:00:10. > :00:13.Tonight on The Review Show, a sneak Tonight on The Review Show, a sneak
:00:13. > :00:21.peek at the best films to come out of the UK's two biggest
:00:21. > :00:25.This week, the curtain closed on the This week, the curtain closed on the
:00:25. > :00:31.nation's largest documentary festival and opened on its most
:00:31. > :00:37.famous film festival, both giving an insider's view of the big hits of
:00:37. > :00:41.the year, what they are likely to be. The Edinburgh Film Festival is
:00:41. > :00:45.the grand dame. Now entering its 65th year it shows no sign
:00:45. > :00:53.getting old. We sat our panel in front of a selection of three from a
:00:53. > :01:00.programme of over 60 feature films. This year's Festival Gala Film is an
:01:00. > :01:03.offbeat buddy comedy The Guard starring Brendan Gleeson and Don
:01:03. > :01:09.Cheadle. Scottish director Mackenzie's offering is an
:01:09. > :01:13.the world love story starring Ewan MacGregor and Eva Green. In his
:01:13. > :01:17.first original screenplay for 20 years, Sir David Hare's
:01:17. > :01:21.years, Sir David Hare's BBC2 Page Eight, a security services
:01:21. > :01:26.thriller with a stellar including Bill Nighy, Rachel
:01:26. > :01:29.and Michael Gambon. Though young compared to Edinburgh, the Sheffield
:01:29. > :01:33.DocFest has been the hub of the British documentary industry for the
:01:33. > :01:38.last 17 years. Last week film makers, distributors and buyers from
:01:38. > :01:40.across the globe descended on the Yorkshire steel town to see the
:01:40. > :01:46.films that will be hitting the big and small screens in the coming
:01:46. > :01:51.year. The programme featured over 100 international docs, discussions
:01:51. > :01:56.and masterclasses. From these our panel looked at the thrilling
:01:56. > :02:04.Formula One archive documentary charting the life and death of motor
:02:04. > :02:10.racing prodigy Ayrton Senna. Spurlock's take
:02:10. > :02:20.Presents: The Greatest Movie Ever Sold; a 1970s experiment gone wrong
:02:20. > :02:21.
:02:22. > :02:24.in Project Nim and Terry Pratchett's moving insight into choosing to die.
:02:24. > :02:31.Joining me are documentary maker Joining me are documentary maker
:02:31. > :02:34.Molly Dineen, the activist, and film maker, Mark Thomas, Karen
:02:34. > :02:38.Krizanovich and Andrea Calderwood. As always, we do like a good tweet
:02:38. > :02:41.so if you would care to indulge the address is on the screen. First
:02:41. > :02:48.up tonight, one of the big hitters from this week's Edinburgh Film
:02:48. > :02:51.Festival, an unlikely buddy movie with two very unlikely buddies.
:02:51. > :02:54.The film pairs Brendan Gleeson and The film pairs Brendan Gleeson and
:02:54. > :02:59.Don Cheadle, who star as two mismatched law enforcers
:02:59. > :03:07.trail of a gang of drug traffickers. A familiar story perhaps only this
:03:07. > :03:15.time the setting isn't Brooklyn or Chicago, but rural Connemara. I
:03:15. > :03:22.thought only black lads are drug dealers? And Mexicans. While
:03:22. > :03:24.plays straight man as a diligent FBI agent, Gleeson's character is a
:03:24. > :03:28.straight talker with both politically incorrect attitudes
:03:29. > :03:34.a casual approach to crime fighting. I thought we might start by
:03:35. > :03:38.canvassing the neighbourhood. You lost me at "we". It's my day off. I
:03:38. > :03:42.guess he is one of those people who lulls you in to a false sense of
:03:42. > :03:47.security by pretending to be a buffoon but he is obviously the most
:03:47. > :03:52.intelligent person in the film really. Part crime thriller, part
:03:52. > :03:59.buddy movie, the director was also influenced by the western. I looked
:03:59. > :04:03.at a lot of John Ford's movies, he doesn't use many close-ups and he
:04:04. > :04:12.has a sort of company of actors and everybody gets their moment in the
:04:12. > :04:18.son. My other favourite is the screw balls, so those two, even though
:04:18. > :04:23.they seem dissimilar, they are the same sort of vibe about them so it
:04:23. > :04:27.was a conflation of the two really. I hate that miserablist strain of
:04:27. > :04:31.British and Irish film making. It really annoys me, I don't want to
:04:31. > :04:36.watch it anymore so when I got together with a costume
:04:36. > :04:43.production designer and Larry Smith the main thing was this is going to
:04:43. > :04:47.be intensely stylised, so that was deliberate that we decided on
:04:47. > :04:52.from the start. The agency? No, my husband is missing. I will
:04:52. > :04:56.slip into something a little less comfortable. So how does
:04:56. > :05:05.Irish setting change a well-worn format and how do the
:05:05. > :05:11.You certainly are an unconventional You certainly are an unconventional
:05:11. > :05:15.police officer. Thank you. was not meant as a compliment.
:05:15. > :05:19.Andrea, FBI meets Connemara. It is a totally different take on the buddy
:05:19. > :05:21.movie. Did it work? I loved that it was in Connemara, I thought
:05:21. > :05:27.fantastic and from the moment you see Brendan Gleeson at the
:05:27. > :05:30.of the film, that dead pan reaction to the first crash, you
:05:30. > :05:36.this is going to be a Brendan Gleeson is at
:05:36. > :05:40.the movie, isn't he? Totally. He drives the movie completely forward.
