Browse content similar to 17/06/2011. Check below for episodes and series from the same categories and more!
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Tonight on The Review Show, a sneak Tonight on The Review Show, a sneak | :00:10. | :00:13. | |
peek at the best films to come out of the UK's two biggest | :00:13. | :00:21. | |
This week, the curtain closed on the This week, the curtain closed on the | :00:21. | :00:25. | |
nation's largest documentary festival and opened on its most | :00:25. | :00:31. | |
famous film festival, both giving an insider's view of the big hits of | :00:31. | :00:37. | |
the year, what they are likely to be. The Edinburgh Film Festival is | :00:37. | :00:41. | |
the grand dame. Now entering its 65th year it shows no sign | :00:41. | :00:45. | |
getting old. We sat our panel in front of a selection of three from a | :00:45. | :00:53. | |
programme of over 60 feature films. This year's Festival Gala Film is an | :00:53. | :01:00. | |
offbeat buddy comedy The Guard starring Brendan Gleeson and Don | :01:00. | :01:03. | |
Cheadle. Scottish director Mackenzie's offering is an | :01:03. | :01:09. | |
the world love story starring Ewan MacGregor and Eva Green. In his | :01:09. | :01:13. | |
first original screenplay for 20 years, Sir David Hare's | :01:13. | :01:17. | |
years, Sir David Hare's BBC2 Page Eight, a security services | :01:17. | :01:21. | |
thriller with a stellar including Bill Nighy, Rachel | :01:21. | :01:26. | |
and Michael Gambon. Though young compared to Edinburgh, the Sheffield | :01:26. | :01:29. | |
DocFest has been the hub of the British documentary industry for the | :01:29. | :01:33. | |
last 17 years. Last week film makers, distributors and buyers from | :01:33. | :01:38. | |
across the globe descended on the Yorkshire steel town to see the | :01:38. | :01:40. | |
films that will be hitting the big and small screens in the coming | :01:40. | :01:46. | |
year. The programme featured over 100 international docs, discussions | :01:46. | :01:51. | |
and masterclasses. From these our panel looked at the thrilling | :01:51. | :01:56. | |
Formula One archive documentary charting the life and death of motor | :01:56. | :02:04. | |
racing prodigy Ayrton Senna. Spurlock's take | :02:04. | :02:10. | |
Presents: The Greatest Movie Ever Sold; a 1970s experiment gone wrong | :02:10. | :02:20. | |
:02:20. | :02:21. | ||
in Project Nim and Terry Pratchett's moving insight into choosing to die. | :02:22. | :02:24. | |
Joining me are documentary maker Joining me are documentary maker | :02:24. | :02:31. | |
Molly Dineen, the activist, and film maker, Mark Thomas, Karen | :02:31. | :02:34. | |
Krizanovich and Andrea Calderwood. As always, we do like a good tweet | :02:34. | :02:38. | |
so if you would care to indulge the address is on the screen. First | :02:38. | :02:41. | |
up tonight, one of the big hitters from this week's Edinburgh Film | :02:41. | :02:48. | |
Festival, an unlikely buddy movie with two very unlikely buddies. | :02:48. | :02:51. | |
The film pairs Brendan Gleeson and The film pairs Brendan Gleeson and | :02:51. | :02:54. | |
Don Cheadle, who star as two mismatched law enforcers | :02:54. | :02:59. | |
trail of a gang of drug traffickers. A familiar story perhaps only this | :02:59. | :03:07. | |
time the setting isn't Brooklyn or Chicago, but rural Connemara. I | :03:07. | :03:15. | |
thought only black lads are drug dealers? And Mexicans. While | :03:15. | :03:22. | |
plays straight man as a diligent FBI agent, Gleeson's character is a | :03:22. | :03:24. | |
straight talker with both politically incorrect attitudes | :03:24. | :03:28. | |
a casual approach to crime fighting. I thought we might start by | :03:29. | :03:34. | |
canvassing the neighbourhood. You lost me at "we". It's my day off. I | :03:35. | :03:38. | |
guess he is one of those people who lulls you in to a false sense of | :03:38. | :03:42. | |
security by pretending to be a buffoon but he is obviously the most | :03:42. | :03:47. | |
intelligent person in the film really. Part crime thriller, part | :03:47. | :03:52. | |
buddy movie, the director was also influenced by the western. I looked | :03:52. | :03:59. | |
at a lot of John Ford's movies, he doesn't use many close-ups and he | :03:59. | :04:03. | |
has a sort of company of actors and everybody gets their moment in the | :04:04. | :04:12. | |
son. My other favourite is the screw balls, so those two, even though | :04:12. | :04:18. | |
they seem dissimilar, they are the same sort of vibe about them so it | :04:18. | :04:23. | |
was a conflation of the two really. I hate that miserablist strain of | :04:23. | :04:27. | |
