:20. > :33:24.living, do we look at the concepts more than the immediate shock value
:33:24. > :33:28.of them. In the case of the shark, I feel the shock may have gone with
:33:28. > :33:33.some of the shark's youth and vigour, he looks not as well as he
:33:33. > :33:36.once did. I saw him in the Met in New York, I don't know if it is a
:33:36. > :33:39.new old shark, or if that shark has had a very ageing paper round over
:33:39. > :33:43.the last couple of years. But he really doesn't look very
:33:43. > :33:47.frightening any more. In truth, those are the pieces that have
:33:47. > :33:50.probably survived best, in a slightly different way from
:33:50. > :34:00.actually physically surviving. I have to admit I found it all rather
:34:00. > :34:02.
:34:02. > :34:05.trite this time around. Without the shock factor, his s tisk is about
:34:05. > :34:11.life and death and mortality, there is something about saying I would
:34:11. > :34:15.like to talk about death, and I will put maggots into a toilet and
:34:15. > :34:18.see them turn into flies. I missed the press view, and it was packed
:34:19. > :34:22.with families with small children, I think he might make art for small
:34:22. > :34:26.children. They love him, they like the bright colours and the dead
:34:26. > :34:29.animals, they like him such a lot. I found myself thinking, he just
:34:29. > :34:33.doesn't have very much to say to anybody who has kind of thought
:34:33. > :34:36.about death for more than ten minutes. Did it seem as trite to
:34:36. > :34:42.you? It did, for me there is an element of control within all of
:34:42. > :34:46.the works that makes it rather clean. Even the dark sun, I think,
:34:46. > :34:50.the Black Sun, which is composed entirely of flies, and that should
:34:50. > :34:55.be really horrible, shouldn't it, a great big black circle, completely
:34:55. > :35:02.made out of dead flies, no, it was fine, it was all very clean-looking,
:35:02. > :35:06.I think the ...I can't help thinking about Renfield and Dracula,
:35:06. > :35:12.he starts off by killing the flies and then something bigger and
:35:12. > :35:15.bigger, I surely can't be the only person that thinks we should watch
:35:15. > :35:22.our grand mothers around Damien Hirst. Surely he wants to graduate
:35:22. > :35:26.on to something else. I think it is very decorative. Talking about
:35:26. > :35:32.decorative, it isn't all uglyness and death and decays, there is the
:35:32. > :35:36.blur flies and the life cycle? spin paintings, in where he's
:35:36. > :35:40.exploiting his brand I'm not happy about, he does that with the spots
:35:40. > :35:44.and the spin paintings. There is a butterfly room where they are all
:35:45. > :35:51.going around in the room, in the next room you see them deceased and
:35:51. > :35:54.put into a flame, I found that -- into a frame, I found that
:35:54. > :35:59.uncomfortable, I don't know if they were selected where they were
:35:59. > :36:04.selected to die and or collected afterwards. With a live thing and
:36:04. > :36:08.then they are dead in the next room, found that an uncomfortable room.
:36:08. > :36:12.We learned that part of his earlier work the themes began early on. We
:36:12. > :36:19.had the medicine cabinets, the spot paintings, which Damien Hirst
:36:19. > :36:24.himself talks about as playing with colour? The youthful exuburance you
:36:24. > :36:28.get in the first room, the spot painting he has done are rubbish
:36:28. > :36:34.compared with the later ones, there are drips elsewhere. Then you have
:36:34. > :36:39.the room of medicines, the Four Seasons, different colours, the
:36:39. > :36:44.bluish ones to make a huge wall of winter, pinkish ones for spring and
:36:44. > :36:47.brown for autumn. They are so exciting, you get another room of
:36:47. > :36:51.slightly less exciting versions and another room and another room. I
:36:51. > :36:57.found myself thinking, when you were 25 you were the most exciting
:36:58. > :37:03.person, I guess it is all right not to be as exciting as 25, I wouldn't
:37:03. > :37:08.want 14 rooms to be celebrating my inability to be as exciting as I
:37:08. > :37:15.once was. The skull was attracting a lot of attention the queues were
:37:15. > :37:19.there when I was there. It became a symbol of morality at our time, the
:37:19. > :37:25.peak of the boom before the burst? I have no problem with artists
:37:25. > :37:29.getting rich. The skull didn't move me, it is an old idea. I found it
:37:29. > :37:33.very difficult to respond to. I was very surprised, actually, to see
:37:34. > :37:39.that it was 14 rooms. I felt it was a much smaller exhibition, and I
:37:39. > :37:46.think perhaps it is the reputation. The 15th room is the gift shop,
:37:46. > :37:50.exit through the Egypt gift shop. almost bought the �36,000 replica
:37:50. > :37:57.skull. �310 for a deck chair. There was almost a gift shop inside with
:37:57. > :38:01.the auction room, $111 million done in one day. I bought postcards, I
:38:01. > :38:06.felt you couldn't have a Damien Hirst experience unless you gave
:38:06. > :38:11.him a quid. It feels artistically compromised not to turn up and go
:38:11. > :38:14.here you are. I got the postcard, not the skull. Damien Hirst
:38:14. > :38:18.continues at Tate Modern until the 9th of September. If you noticed
:38:18. > :38:24.the date, Friday 13th, you might have spent the day crossing your
:38:24. > :38:31.legs or carrying a four-leaf clover. Ed Smith's new book is all about
:38:31. > :38:34.luck, what it means, why it matters, we asked him to explain.