:05:40. > :05:43.All the other characters are two-dimensional, lots of fun, very
:05:43. > :05:47.quirky, but without Gleeson the film couldn't stand. He is brilliant in
:05:47. > :05:52.this and I really enjoyed it. I thought him and the one-liners
:05:52. > :05:56.it. Well, Gleeson is this incredibly kind of interesting
:05:56. > :05:59.character, very contradictory. There are times when we find his
:05:59. > :06:04.pretty shocking and appalling. Is he the dumbest guy or the smartest
:06:04. > :06:07.in the room? We are not quite sure, are we? I think we are very sure he
:06:07. > :06:12.is the smartest in the room at all times. I think he is wonderful.
:06:12. > :06:16.What about that dynamic between him and Cheadle Cheadle
:06:16. > :06:20.course the buddy movie pivots around this central relationship. It
:06:20. > :06:27.didn't feel like a buddy relationship to me but I thought it
:06:27. > :06:32.was wonderful and the issue of race - you wouldn't go near it but he is
:06:32. > :06:36.outrageous in this film. He gets away with saying some absolutely
:06:36. > :06:40.outrageous things, and Don Cheadle's character is meant to somehow get
:06:40. > :06:45.his way past that to them having this quite intimate connection
:06:45. > :06:50.somehow. Did that work for you? Yes, it Dell did totally and what
:06:50. > :06:58.also - yes, it did totally and saving his own life by shooting one
:06:58. > :07:03.of the drug traffickers and as he a baddie and is dying, he stops
:07:03. > :07:06.says to us: there were so many things I had left to do. It's an
:07:06. > :07:10.extraordinary moment of sentimentality in a film which is
:07:10. > :07:15.basically a cartoon, isn't it? is and it isn't because again you
:07:15. > :07:22.get one of the other drug traffickers, Mark Strong, they are
:07:23. > :07:30.sitting in a car discussing whether Bertram Russell was Welsh, talking
:07:30. > :07:36.about Dostoevsky. It's ludicrous. was sitting with hardened critics
:07:36. > :07:40.and I laughed all the way through. For a film, if it's a comedy and
:07:40. > :07:44.makes me laugh it has done its The wonderful thing is they show up
:07:44. > :07:46.if you are politically correct you are a bit thick really. If you can't
:07:46. > :07:50.see through what's happening here, it's not racism, he wants to
:07:50. > :07:53.you are going to respond. I it was brilliant writing. Let's go
:07:53. > :07:56.back to that Brendan Gleeson performance because for me what it
:07:56. > :07:59.said was that this is a film as we heard the director saying, that is
:07:59. > :08:06.not about Irish sentimentality. is the west of Ireland but it's
:08:06. > :08:12.meant to look like an ad, like a Roddy Dail adaptation, this is tough
:08:12. > :08:18.and gritty, slightly frayed the edges, western Ireland. It is a
:08:18. > :08:22.throwback to the dirty copse that kicked against it in the 70s, that
:08:22. > :08:26.did everything wrong but still got the guy that they needed to get.
:08:26. > :08:28.That's what I loved about this flawed character. Also there are
:08:28. > :08:33.terrible things happening but he is the smartest and can see through the
:08:33. > :08:37.smoke. It's actually quite hard to breathe life into the maverick
:08:37. > :08:40.character. It's actually a well-worn route. Yes. And Gleeson
:08:40. > :08:47.brilliant at it, I think he is really exciting. The film also
:08:47. > :08:50.really plays around with cliches and Hollywood conventions. You know,
:08:50. > :08:53.chucking a nod towards spaghetti westerns and playing around quoting
:08:53. > :08:57.little bits. It's almost film which is one of the lovely
:08:57. > :09:00.things about it, that the people who have made it obviously love film.
:09:00. > :09:06.It is a geek's film with guns. it doesn't get better than that. We
:09:06. > :09:10.are going to move on because we a lot to get through. If CSI:
:09:10. > :09:15.Connemara takes your fancy, it will be on general release
:09:15. > :09:19.August. Next up, two of the ticket films from Edinburgh, one
:09:19. > :09:27.from Sir David Hare and another reuniting Trainspotting pals Ewen
:09:27. > :09:28.Although he is still prolific as a Although he is still prolific as a
:09:28. > :09:30.playwright, it's 20 years since Sir playwright, it's 20 years since Sir
:09:31. > :09:34.Although he is David Hare penned a screenplay. Now
:09:34. > :09:38.for BBC2 he has returned to the screen with Page Eight,
:09:38. > :09:43.contemporary political thriller set among the spooks of MI5. Bill Nighy
:09:43. > :09:47.is long-serving operative Johnny Worricker, whose personal life and
:09:47. > :09:54.career take a dramatic turn is handed a top secret dossier by
:09:54. > :10:00.his oldest friend and head of MI5 Benedict Baron, played by Michael
:10:00. > :10:06.Gambon. I want to share a source and before we go any further, God's very
:10:06. > :10:09.excited. Why? I suppose like all home secretaries, God can't resist a
:10:09. > :10:13.file marked top secret. You going to read this and you
:10:13. > :10:18.to think hold on, the Americans meant to be our allies. I've never
:10:18. > :10:24.suffered from that delusion. The revelations on page 8 of this
:10:24. > :10:29.document risk destabilising the whole of the political establishment
:10:29. > :10:33.and Johnny faces a dilemma. I like faith jobs, I don't like
:10:33. > :10:37.anything to do with faith. The sun will rise in the morning, I'm going
:10:37. > :10:42.to have a drink at 6.00. Starring alongside Bill Nighy and Michael
:10:42. > :10:45.Gambon are Ralph Fiennes as British Prime Minister and Rachel Weisz as
:10:45. > :10:55.Johnny's beguiling neighbour.
:10:55. > :10:59.Perfect Sense directed by Film Festival stalwart sees Ewan
:10:59. > :11:03.MacGregor's character falling for Susan, a scientist struggling to
:11:03. > :11:12.escape a history of bad relationships. I'm Michael, I
:11:12. > :11:14.in the restaurant there. All right, sailor. I'm a chef. Good for you.