British and Irish film making. It really annoys me, I don't want to | :04:27. | :04:31. | |
watch it anymore so when I got together with a costume | :04:31. | :04:36. | |
production designer and Larry Smith the main thing was this is going to | :04:36. | :04:43. | |
be intensely stylised, so that was deliberate that we decided on | :04:43. | :04:47. | |
from the start. The agency? No, my husband is missing. I will | :04:47. | :04:52. | |
slip into something a little less comfortable. So how does | :04:52. | :04:56. | |
Irish setting change a well-worn format and how do the | :04:56. | :05:05. | |
You certainly are an unconventional You certainly are an unconventional | :05:05. | :05:11. | |
police officer. Thank you. was not meant as a compliment. | :05:11. | :05:15. | |
Andrea, FBI meets Connemara. It is a totally different take on the buddy | :05:15. | :05:19. | |
movie. Did it work? I loved that it was in Connemara, I thought | :05:19. | :05:21. | |
fantastic and from the moment you see Brendan Gleeson at the | :05:21. | :05:27. | |
of the film, that dead pan reaction to the first crash, you | :05:27. | :05:30. | |
this is going to be a Brendan Gleeson is at | :05:30. | :05:36. | |
the movie, isn't he? Totally. He drives the movie completely forward. | :05:36. | :05:40. | |
All the other characters are two-dimensional, lots of fun, very | :05:40. | :05:43. | |
quirky, but without Gleeson the film couldn't stand. He is brilliant in | :05:43. | :05:47. | |
this and I really enjoyed it. I thought him and the one-liners | :05:47. | :05:52. | |
it. Well, Gleeson is this incredibly kind of interesting | :05:52. | :05:56. | |
character, very contradictory. There are times when we find his | :05:56. | :05:59. | |
pretty shocking and appalling. Is he the dumbest guy or the smartest | :05:59. | :06:04. | |
in the room? We are not quite sure, are we? I think we are very sure he | :06:04. | :06:07. | |
is the smartest in the room at all times. I think he is wonderful. | :06:07. | :06:12. | |
What about that dynamic between him and Cheadle Cheadle | :06:12. | :06:16. | |
course the buddy movie pivots around this central relationship. It | :06:16. | :06:20. | |
didn't feel like a buddy relationship to me but I thought it | :06:20. | :06:27. | |
was wonderful and the issue of race - you wouldn't go near it but he is | :06:27. | :06:32. | |
outrageous in this film. He gets away with saying some absolutely | :06:32. | :06:36. | |
outrageous things, and Don Cheadle's character is meant to somehow get | :06:36. | :06:40. | |
his way past that to them having this quite intimate connection | :06:40. | :06:45. | |
somehow. Did that work for you? Yes, it Dell did totally and what | :06:45. | :06:50. | |
also - yes, it did totally and saving his own life by shooting one | :06:50. | :06:58. | |
of the drug traffickers and as he a baddie and is dying, he stops | :06:58. | :07:03. | |
says to us: there were so many things I had left to do. It's an | :07:03. | :07:06. | |
extraordinary moment of sentimentality in a film which is | :07:06. | :07:10. | |
basically a cartoon, isn't it? is and it isn't because again you | :07:10. | :07:15. | |
get one of the other drug traffickers, Mark Strong, they are | :07:15. | :07:22. | |
sitting in a car discussing whether Bertram Russell was Welsh, talking | :07:23. | :07:30. | |
about Dostoevsky. It's ludicrous. was sitting with hardened critics | :07:30. | :07:36. | |
and I laughed all the way through. For a film, if it's a comedy and | :07:36. | :07:40. | |
makes me laugh it has done its The wonderful thing is they show up | :07:40. | :07:44. | |
if you are politically correct you are a bit thick really. If you can't | :07:44. | :07:46. | |
see through what's happening here, it's not racism, he wants to | :07:46. | :07:50. | |
you are going to respond. I it was brilliant writing. Let's go | :07:50. | :07:53. | |
back to that Brendan Gleeson performance because for me what it | :07:53. | :07:56. | |
said was that this is a film as we heard the director saying, that is | :07:56. | :07:59. | |
not about Irish sentimentality. is the west of Ireland but it's | :07:59. | :08:06. | |
meant to look like an ad, like a Roddy Dail adaptation, this is tough | :08:06. | :08:12. | |
and gritty, slightly frayed the edges, western Ireland. It is a | :08:12. | :08:18. | |
throwback to the dirty copse that kicked against it in the 70s, that | :08:18. | :08:22. | |
did everything wrong but still got the guy that they needed to get. | :08:22. | :08:26. | |
That's what I loved about this flawed character. Also there are | :08:26. | :08:28. | |
terrible things happening but he is the smartest and can see through the | :08:28. | :08:33. | |
smoke. It's actually quite hard to breathe life into the maverick | :08:33. | :08:37. | |