:38:34. > :38:38.Winners don't like talking about luck. It detracts from their
:38:38. > :38:42.achievements. Losers don't want to get caught talking about luck
:38:42. > :38:46.either. It sounds too much like an excuse. 15 years ago I would have
:38:46. > :38:50.agreed. When I was starting out as a professional cricketer, I took
:38:50. > :38:55.the view if you had enough ability and worked hard enough, you would
:38:55. > :39:01.inevitably get what you deserve. What changed my mind? On the pitch
:39:01. > :39:05.I learned the hard way. A bad LBW decision had irreversible
:39:05. > :39:10.consequences, a broken ankle ended my career. If I was honest, I had
:39:10. > :39:14.to acknowledge that luck determined decisive forks in the road.
:39:14. > :39:18.But mine is anything but a hard luck story. My cricket career, in
:39:19. > :39:23.the first place, owed a great deal to the non-random luck of my
:39:23. > :39:26.cricketing education. I realised I had been 20-times more likely than
:39:26. > :39:30.average to play for England, because I had gone to such a good
:39:30. > :39:35.cricketing school. The deck was stacked, if you like, long before
:39:35. > :39:40.words like "practice", "determination" and "hard work",
:39:40. > :39:44.even came into the equation. Sceptics argue that though luck
:39:44. > :39:48.might sway an individual life, the fates of nations always have
:39:48. > :39:53.grander causes. Think again, Norway's good will fare state and
:39:53. > :40:00.high standard of living depends on North Sea oil. How did they find it,
:40:00. > :40:07.when the search was on it, Philip's petroleum office sent the order,
:40:07. > :40:12.don't dig any more wells, they couldn't stop leasing the rigs,
:40:12. > :40:17.Thesee played out time and struck oil. Our own nation too should
:40:17. > :40:23.thank lady luck, in 1922 in New York, a politician with a mixed
:40:24. > :40:27.reputation and a turn coat, looked the wrong way crossing Fifth Avenue,
:40:27. > :40:32.he was hit head-on by a car and flung to the side of the street, he
:40:33. > :40:36.lived, just, to tell the tale, it was Winston Churchill. But what
:40:36. > :40:39.practical use is believing in luck? I once played for a cricket team
:40:39. > :40:46.that banned the word, it was thought to be too much of an excuse
:40:46. > :40:51.that had no place in our sporting utopia. But life without luck made
:40:51. > :40:56.for an awkward dressing room and underperforming team. Believing in
:40:56. > :41:00.luck does not imply fatalism, as many people mistakingly think. Fate
:41:00. > :41:08.is predetermined, fixed, closed, the skpwroi of luck, in contrast, -
:41:08. > :41:13.- the joy of luck, in contrast, is its openness.
:41:13. > :41:23.The book, called Luck, is out now. That's almost all from us. Next
:41:23. > :41:26.week Kirsty and her guests will be watching Glenn Close in the Albert
:41:27. > :41:32.Nobss, and Gross Und Klein is on at the Barbican.
:41:32. > :41:36.There is no more on all the items on the website. We end with a slow
:41:37. > :41:40.low musician, but tonight we have a quartet, Don Broco come from
:41:40. > :41:50.Bedford, it is an acoustic version of their forth coming single
:41:50. > :42:06.
:42:06. > :42:09.# When your round with the boys # Would you ever contemplate
:42:09. > :42:15.# On telling her # Exactly where we'll be
:42:15. > :42:19.# When you are out with the boys # Would you ever contemplate
:42:19. > :42:29.# On ditching us # As soon as she turns up
:42:29. > :42:32.
:42:32. > :42:34.# You you got priority # Mate you know how much you
:42:34. > :42:40.changed # Where's my buddy
:42:40. > :42:45.# I was hanging out yesterday # My friend my friend
:42:45. > :42:51.# It's best you mend your ways # Or you'll end up
:42:51. > :42:55.# Having no friends left # And you can bail
:42:55. > :43:00.# I Miss You pumpkin # I miss you babe
:43:00. > :43:05.# I wish you could hear # What you're saying
:43:05. > :43:09.# Miss you Princess # Miss you babe
:43:10. > :43:12.# Makes me sick hearing you say it # Miss you pumpkin
:43:12. > :43:15.# Miss you Princess # Miss you babe
:43:15. > :43:20.# Miss you honey # My little angel
:43:20. > :43:22.# Come every hour # Of every day
:43:22. > :43:30.# Pretty rain # Sunsets
:43:30. > :43:32.# That is the price you pay # Mate you know how much you
:43:32. > :43:38.changed # Where's my buddy
:43:38. > :43:43.# I was hanging out with yesterday # My friend my friend
:43:43. > :43:48.# It's best you mend your ways # Or you'll end up
:43:48. > :43:53.# Having no friend left # To hear complain
:43:53. > :43:58.# Mate # You know how much you've changed
:43:58. > :44:02.# Where's my buddy # I was hanging out with yesterday
:44:02. > :44:05.# My friend my friend # It's best you mend your ways
:44:05. > :44:14.# Or you'll end up having no friends left