:11:14. > :11:21.Their emerging love affair develops Their emerging love affair develops
:11:21. > :11:25.against the backdrop of an inexplicable global pandemic whose
:11:25. > :11:31.sufferers experience an outpouring of emotion just before losing
:11:31. > :11:36.underof their five senses. Do not stand so close. They say it's not
:11:36. > :11:43.contagious. They don't know. Look, would you like me to take you back
:11:43. > :11:46.to your home? The heart of this thing is a love story but it's a
:11:46. > :11:50.film that has some science and has some fiction and it has some romance
:11:50. > :11:54.and it has, I guess, a kind of thrillery thing to it and
:11:54. > :11:58.it's in some way a story for our times.
:11:58. > :12:02.The film also reunites Ewan The film also reunites Ewan
:12:02. > :12:07.MacGregor with Trainspotting partner in crime Ewen Bremner. We've in a
:12:07. > :12:10.way sort of grown up together professionally. I think as an actor
:12:10. > :12:14.he really just gets stronger and stronger. He is a great
:12:15. > :12:23.working with and to be playing with and he has a great sense of humour.
:12:23. > :12:28.Blending contemporary romance with apocalyptic sci-fi, the film
:12:28. > :12:30.explores love and attraction in the face of mutual destruction.
:12:30. > :12:34.Mark, it's Sir David Hare's first TV Mark, it's Sir David Hare's first TV
:12:34. > :12:38.drama for 20 years. Was it worth waiting for? No. No, there's a
:12:38. > :12:41.reason that he hasn't directed in years and it's because he can't.
:12:41. > :12:47.There are three things wrong this film, which is for a
:12:47. > :12:52.it's not thrilling. He has to be suspenseful. The script
:12:52. > :12:58.like writing by numbers; and cannot direct. He points the camera
:12:58. > :13:02.at actors and hopes they will get in the way. That's harsh. Can you say
:13:02. > :13:07.that about Sir David Hare, that he can't write or direct? No, I didn't
:13:07. > :13:13.say he can't write. He is obviously a brilliant writer, but I said he
:13:13. > :13:20.writes by numbers. He puts: let's put the next bit of the story at the
:13:20. > :13:26.risk of losing anything to do with suspense, he just throws it all
:13:26. > :13:31.away. Are these characters living and breathing for you, Molly? I
:13:31. > :13:37.thought that was slightly harsh. No, they don't live and breathe. I
:13:37. > :13:44.passionately like Bill Nighy as an actor, he is wonderful, and Michael
:13:44. > :13:47.Gambon, but something about it was plodding. It's again why you love
:13:47. > :13:51.documentary, because it's real people doing real things. This
:13:51. > :13:53.seemed to me a wonderful situation but it seemed terribly artificial. I
:13:53. > :13:57.didn't believe in the characters what they were doing or saying.
:13:57. > :14:00.There is one critical relationship between Bill Nighy's
:14:01. > :14:04.Johnny Worricker, and Nancy, who is played by Rachel Weisz, and they are
:14:04. > :14:07.meant to have this sort of love affair, sort of not love affair, but
:14:07. > :14:11.there's this magnetic between the two of them. Did
:14:11. > :14:15.ring true for you? Well, you didn't see that coming at all. Beautiful
:14:15. > :14:20.woman next to Bill Nighy. No, that wouldn't happen. He does tend to
:14:21. > :14:24.get the cute girl, doesn't he? Every film. The thing about this
:14:24. > :14:28.I was reading before I saw it Sir David Hare was accusing the BBC
:14:28. > :14:31.of lacking innovation, and I this is going to be really
:14:31. > :14:34.innovative. Don't throw stones, you know, really don't, because there
:14:34. > :14:39.are some wonderful actors in there but there's no innovation that I can
:14:39. > :14:42.see. It does feel very much - this discussion between is it a film, is
:14:42. > :14:50.it a piece of television? know. I'm not sure. Television,
:14:50. > :14:55.think. But what struck me about it was the number of companies getting
:14:55. > :14:59.involved makes it like a film and TV can do really topical immediate
:14:59. > :15:03.drama, thinking about John Mackenzie who sadly died this week, as long as
:15:03. > :15:07.the Long Good Friday and he used to make these really immediate powerful
:15:07. > :15:10.dramas about life today and we all talk about it at school and
:15:10. > :15:14.all the lines, and it was just very quick, very strong turn-around
:15:14. > :15:18.television. If you have to I don't know exactly -
:15:18. > :15:22.different companies, a star-studded cast who are all fantastic, no
:15:22. > :15:26.wonder it can't be topical, urgent television. Is this a point then,
:15:26. > :15:29.that it perhaps compromises David Hare, a man who works very
:15:30. > :15:33.much in the theatre, that kind of creative compromise and the slowness
:15:33. > :15:36.of the decision-making process perhaps hampers these kind of films
:15:36. > :15:39.for people in theatre, or is it a different problem for you? I
:15:39. > :15:43.there is a different problem. think you are write because
:15:43. > :15:47.take time to get these projects together and actually the issue of
:15:47. > :15:53.UK government involvement in accusations of knowledge of torture
:15:53. > :15:56.and Guantanamo and all these failures in the intelligence
:15:57. > :16:02.like 7/7 are all important debates but actually they have
:16:02. > :16:05.happened by and large, in theatre and in film elsewhere, and then
:16:05. > :16:10.David Hare rolls up which isn't topical, therefore it needs to be
:16:10. > :16:13.dramatic; and it isn't. OK, we are going to move on to things of great
:16:13. > :16:17.importance such as the end world and loss of our senses. In
:16:17. > :16:21.films before we've had robotic uprisings, giant tidal waves, now
:16:21. > :16:26.it's the moment where all our senses evaporate in Perfect Sense. Karen,
:16:26. > :16:30.how did you feel about this movie? Did it sweep you off your feet? No,
:16:30. > :16:33.it reminded me of a lot of other films. Blindness is the film it
:16:33. > :16:37.brings up the most. I was looking forward to this because it
:16:37. > :16:40.uses Glasgow as a setting. I love Glasgow, I think it's a
:16:40. > :16:45.place, more films should be made here. In fact Johnny Depp was just
:16:45. > :16:48.up the road two days ago, telling you now. Trend
:16:48. > :16:54.thank you. It was important. Thank you. But I found that this really
:16:54. > :17:00.had technical problems, I think. Plinky music didn't help,
:17:00. > :17:04.over it didn't help, a hovering feel throughout didn't really throw up
:17:04. > :17:08.any tension or sense of pace or jeopardy really. I never
:17:08. > :17:12.to see a man eating mustard big spoon ever again. Yes, it's
:17:12. > :17:16.worth explaining that there are these scenes of rampaging hunger
:17:16. > :17:21.that one of the things that happens before you lose a sense is you have
:17:21. > :17:26.this violent emotion, whether it's guilt, hunger - You eat flowers.