character. It's actually a well-worn route. Yes. And Gleeson | :08:37. | :08:40. | |
brilliant at it, I think he is really exciting. The film also | :08:40. | :08:47. | |
really plays around with cliches and Hollywood conventions. You know, | :08:47. | :08:50. | |
chucking a nod towards spaghetti westerns and playing around quoting | :08:50. | :08:53. | |
little bits. It's almost film which is one of the lovely | :08:53. | :08:57. | |
things about it, that the people who have made it obviously love film. | :08:57. | :09:00. | |
It is a geek's film with guns. it doesn't get better than that. We | :09:00. | :09:06. | |
are going to move on because we a lot to get through. If CSI: | :09:06. | :09:10. | |
Connemara takes your fancy, it will be on general release | :09:10. | :09:15. | |
August. Next up, two of the ticket films from Edinburgh, one | :09:15. | :09:19. | |
from Sir David Hare and another reuniting Trainspotting pals Ewen | :09:19. | :09:27. | |
Although he is still prolific as a Although he is still prolific as a | :09:27. | :09:28. | |
playwright, it's 20 years since Sir playwright, it's 20 years since Sir | :09:28. | :09:30. | |
Although he is David Hare penned a screenplay. Now | :09:31. | :09:34. | |
for BBC2 he has returned to the screen with Page Eight, | :09:34. | :09:38. | |
contemporary political thriller set among the spooks of MI5. Bill Nighy | :09:38. | :09:43. | |
is long-serving operative Johnny Worricker, whose personal life and | :09:43. | :09:47. | |
career take a dramatic turn is handed a top secret dossier by | :09:47. | :09:54. | |
his oldest friend and head of MI5 Benedict Baron, played by Michael | :09:54. | :10:00. | |
Gambon. I want to share a source and before we go any further, God's very | :10:00. | :10:06. | |
excited. Why? I suppose like all home secretaries, God can't resist a | :10:06. | :10:09. | |
file marked top secret. You going to read this and you | :10:09. | :10:13. | |
to think hold on, the Americans meant to be our allies. I've never | :10:13. | :10:18. | |
suffered from that delusion. The revelations on page 8 of this | :10:18. | :10:24. | |
document risk destabilising the whole of the political establishment | :10:24. | :10:29. | |
and Johnny faces a dilemma. I like faith jobs, I don't like | :10:29. | :10:33. | |
anything to do with faith. The sun will rise in the morning, I'm going | :10:33. | :10:37. | |
to have a drink at 6.00. Starring alongside Bill Nighy and Michael | :10:37. | :10:42. | |
Gambon are Ralph Fiennes as British Prime Minister and Rachel Weisz as | :10:42. | :10:45. | |
Johnny's beguiling neighbour. | :10:45. | :10:55. | |
Perfect Sense directed by Film Festival stalwart sees Ewan | :10:55. | :10:59. | |
MacGregor's character falling for Susan, a scientist struggling to | :10:59. | :11:03. | |
escape a history of bad relationships. I'm Michael, I | :11:03. | :11:12. | |
in the restaurant there. All right, sailor. I'm a chef. Good for you. | :11:12. | :11:14. | |
Their emerging love affair develops Their emerging love affair develops | :11:14. | :11:21. | |
against the backdrop of an inexplicable global pandemic whose | :11:21. | :11:25. | |
sufferers experience an outpouring of emotion just before losing | :11:25. | :11:31. | |
underof their five senses. Do not stand so close. They say it's not | :11:31. | :11:36. | |
contagious. They don't know. Look, would you like me to take you back | :11:36. | :11:43. | |
to your home? The heart of this thing is a love story but it's a | :11:43. | :11:46. | |
film that has some science and has some fiction and it has some romance | :11:46. | :11:50. | |
and it has, I guess, a kind of thrillery thing to it and | :11:50. | :11:54. | |
it's in some way a story for our times. | :11:54. | :11:58. | |
The film also reunites Ewan The film also reunites Ewan | :11:58. | :12:02. | |
MacGregor with Trainspotting partner in crime Ewen Bremner. We've in a | :12:02. | :12:07. | |
way sort of grown up together professionally. I think as an actor | :12:07. | :12:10. | |
he really just gets stronger and stronger. He is a great | :12:10. | :12:14. | |
working with and to be playing with and he has a great sense of humour. | :12:15. | :12:23. | |
Blending contemporary romance with apocalyptic sci-fi, the film | :12:23. | :12:28. | |
explores love and attraction in the face of mutual destruction. | :12:28. | :12:30. | |
Mark, it's Sir David Hare's first TV Mark, it's Sir David Hare's first TV | :12:30. | :12:34. | |
drama for 20 years. Was it worth waiting for? No. No, there's a | :12:34. | :12:38. | |
reason that he hasn't directed in years and it's because he can't. | :12:38. | :12:41. | |