:17:26. > :17:31.You eat lipsticks, flowers, so unpleasant scenes of mass eating
:17:31. > :17:35.going on. Also what they do in this film is interpolate the drama with
:17:35. > :17:40.these stock shots of global stuff, so you see shots from around the
:17:40. > :17:44.world of people violently suddenly stricken by grief. Did that use of
:17:45. > :17:48.montage work for you in way it was cut into the film? There
:17:48. > :17:52.was some lovely footage there but for me what didn't work was there
:17:52. > :17:55.wasn't a sense of the couple. The couple are more
:17:55. > :18:01.interested in their relationship than the imminent end of the world
:18:01. > :18:04.going on around them. Maybe if Eva Green's character hadn't been an
:18:04. > :18:06.epidemiologist then it been more effective because you
:18:06. > :18:11.she should have been out there saving the world rather than saving
:18:11. > :18:15.their relationship, but the thing about it was their
:18:16. > :18:18.relationship. The two Euans were so good together. There was a fantastic
:18:18. > :18:22.characterisation in the middle of but it didn't seem to connect to the
:18:22. > :18:24.end of the world that was going somewhere else. Particularly
:18:24. > :18:27.because she was meant to be an epidemiologist. She wasn't that
:18:27. > :18:30.interested in tracking down where this thing came from. The
:18:30. > :18:34.was talking about how there was little science and a little fiction.
:18:34. > :18:38.Actually there was no science and barely any fiction. But a lot of
:18:38. > :18:43.great sex. I think that's open to interpretation. LAUGHTER.
:18:43. > :18:47.OK, Molly is allowed to like the sex. That's fine. I thought it was
:18:47. > :18:51.intensely romantic going on between them but quite bizarre that they
:18:51. > :18:56.bothered to cast her as having that job when she was clearly not on the
:18:56. > :18:59.job. She was supposed to be stopping the end of the world
:18:59. > :19:05.instead of which she was having great sex and eating soap. Who can
:19:05. > :19:10.object to that? If you have the perfect sense to go and see either
:19:10. > :19:14.of those Page Eight will be on BBC2 in early autumn and Perfect Sense is
:19:14. > :19:19.on general release from the end October. Now to
:19:19. > :19:22.Documentary Festival and our pick of the best beginning with two films, a
:19:22. > :19:30.new departure for one of the starriest names in the documentary
:19:30. > :19:33.world and another film dealing Formula One's most enduring legend.
:19:33. > :19:38.Only one word describes Ayrton's Only one word describes Ayrton's
:19:38. > :19:42.style and that is "fast". Ayrton Senna exploded onto the Formula One
:19:42. > :19:48.stage in the mid-1980s, dominating the Grand Prix circuit for the next
:19:48. > :19:56.decade. Idolised in his native Brazil, his high profile rivalry
:19:56. > :20:01.with team mate Alain Prost generated unprecedented interest in the sport.
:20:01. > :20:08.I think it's going to get more and more exciting, the championship. Is
:20:08. > :20:14.it possible to be cool? No, can only be one winner. The doctor
:20:14. > :20:18.director traces the story of Senna's career out of archive footage both
:20:18. > :20:23.in and out of the McLaren car. My biggest worry was how do I make this
:20:23. > :20:26.film cinematic, how do I make it a movie, emotional for people who are
:20:26. > :20:30.not Formula One fans? For me it became clear early on that we don't
:20:30. > :20:34.need contemporary interviews. There is an amazing drama and tension
:20:34. > :20:36.inherently in the original footage. If anyone was going to narrate the
:20:36. > :20:40.film it had to be Senna. I wanted him to have the first and last
:20:40. > :20:45.in the film and if we need to explain to fill
:20:45. > :20:48.couple of scenes it should be Senna. REPORTER: Can you tell us
:20:48. > :20:51.happened in the first lap. Unfortunately we touched in the
:20:51. > :20:53.first corner when fighting for the lead and both went off.
:20:53. > :20:57.think that's because the pole position is on the wrong side of
:20:57. > :21:01.track here? You wanted to that. Absolutely. You fight, you
:21:01. > :21:05.break your BLEEP to be on pole then they put you on the wrong
:21:05. > :21:12.of the circuit. How do you feel about being world champion? It's
:21:12. > :21:16.Spurlock, having already taken on Spurlock, having already taken on
:21:16. > :21:21.McDonald's and Osama Bin Laden turns his gaze onto product sponsorship
:21:21. > :21:24.his new documentary. What I want to do is make a film about product
:21:24. > :21:28.placement, marketing and advertising where the entire film is funded
:21:28. > :21:32.product placement, marketing and advertising, so the movie will be
:21:32. > :21:37.called the Greatest Movie Ever Sold. Product placement is everywhere in
:21:37. > :21:42.today's film industry but Spurlock was first incensed by his personal
:21:42. > :21:46.life. A couple of things. One, the pervasiveness of advertising. You
:21:46. > :21:50.can't go anywhere without somebody trying to sell you something. I'm
:21:50. > :21:53.a cab there's an advert, you are pumping gas to put in your car and
:21:53. > :21:58.there's a have screen. You go to the bathroom, the one place that I
:21:58. > :22:01.thought was my sacred - my time, you go there and right in front of
:22:01. > :22:04.you is a big poster. With sponsorship in place and the film
:22:04. > :22:08.made, Spurlock is eager to the big questions and get
:22:08. > :22:11.discussion started. I think that when people leave this movie or
:22:11. > :22:14.people see this film, I think things that we should really be talking
:22:14. > :22:23.about is where do we draw the line approximate how much is too much?