There are three things wrong this film, which is for a | :12:41. | :12:47. | |
it's not thrilling. He has to be suspenseful. The script | :12:47. | :12:52. | |
like writing by numbers; and cannot direct. He points the camera | :12:52. | :12:58. | |
at actors and hopes they will get in the way. That's harsh. Can you say | :12:58. | :13:02. | |
that about Sir David Hare, that he can't write or direct? No, I didn't | :13:02. | :13:07. | |
say he can't write. He is obviously a brilliant writer, but I said he | :13:07. | :13:13. | |
writes by numbers. He puts: let's put the next bit of the story at the | :13:13. | :13:20. | |
risk of losing anything to do with suspense, he just throws it all | :13:20. | :13:26. | |
away. Are these characters living and breathing for you, Molly? I | :13:26. | :13:31. | |
thought that was slightly harsh. No, they don't live and breathe. I | :13:31. | :13:37. | |
passionately like Bill Nighy as an actor, he is wonderful, and Michael | :13:37. | :13:44. | |
Gambon, but something about it was plodding. It's again why you love | :13:44. | :13:47. | |
documentary, because it's real people doing real things. This | :13:47. | :13:51. | |
seemed to me a wonderful situation but it seemed terribly artificial. I | :13:51. | :13:53. | |
didn't believe in the characters what they were doing or saying. | :13:53. | :13:57. | |
There is one critical relationship between Bill Nighy's | :13:57. | :14:00. | |
Johnny Worricker, and Nancy, who is played by Rachel Weisz, and they are | :14:01. | :14:04. | |
meant to have this sort of love affair, sort of not love affair, but | :14:04. | :14:07. | |
there's this magnetic between the two of them. Did | :14:07. | :14:11. | |
ring true for you? Well, you didn't see that coming at all. Beautiful | :14:11. | :14:15. | |
woman next to Bill Nighy. No, that wouldn't happen. He does tend to | :14:15. | :14:20. | |
get the cute girl, doesn't he? Every film. The thing about this | :14:21. | :14:24. | |
I was reading before I saw it Sir David Hare was accusing the BBC | :14:24. | :14:28. | |
of lacking innovation, and I this is going to be really | :14:28. | :14:31. | |
innovative. Don't throw stones, you know, really don't, because there | :14:31. | :14:34. | |
are some wonderful actors in there but there's no innovation that I can | :14:34. | :14:39. | |
see. It does feel very much - this discussion between is it a film, is | :14:39. | :14:42. | |
it a piece of television? know. I'm not sure. Television, | :14:42. | :14:50. | |
think. But what struck me about it was the number of companies getting | :14:50. | :14:55. | |
involved makes it like a film and TV can do really topical immediate | :14:55. | :14:59. | |
drama, thinking about John Mackenzie who sadly died this week, as long as | :14:59. | :15:03. | |
the Long Good Friday and he used to make these really immediate powerful | :15:03. | :15:07. | |
dramas about life today and we all talk about it at school and | :15:07. | :15:10. | |
all the lines, and it was just very quick, very strong turn-around | :15:10. | :15:14. | |
television. If you have to I don't know exactly - | :15:14. | :15:18. | |
different companies, a star-studded cast who are all fantastic, no | :15:18. | :15:22. | |
wonder it can't be topical, urgent television. Is this a point then, | :15:22. | :15:26. | |
that it perhaps compromises David Hare, a man who works very | :15:26. | :15:29. | |
much in the theatre, that kind of creative compromise and the slowness | :15:30. | :15:33. | |
of the decision-making process perhaps hampers these kind of films | :15:33. | :15:36. | |
for people in theatre, or is it a different problem for you? I | :15:36. | :15:39. | |
there is a different problem. think you are write because | :15:39. | :15:43. | |
take time to get these projects together and actually the issue of | :15:43. | :15:47. | |
UK government involvement in accusations of knowledge of torture | :15:47. | :15:53. | |
and Guantanamo and all these failures in the intelligence | :15:53. | :15:56. | |
like 7/7 are all important debates but actually they have | :15:57. | :16:02. | |
happened by and large, in theatre and in film elsewhere, and then | :16:02. | :16:05. | |
David Hare rolls up which isn't topical, therefore it needs to be | :16:05. | :16:10. | |
dramatic; and it isn't. OK, we are going to move on to things of great | :16:10. | :16:13. | |
importance such as the end world and loss of our senses. In | :16:13. | :16:17. | |
films before we've had robotic uprisings, giant tidal waves, now | :16:17. | :16:21. | |
it's the moment where all our senses evaporate in Perfect Sense. Karen, | :16:21. | :16:26. | |
how did you feel about this movie? Did it sweep you off your feet? No, | :16:26. | :16:30. | |