:22:23. > :22:26.What are those what places should we keepsake red? I believe education
:22:26. > :22:30.should be free from this advertising influence, I don't think we should
:22:30. > :22:34.have advertising in schools. Molly, if you are not a film of Formula
:22:34. > :22:39.One, why should you watch this film? I think it's a great story,
:22:39. > :22:42.beautifully told. It's emotional. is fabulous. I don't know anything
:22:42. > :22:46.about Formula One racing and I watched it with my husband - thank
:22:46. > :22:48.God I did because you need to bit about it to understand the drama
:22:48. > :22:52.between the two competing drivers and there are certain things about
:22:52. > :22:56.the way it's all set up and apparent corruption within it, that
:22:56. > :22:58.was quite an important context the film. I still think it survives
:22:58. > :23:03.beautifully, even if any of that, I think it's a
:23:03. > :23:07.story and beautifully told. I would have loved just being a bit anoraky,
:23:07. > :23:11.I would have loved somebody to be part of it. Somehow I wanted
:23:11. > :23:15.it to be brought to now, whether be to interview the French driver -
:23:15. > :23:19.that's trying to remake somebody else's film but it was ever so
:23:19. > :23:22.slightly too archival. It's archive. Yes, it's worth saying
:23:22. > :23:28.there's nothing specially shot for this film so everything you see is -
:23:28. > :23:34.No, it's telling us a story, it's telling us something that some
:23:34. > :23:38.people knew about, my husband every single bit, I knew nothing. It
:23:38. > :23:43.did make me think: why now? And did that incredible archival
:23:43. > :23:48.research? The archive work is amazing. This is a triumph of
:23:48. > :23:52.editing. I don't like Formula One, I don't even drive, so I am the person
:23:52. > :23:58.who this should appeal to least of all in the world but I thought
:23:58. > :24:02.was fantastic. It was an epic, incredible story about obsession and
:24:02. > :24:06.rivalry but also about this driven man who just must win and win
:24:06. > :24:10.win. And how that kind of towards his death. I thought it was
:24:10. > :24:14.incredibly moving and beautifully done. Well, they are saying that
:24:14. > :24:18.it's actually remaking the idea of the sports biopic now that
:24:18. > :24:22.will have to do this kind of thing. Before I saw it critics were coming
:24:22. > :24:28.out, going: out, going: Senna, oh wow, and you
:24:28. > :24:34.never hear critics say that. I was saying what is that and they were
:24:34. > :24:37.saying: we forgot he is dead. It is so vivid. It made me think it would
:24:37. > :24:43.make a wonderful fiction film. slightly wondered why they did it
:24:43. > :24:47.that way. Because - a documentary maker. But it would also have made
:24:47. > :24:51.really great film. I disagree with you, you don't
:24:51. > :24:56.understand an awful lot about him, what motivated him, why he didn't
:24:56. > :25:01.have a wife or apparent girlfriends. I would love to ask him, when he
:25:01. > :25:06.says "I felt the presence of and he said it with a helmet with
:25:06. > :25:15.Marlborough all over it. Explain that. In some ways you think you
:25:15. > :25:19.shouldn't like this man, he is rich boy who grows up go-karting,
:25:19. > :25:22.but then he talks about finding extra dimension when he is driving
:25:22. > :25:25.where he forgets the car and circuit, he just is intuitive. There
:25:25. > :25:28.are some very beautiful thought from him. That's what
:25:28. > :25:35.surprised me. You would think Formula One, all about money and
:25:35. > :25:43.speed and that really annoying wasp noise that goes on - LAUGHTER. But
:25:43. > :25:45.actually inside that one car at least there is this thoughtful human
:25:45. > :25:52.being. He wants to achieve what he is going to achieve and get on
:25:52. > :25:59.the rest of his life but he doesn't. They have not only picked Alain
:25:59. > :26:03.Prost, this bitter rivalry, but there is almost - He is absolutely
:26:03. > :26:10.cast as the villain, when he his belief in God endangers other
:26:10. > :26:14.drivers and all this stuff. But was he the villain? I have no idea. I
:26:14. > :26:24.mean it's a documentary. Did he really cut the bloke off?
:26:24. > :26:24.