it reminded me of a lot of other films. Blindness is the film it | :16:30. | :16:33. | |
brings up the most. I was looking forward to this because it | :16:33. | :16:37. | |
uses Glasgow as a setting. I love Glasgow, I think it's a | :16:37. | :16:40. | |
place, more films should be made here. In fact Johnny Depp was just | :16:40. | :16:45. | |
up the road two days ago, telling you now. Trend | :16:45. | :16:48. | |
thank you. It was important. Thank you. But I found that this really | :16:48. | :16:54. | |
had technical problems, I think. Plinky music didn't help, | :16:54. | :17:00. | |
over it didn't help, a hovering feel throughout didn't really throw up | :17:00. | :17:04. | |
any tension or sense of pace or jeopardy really. I never | :17:04. | :17:08. | |
to see a man eating mustard big spoon ever again. Yes, it's | :17:08. | :17:12. | |
worth explaining that there are these scenes of rampaging hunger | :17:12. | :17:16. | |
that one of the things that happens before you lose a sense is you have | :17:16. | :17:21. | |
this violent emotion, whether it's guilt, hunger - You eat flowers. | :17:21. | :17:26. | |
You eat lipsticks, flowers, so unpleasant scenes of mass eating | :17:26. | :17:31. | |
going on. Also what they do in this film is interpolate the drama with | :17:31. | :17:35. | |
these stock shots of global stuff, so you see shots from around the | :17:35. | :17:40. | |
world of people violently suddenly stricken by grief. Did that use of | :17:40. | :17:44. | |
montage work for you in way it was cut into the film? There | :17:45. | :17:48. | |
was some lovely footage there but for me what didn't work was there | :17:48. | :17:52. | |
wasn't a sense of the couple. The couple are more | :17:52. | :17:55. | |
interested in their relationship than the imminent end of the world | :17:55. | :18:01. | |
going on around them. Maybe if Eva Green's character hadn't been an | :18:01. | :18:04. | |
epidemiologist then it been more effective because you | :18:04. | :18:06. | |
she should have been out there saving the world rather than saving | :18:06. | :18:11. | |
their relationship, but the thing about it was their | :18:11. | :18:15. | |
relationship. The two Euans were so good together. There was a fantastic | :18:16. | :18:18. | |
characterisation in the middle of but it didn't seem to connect to the | :18:18. | :18:22. | |
end of the world that was going somewhere else. Particularly | :18:22. | :18:24. | |
because she was meant to be an epidemiologist. She wasn't that | :18:24. | :18:27. | |
interested in tracking down where this thing came from. The | :18:27. | :18:30. | |
was talking about how there was little science and a little fiction. | :18:30. | :18:34. | |
Actually there was no science and barely any fiction. But a lot of | :18:34. | :18:38. | |
great sex. I think that's open to interpretation. LAUGHTER. | :18:38. | :18:43. | |
OK, Molly is allowed to like the sex. That's fine. I thought it was | :18:43. | :18:47. | |
intensely romantic going on between them but quite bizarre that they | :18:47. | :18:51. | |
bothered to cast her as having that job when she was clearly not on the | :18:51. | :18:56. | |
job. She was supposed to be stopping the end of the world | :18:56. | :18:59. | |
instead of which she was having great sex and eating soap. Who can | :18:59. | :19:05. | |
object to that? If you have the perfect sense to go and see either | :19:05. | :19:10. | |
of those Page Eight will be on BBC2 in early autumn and Perfect Sense is | :19:10. | :19:14. | |
on general release from the end October. Now to | :19:14. | :19:19. | |
Documentary Festival and our pick of the best beginning with two films, a | :19:19. | :19:22. | |
new departure for one of the starriest names in the documentary | :19:22. | :19:30. | |
world and another film dealing Formula One's most enduring legend. | :19:30. | :19:33. | |
Only one word describes Ayrton's Only one word describes Ayrton's | :19:33. | :19:38. | |
style and that is "fast". Ayrton Senna exploded onto the Formula One | :19:38. | :19:42. | |
stage in the mid-1980s, dominating the Grand Prix circuit for the next | :19:42. | :19:48. | |
decade. Idolised in his native Brazil, his high profile rivalry | :19:48. | :19:56. | |
with team mate Alain Prost generated unprecedented interest in the sport. | :19:56. | :20:01. | |
I think it's going to get more and more exciting, the championship. Is | :20:01. | :20:08. | |
it possible to be cool? No, can only be one winner. The doctor | :20:08. | :20:14. | |
director traces the story of Senna's career out of archive footage both | :20:14. | :20:18. | |
in and out of the McLaren car. My biggest worry was how do I make this | :20:18. | :20:23. | |
film cinematic, how do I make it a movie, emotional for people who are | :20:23. | :20:26. | |
not Formula One fans? For me it became clear early on that we don't | :20:26. | :20:30. | |
need contemporary interviews. There is an amazing drama and tension | :20:30. | :20:34. | |
inherently in the original footage. If anyone was going to narrate the | :20:34. | :20:36. | |
film it had to be Senna. I wanted him to have the first and last | :20:36. | :20:40. | |
in the film and if we need to explain to fill | :20:40. | :20:45. | |
couple of scenes it should be Senna. REPORTER: Can you tell us | :20:45. | :20:48. | |
happened in the first lap. Unfortunately we touched in the | :20:48. | :20:51. | |
first corner when fighting for the lead and both went off. | :20:51. | :20:53. | |
think that's because the pole position is on the wrong side of | :20:53. | :20:57. | |
track here? You wanted to that. Absolutely. You fight, you | :20:57. | :21:01. | |
break your BLEEP to be on pole then they put you on the wrong | :21:01. | :21:05. | |
of the circuit. How do you feel about being world champion? It's | :21:05. | :21:12. | |
Spurlock, having already taken on Spurlock, having already taken on | :21:12. | :21:16. | |
McDonald's and Osama Bin Laden turns his gaze onto product sponsorship | :21:16. | :21:21. | |
his new documentary. What I want to do is make a film about product | :21:21. | :21:24. | |
placement, marketing and advertising where the entire film is funded | :21:24. | :21:28. | |
product placement, marketing and advertising, so the movie will be | :21:28. | :21:32. | |
called the Greatest Movie Ever Sold. Product placement is everywhere in | :21:32. | :21:37. | |
today's film industry but Spurlock was first incensed by his personal | :21:37. | :21:42. | |
life. A couple of things. One, the pervasiveness of advertising. You | :21:42. | :21:46. | |
can't go anywhere without somebody trying to sell you something. I'm | :21:46. | :21:50. | |
a cab there's an advert, you are pumping gas to put in your car and | :21:50. | :21:53. | |
there's a have screen. You go to the bathroom, the one place that I | :21:53. | :21:58. | |
thought was my sacred - my time, you go there and right in front of | :21:58. | :22:01. | |
you is a big poster. With sponsorship in place and the film | :22:01. | :22:04. | |
made, Spurlock is eager to the big questions and get | :22:04. | :22:08. | |
discussion started. I think that when people leave this movie or | :22:08. | :22:11. | |
people see this film, I think things that we should really be talking | :22:11. | :22:14. | |
about is where do we draw the line approximate how much is too much? | :22:14. | :22:23. | |
What are those what places should we keepsake red? I believe education | :22:23. | :22:26. | |
should be free from this advertising influence, I don't think we should | :22:26. | :22:30. | |
have advertising in schools. Molly, if you are not a film of Formula | :22:30. | :22:34. | |
One, why should you watch this film? I think it's a great story, | :22:34. | :22:39. | |
beautifully told. It's emotional. is fabulous. I don't know anything | :22:39. | :22:42. | |
about Formula One racing and I watched it with my husband - thank | :22:42. | :22:46. | |
God I did because you need to bit about it to understand the drama | :22:46. | :22:48. | |
between the two competing drivers and there are certain things about | :22:48. | :22:52. | |
the way it's all set up and apparent corruption within it, that | :22:52. | :22:56. | |
was quite an important context the film. I still think it survives | :22:56. | :22:58. | |
beautifully, even if any of that, I think it's a | :22:58. | :23:03. | |
story and beautifully told. I would have loved just being a bit anoraky, | :23:03. | :23:07. | |
I would have loved somebody to be part of it. Somehow I wanted | :23:07. | :23:11. | |
it to be brought to now, whether be to interview the French driver - | :23:11. | :23:15. | |
that's trying to remake somebody else's film but it was ever so | :23:15. | :23:19. | |
slightly too archival. It's archive. Yes, it's worth saying | :23:19. | :23:22. | |
there's nothing specially shot for this film so everything you see is - | :23:22. | :23:28. | |
No, it's telling us a story, it's telling us something that some | :23:28. | :23:34. | |
people knew about, my husband every single bit, I knew nothing. It | :23:34. | :23:38. | |
did make me think: why now? And did that incredible archival | :23:38. | :23:43. | |
research? The archive work is amazing. This is a triumph of | :23:43. | :23:48. | |
editing. I don't like Formula One, I don't even drive, so I am the person | :23:48. | :23:52. | |
who this should appeal to least of all in the world but I thought | :23:52. | :23:58. | |