:26:24. > :26:28.You see him as one of the pallbearers of the coffin - Well,
:26:28. > :26:31.that's guilt. That's why I'm saying it almost needed to be told as a
:26:31. > :26:36.fiction story based on reality because you are re-telling history
:26:36. > :26:40.using that footage. Well, I like to move on to another very much
:26:40. > :26:44.personality-driven film although of a very different kind. Morgan
:26:44. > :26:46.Spurlock's film is trying to investigate product placement
:26:46. > :26:55.through the nifty trick of product placement. Did that
:26:55. > :27:00.off? For me it didn't. I love Morgan Spurlock, I think he is very
:27:00. > :27:05.perky - Perky? That's abusive. I'm a yankee, I can say that. I think
:27:05. > :27:09.it's an interesting idea. Can I make a movie using product placement? I
:27:09. > :27:15.felt it was a one trick pony really. Once you discover what he is
:27:15. > :27:18.to do then we have fun with the same thing over and over again. I think
:27:18. > :27:22.that it's interesting for anybody that's trying to make a film and is
:27:22. > :27:26.finding funding a problem. I think that this, in a way he is almost
:27:26. > :27:30.making this for people that have been stuck in this funding
:27:30. > :27:35.I didn't really feel it was made particularly for a non-film making
:27:35. > :27:39.audience. Mark, one of the things that this film provokes you into
:27:39. > :27:43.thinking about is how the tension in Morgan Spurlock comes
:27:43. > :27:46.the idea of him wanting to be a creative film maker who makes the
:27:46. > :27:51.documentary he wants to make but then of course he is seeking money
:27:51. > :27:56.and has to make promises that have commercial value. The thing
:27:56. > :28:02.this film for me - I'm a Morgan Spurlock and I loved
:28:02. > :28:08.Supersize Me, and it changed McDonald's, it really did, and
:28:08. > :28:12.that's incredible. And turned over 26 million. Which again is
:28:12. > :28:16.26 million. Which again is incredible for a documentary. But I
:28:16. > :28:22.started out thinking this was really good movie, I liked the idea,
:28:22. > :28:26.and about 15 minutes in I suddenly thought: no, this is really bad,
:28:26. > :28:29.this is crap, it isn't going anywhere, and it started repeating
:28:29. > :28:32.itself. Then you become angry about it because the audience are the
:28:32. > :28:36.people who have been had at the of it. This isn't a film about
:28:36. > :28:40.product placement. It's product placement with a film about product
:28:40. > :28:47.placement in the middle of it. It operates at one very clever met at
:28:47. > :28:51.that level which is what are documentaries, how can we make this
:28:51. > :28:53.film a huge success so the people sponsoring the film are making
:28:53. > :28:58.money, there is an incredible circularity about it,
:28:58. > :29:02.same time you feel that you are being commandeered. Did that bother
:29:02. > :29:06.you? I went through and out other side. That's what's ironic. He
:29:06. > :29:10.really is a very good advertising executive. It's great to see him
:29:10. > :29:15.struggling, being a sort of travelling film salesperson myself,
:29:15. > :29:22.as a producer that's what you do, you go out and sell your film, so
:29:22. > :29:25.it's good to see somebody as as him getting the setbacks, going
:29:25. > :29:29.to the deodorant company and that's how you feel when you are trying to
:29:29. > :29:33.finance a film but for me the big problem was that it didn't have the
:29:33. > :29:37.big message of Supersize Me was the challenge of the film. He
:29:37. > :29:41.does it well but in the end it doesn't really matter. He had all
:29:41. > :29:45.these opportunities. Sao Paulo, city that bans
:29:45. > :29:49.advertising, what a fantastic thing, let's find out about that.
:29:49. > :29:53.Neuromarketing, how we affect children's brains. Absolutely
:29:53. > :29:58.brilliant. But he sips lightly it and in the end he said: all I can
:29:58. > :30:01.do is show you this. I can nothing else. For a man who made
:30:01. > :30:07.film that changed McDonald's, that's simply not good enough. We are
:30:07. > :30:14.going to have to leave it there. If you fancy being driven round the
:30:14. > :30:22.bend by Product Placement it's out at the end of September. Ayrton
:30:22. > :30:25.Senna is on general release now. Now, looking at how life ends and
:30:25. > :30:33.what it means to be human, or rather chimpanzee.
:30:33. > :30:38.Fresh from the Oscar-winning success of Man on Wire, this story is about
:30:38. > :30:42.a chimp brought up as human for study of communication between man
:30:42. > :30:47.and primate. The first of his into the human world when he
:30:47. > :30:52.taken away from his mother at birth. He was dancing hard. He
:30:52. > :30:58.struggle or try to get away. He just screamed. As much as he may be
:30:58. > :31:08.screaming and protesting, he is clinging. He was attaching for
:31:08. > :31:09.
:31:09. > :31:16.life. Nim enjoyed the freedom of a 1970s liberal upbringing. I
:31:16. > :31:23.felt sexually engaged with him. There was a sensuality but Nim was a
:31:23. > :31:29.pre-teen. Though passed from to post, home to lab, Nim found a
:31:29. > :31:33.loyal friend in Bob. When you meet him, it's: wow, this chimpanzee has
:31:33. > :31:39.a personality that's - he is the most charming being you could ever
:31:39. > :31:47.meet. The actual footage is, you know, it speaks for itself. It
:31:47. > :31:50.really does, and Nim, he is good at speaking for himself.
:31:50. > :31:51.Chimps aren't humans. You have to Chimps aren't humans. You have to
:31:51. > :31:52.Chimps aren't humans. You have to kind of understand chimps to be able
:31:52. > :31:53.kind of understand chimps to be able kind of understand chimps to be able
:31:53. > :32:00.Chimps aren't humans. to understand how to work with
:32:00. > :32:10.How, in a fully working democracy, How, in a fully working democracy,
:32:10. > :32:11.
:32:11. > :32:19.do you get from assisted death for those who have come asking for it
:32:19. > :32:29.with good reason to throwing Granny into the furnace? That seems to
:32:29. > :32:32.After premiering in Sheffield, Terry After premiering in Sheffield, Terry
:32:32. > :32:37.Pratchett's film brought the debate firmly into the UK as living rooms
:32:37. > :32:39.this week. The BBC followed his emotional journey to Dignitas in
:32:40. > :32:47.Switzerland, where Pratchett witnessed an assisted death and
:32:47. > :32:57.The person who wants to die must The person who wants to die must
:32:57. > :32:57.
:32:57. > :33:01.make the last act in their life for himself or herself. Something
:33:01. > :33:08.apparently nothing wrong with them deciding to die, I would not go to
:33:08. > :33:16.the barricades, but if there is a clear and present reason such as a
:33:16. > :33:20.debilitating problem, to me there is a fairly sound case.
:33:20. > :33:24.21% of people receiving assisted 21% of people receiving assisted
:33:24. > :33:29.dying in Dignitas do not have terminal or progressive illnesses
:33:29. > :33:36.but rather a weariness of life. What do you do about someone who is
:33:36. > :33:43.hellbent on wanting to die? Even if they appear to be fit and well? But
:33:43. > :33:46.Who owns your life indeed. We are Who owns your life indeed. We are
:33:46. > :33:49.going to start with Project Nim, very much a story about the
:33:49. > :33:54.ownership of a life only this time it's a chimpanzee's life. This
:33:54. > :33:59.story, I thought, was - this is truth is stranger than fiction. It's
:33:59. > :34:04.the most fascinating story. I loved it. It was the most bizarre study of
:34:04. > :34:14.70s sexual politics. Obviously the chimpanzee and the tragedy of Nim is
:34:14. > :34:16.
:34:16. > :34:22.what it's about and this man with a bizarre comb-over. He is the
:34:22. > :34:27.Professor who runs this what out to be
:34:27. > :34:32.they find out whether he has access to language and find out after this
:34:32. > :34:36.trauma to the chimpanzee: nothing. Which leaves us with a film
:34:36. > :34:41.human behaviour really. It is, and it is a film about the failure
:34:41. > :34:49.this group of people to allege - allegedly running a science project
:34:49. > :34:53.- to actually run one. The first person who has the chimp is
:34:53. > :34:56.essentially a Freudian psychoanalyst who has been given a chimp to look
:34:56. > :35:00.after. No training in being a zoologist or vet or anything like
:35:00. > :35:05.that, and it's just bizarre. keeps him at home and breast
:35:05. > :35:08.him. And gives it dope. It's like: what on earth are you doing?
:35:08. > :35:15.you have to remember this is follow-on to a genuine study
:35:15. > :35:18.was done properly on a chimp called Waschu and Nim was supposed to
:35:18. > :35:22.replicate the signing that that chimp actually did so that's why
:35:22. > :35:30.this was doubly heart-breaking for me because this was such
:35:30. > :35:37.experiment when the other was so fascinating. It was almost like
:35:37. > :35:43.Cheech and Chong get hold of science. Yes, it's worth saying lots
:35:43. > :35:46.of people gave this chimp marijuana. I think it's absolutely about us and
:35:46. > :35:50.animals and we plod along with our bizarre relationships with animals,
:35:50. > :35:55.what you do about their environments, whether you stimulate
:35:55. > :36:00.them or treat them as people. I - stylistically I needed my hand
:36:00. > :36:05.holding at the beginning. means I am a bit dumb by I watched
:36:05. > :36:09.it all the way through and was so lived for most of it. I was not sure
:36:09. > :36:13.what I was watching, these people really abusing this animal, it was
:36:13. > :36:20.distressing and I didn't get any reassuring signals until about
:36:20. > :36:23.an hour in. When I watched it the second time, I loved it. You wanted
:36:23. > :36:27.more moral guidance? If it's in the cinema, you have your audience, they
:36:27. > :36:29.know what they are going in to see, they are in the dark, you have all
:36:29. > :36:33.your attention and it's brilliant. If it's on television or people
:36:33. > :36:36.don't know or are watching something blind, I think you need something to
:36:36. > :36:40.help you know how to view that opening, so you know what's going
:36:40. > :36:44.on, because he is just with the archive footage and you are
:36:44. > :36:47.- he is just starting with this footage and you are introduced
:36:47. > :36:52.nutters abusing an animal and I responded strongly right
:36:52. > :37:00.beginning to just the chimp the baby taken away and living
:37:00. > :37:06.a human as if that's a really idea. But I think she is right and
:37:06. > :37:09.it's also about sexual politics of the 70s. Yes, but - You think it's
:37:09. > :37:13.about us and animals. They treat Nim as a human for the purposes of the
:37:13. > :37:20.experiment and as soon as the experiment is over he is back to
:37:20. > :37:23.being a chimp again and goes to an animal testing lab. The story gets
:37:23. > :37:28.incredibly unpleasant when you realise the scientist has no
:37:28. > :37:30.connection with that. But he is sitting there now and not being
:37:30. > :37:33.challenged at all. He telling us about it. But I don't
:37:33. > :37:35.think you need to challenge him because the film shows us it
:37:35. > :37:40.clearly about his self-glorification, it was
:37:40. > :37:44.about the chimp or signing, it was about his status within that little
:37:44. > :37:49.world of academia that he was in. Moving on to a film that has had an
:37:49. > :37:53.awful lot of press this week, Terry Pratchett's film Choosing to Die and
:37:53. > :37:55.we know well the subject matter assisted suicide but moving on to
:37:56. > :38:01.the actual circumstances of the film, the way it's made, approach
:38:01. > :38:04.film making, was it film for you? I thought it was
:38:04. > :38:08.very successful film. We have remember it's 60 minutes as a film
:38:08. > :38:13.and it was shown on television, also was shown at the festival, and
:38:13. > :38:17.think it's very spare. It's very focused and I think you have to
:38:17. > :38:20.really pay attention to this film because it's so
:38:20. > :38:28.very delicately and subtly made about something that's
:38:28. > :38:31.powerful. I found that very moving and deft and emotionally you are
:38:31. > :38:34.engaged immediately, even if don't really know who Terry
:38:34. > :38:40.Pratchett is. You are immediately emotionally engaged. It reminded
:38:40. > :38:44.a little of a documentary made in 2008 about somebody going over to
:38:44. > :38:47.Dignitas, but that was a Canadian documentary. Strange that nobody
:38:47. > :38:57.really seems to connect those this one is framed slightly