was fantastic. It was an epic, incredible story about obsession and | :23:58. | :24:02. | |
rivalry but also about this driven man who just must win and win | :24:02. | :24:06. | |
win. And how that kind of towards his death. I thought it was | :24:06. | :24:10. | |
incredibly moving and beautifully done. Well, they are saying that | :24:10. | :24:14. | |
it's actually remaking the idea of the sports biopic now that | :24:14. | :24:18. | |
will have to do this kind of thing. Before I saw it critics were coming | :24:18. | :24:22. | |
out, going: out, going: Senna, oh wow, and you | :24:22. | :24:28. | |
never hear critics say that. I was saying what is that and they were | :24:28. | :24:34. | |
saying: we forgot he is dead. It is so vivid. It made me think it would | :24:34. | :24:37. | |
make a wonderful fiction film. slightly wondered why they did it | :24:37. | :24:43. | |
that way. Because - a documentary maker. But it would also have made | :24:43. | :24:47. | |
really great film. I disagree with you, you don't | :24:47. | :24:51. | |
understand an awful lot about him, what motivated him, why he didn't | :24:51. | :24:56. | |
have a wife or apparent girlfriends. I would love to ask him, when he | :24:56. | :25:01. | |
says "I felt the presence of and he said it with a helmet with | :25:01. | :25:06. | |
Marlborough all over it. Explain that. In some ways you think you | :25:06. | :25:15. | |
shouldn't like this man, he is rich boy who grows up go-karting, | :25:15. | :25:19. | |
but then he talks about finding extra dimension when he is driving | :25:19. | :25:22. | |
where he forgets the car and circuit, he just is intuitive. There | :25:22. | :25:25. | |
are some very beautiful thought from him. That's what | :25:25. | :25:28. | |
surprised me. You would think Formula One, all about money and | :25:28. | :25:35. | |
speed and that really annoying wasp noise that goes on - LAUGHTER. But | :25:35. | :25:43. | |
actually inside that one car at least there is this thoughtful human | :25:43. | :25:45. | |
being. He wants to achieve what he is going to achieve and get on | :25:45. | :25:52. | |
the rest of his life but he doesn't. They have not only picked Alain | :25:52. | :25:59. | |
Prost, this bitter rivalry, but there is almost - He is absolutely | :25:59. | :26:03. | |
cast as the villain, when he his belief in God endangers other | :26:03. | :26:10. | |
drivers and all this stuff. But was he the villain? I have no idea. I | :26:10. | :26:14. | |
mean it's a documentary. Did he really cut the bloke off? | :26:14. | :26:24. | |
:26:24. | :26:24. | ||
You see him as one of the pallbearers of the coffin - Well, | :26:24. | :26:28. | |
that's guilt. That's why I'm saying it almost needed to be told as a | :26:28. | :26:31. | |
fiction story based on reality because you are re-telling history | :26:31. | :26:36. | |
using that footage. Well, I like to move on to another very much | :26:36. | :26:40. | |
personality-driven film although of a very different kind. Morgan | :26:40. | :26:44. | |
Spurlock's film is trying to investigate product placement | :26:44. | :26:46. | |
through the nifty trick of product placement. Did that | :26:46. | :26:55. | |
off? For me it didn't. I love Morgan Spurlock, I think he is very | :26:55. | :27:00. | |
perky - Perky? That's abusive. I'm a yankee, I can say that. I think | :27:00. | :27:05. | |
it's an interesting idea. Can I make a movie using product placement? I | :27:05. | :27:09. | |
felt it was a one trick pony really. Once you discover what he is | :27:09. | :27:15. | |
to do then we have fun with the same thing over and over again. I think | :27:15. | :27:18. | |
that it's interesting for anybody that's trying to make a film and is | :27:18. | :27:22. | |
finding funding a problem. I think that this, in a way he is almost | :27:22. | :27:26. | |
making this for people that have been stuck in this funding | :27:26. | :27:30. | |
I didn't really feel it was made particularly for a non-film making | :27:30. | :27:35. | |
audience. Mark, one of the things that this film provokes you into | :27:35. | :27:39. | |
thinking about is how the tension in Morgan Spurlock comes | :27:39. | :27:43. | |
the idea of him wanting to be a creative film maker who makes the | :27:43. | :27:46. | |
documentary he wants to make but then of course he is seeking money | :27:46. | :27:51. | |
and has to make promises that have commercial value. The thing | :27:51. | :27:56. | |
this film for me - I'm a Morgan Spurlock and I loved | :27:56. | :28:02. | |
Supersize Me, and it changed McDonald's, it really did, and | :28:02. | :28:08. | |
that's incredible. And turned over 26 million. Which again is | :28:08. | :28:12. | |