:38:57. > :39:01.differently because we do get intro and an outro. There was a
:39:01. > :39:04.discussion on the Newsnight debate earlier which is available on the
:39:04. > :39:08.iPlayer. The key to this was Terry Pratchett and his engagement with
:39:08. > :39:12.the camera. There's some very, very tight, intimate work of Terry
:39:12. > :39:17.talking to the camera very directly. But he is doing the job often the
:39:17. > :39:21.film maker has to do. He is turning round, when Peter Smedley has taken
:39:21. > :39:25.- they are about to actually - he about to die and he is commenting to
:39:25. > :39:28.us, saying: it's just like a tea party. Normally as the film maker,
:39:28. > :39:31.you would be filming that, you wouldn't have Terry in between. So
:39:31. > :39:35.there's something actually very reassuring about him holding
:39:35. > :39:39.hand throughout it. I thought it was a wonderful film but I did have a
:39:39. > :39:42.problem with the amount and volume of music. I didn't need the
:39:42. > :39:46.manipulation. I was already deeply moved by all of it and particularly
:39:46. > :39:51.when the younger man is dying, they are sitting together with the
:39:51. > :39:56.laptop, and they have gone his choice of music. And they
:39:56. > :40:00.choose Elgar, I think. Yes, I they had gone with Pink Floyd and
:40:00. > :40:03.then left the actual music, because the problem with Elgar and then
:40:03. > :40:08.dubbing it is that you are lifted into an emotional peak but I
:40:08. > :40:12.was so profoundly with it already. I think there's a really interesting
:40:12. > :40:18.thing with Terry Pratchett, as a of his books and I have to hold
:40:18. > :40:21.hands up and say I have read all of the Discworld novels, that actually
:40:21. > :40:25.he does what he does in the books. It's really familiar territory
:40:25. > :40:29.you know the books. This is a journey of himself glimpsing at his
:40:29. > :40:34.future self, which is incredibly moving and he has this old master
:40:34. > :40:39.with his young apprentice which is classic fantasy stuff in his weird
:40:39. > :40:44.hat and cloak setting off to load of characters who wouldn't
:40:44. > :40:48.out of place in his books. who are proper but not prim, not
:40:48. > :40:52.usual suspects, the Smedleys being this well to do family, tradition
:40:52. > :40:55.but very pragmatic and they are characters out of his book
:40:56. > :41:00.That's fascinating. But this is quest without a resolution. Terry
:41:00. > :41:05.Pratchett goes out to try to find an answer to the terrible question he
:41:05. > :41:08.will inevitably have to face and the end he leaves that door open.
:41:08. > :41:12.That's what is so moving about it and there has been this
:41:12. > :41:15.balance but actually the balance for me came from within Terry Pratchett.
:41:15. > :41:18.He in principle thinks people should be able to choose the moment
:41:18. > :41:20.their death in that circumstance but you can see how difficult that
:41:20. > :41:23.decision is going to be for because it's never an easy decision.
:41:23. > :41:28.It's like the People talk about if it's
:41:28. > :41:33.on demand people would do it without thinking but no one would ever
:41:33. > :41:37.that decision lightly and no one would ever take the decision that
:41:37. > :41:40.you can see Terry wrestling with. very provocative film and we
:41:40. > :41:45.going to have to leave it there. Project Nim will be in cinemas
:41:45. > :41:49.1st August and Choosing to Die along with that Newsnight debate on the
:41:49. > :41:53.issue is available now on the BBC iPlayer. That's just about it for
:41:53. > :41:58.tonight. My thanks to Molly Dineen and Karen Krizanovich, to called
:41:58. > :42:01.called and Mark Thomas. Remember, you can find out about all of
:42:01. > :42:07.tonight's items and send us your thoughts please on Twitter. We
:42:07. > :42:11.just about recovered from the tweets last week about Martha's
:42:11. > :42:17.Next week we step aside for slightly less rocking show than
:42:17. > :42:27.ours, Glastonbury, but the week afterwards Martha is back featuring
:42:27. > :42:27.
:42:28. > :42:34.interviews with David Broth but for now here is Julian Velard with his
:42:34. > :42:41.album, Sentimental. Mr Saturday Night. A very Good Friday night to
:42:41. > :42:44.# Time has never been in love # Time has never been in love
:42:44. > :42:50.# He's just a no good hustler in club
:42:50. > :42:56.# To takes you home # Telling lies like any other guy
:42:56. > :42:57.# Tells you want you want to # He says if you get ahead in your
:42:57. > :43:03.career # I'm never here
:43:03. > :43:07.# My broken heart # And I should hate myself because
:43:07. > :43:12.I'm just # Sentimental fool in love
:43:12. > :43:17.# Can't get to sleep # 'Cos I'm thinking about us
:43:17. > :43:23.# Makes no difference if it's wrong or it's right
:43:23. > :43:28.# I'll stay awake just in case you come home tonight
:43:29. > :43:32.# come home to
:43:32. > :43:35.# I should leave you in the past # I should leave you in the past
:43:35. > :43:40.# Take the train or the plane # Something that goes really fast
:43:40. > :43:44.# And fly it to a place on the right track
:43:44. > :43:49.# I should be selling stocks and selling bonds
:43:49. > :43:55.# I should be making deals, creating jobs for the poor
:43:55. > :43:59.# Doing good for mankind # Instead of being stuck way back
:43:59. > :44:02.time # I'm just a sentimental fool in
:44:02. > :44:06.love # Can't get to sleep 'cos I'm
:44:06. > :44:12.thinking about us # Makes no difference if it's wrong
:44:12. > :44:22.or it's right # I stay awake just in case you come
:44:22. > :44:36.
:44:36. > :44:40.home #
:44:40. > :44:46.# And I hate myself because # And I hate myself because
:44:46. > :44:50.# And I hate myself because # I'm just a sentimental fool
:44:50. > :44:53.love # Can't get to sleep 'cos I'm