26 million. Which again is incredible for a documentary. But I | :28:12. | :28:16. | |
started out thinking this was really good movie, I liked the idea, | :28:16. | :28:22. | |
and about 15 minutes in I suddenly thought: no, this is really bad, | :28:22. | :28:26. | |
this is crap, it isn't going anywhere, and it started repeating | :28:26. | :28:29. | |
itself. Then you become angry about it because the audience are the | :28:29. | :28:32. | |
people who have been had at the of it. This isn't a film about | :28:32. | :28:36. | |
product placement. It's product placement with a film about product | :28:36. | :28:40. | |
placement in the middle of it. It operates at one very clever met at | :28:40. | :28:47. | |
that level which is what are documentaries, how can we make this | :28:47. | :28:51. | |
film a huge success so the people sponsoring the film are making | :28:51. | :28:53. | |
money, there is an incredible circularity about it, | :28:53. | :28:58. | |
same time you feel that you are being commandeered. Did that bother | :28:58. | :29:02. | |
you? I went through and out other side. That's what's ironic. He | :29:02. | :29:06. | |
really is a very good advertising executive. It's great to see him | :29:06. | :29:10. | |
struggling, being a sort of travelling film salesperson myself, | :29:10. | :29:15. | |
as a producer that's what you do, you go out and sell your film, so | :29:15. | :29:22. | |
it's good to see somebody as as him getting the setbacks, going | :29:22. | :29:25. | |
to the deodorant company and that's how you feel when you are trying to | :29:25. | :29:29. | |
finance a film but for me the big problem was that it didn't have the | :29:29. | :29:33. | |
big message of Supersize Me was the challenge of the film. He | :29:33. | :29:37. | |
does it well but in the end it doesn't really matter. He had all | :29:37. | :29:41. | |
these opportunities. Sao Paulo, city that bans | :29:41. | :29:45. | |
advertising, what a fantastic thing, let's find out about that. | :29:45. | :29:49. | |
Neuromarketing, how we affect children's brains. Absolutely | :29:49. | :29:53. | |
brilliant. But he sips lightly it and in the end he said: all I can | :29:53. | :29:58. | |
do is show you this. I can nothing else. For a man who made | :29:58. | :30:01. | |
film that changed McDonald's, that's simply not good enough. We are | :30:01. | :30:07. | |
going to have to leave it there. If you fancy being driven round the | :30:07. | :30:14. | |
bend by Product Placement it's out at the end of September. Ayrton | :30:14. | :30:22. | |
Senna is on general release now. Now, looking at how life ends and | :30:22. | :30:25. | |
what it means to be human, or rather chimpanzee. | :30:25. | :30:33. | |
Fresh from the Oscar-winning success of Man on Wire, this story is about | :30:33. | :30:38. | |
a chimp brought up as human for study of communication between man | :30:38. | :30:42. | |
and primate. The first of his into the human world when he | :30:42. | :30:47. | |
taken away from his mother at birth. He was dancing hard. He | :30:47. | :30:52. | |
struggle or try to get away. He just screamed. As much as he may be | :30:52. | :30:58. | |
screaming and protesting, he is clinging. He was attaching for | :30:58. | :31:08. | |
:31:08. | :31:09. | ||
life. Nim enjoyed the freedom of a 1970s liberal upbringing. I | :31:09. | :31:16. | |
felt sexually engaged with him. There was a sensuality but Nim was a | :31:16. | :31:23. | |
pre-teen. Though passed from to post, home to lab, Nim found a | :31:23. | :31:29. | |
loyal friend in Bob. When you meet him, it's: wow, this chimpanzee has | :31:29. | :31:33. | |
a personality that's - he is the most charming being you could ever | :31:33. | :31:39. | |
meet. The actual footage is, you know, it speaks for itself. It | :31:39. | :31:47. | |
really does, and Nim, he is good at speaking for himself. | :31:47. | :31:50. | |
Chimps aren't humans. You have to Chimps aren't humans. You have to | :31:50. | :31:51. | |
Chimps aren't humans. You have to kind of understand chimps to be able | :31:51. | :31:52. | |
kind of understand chimps to be able kind of understand chimps to be able | :31:52. | :31:53. | |
Chimps aren't humans. to understand how to work with | :31:53. | :32:00. | |
How, in a fully working democracy, How, in a fully working democracy, | :32:00. | :32:10. | |
:32:10. | :32:11. | ||
do you get from assisted death for those who have come asking for it | :32:11. | :32:19. | |
with good reason to throwing Granny into the furnace? That seems to | :32:19. | :32:29. | |
After premiering in Sheffield, Terry After premiering in Sheffield, Terry | :32:29. | :32:32. | |
Pratchett's film brought the debate firmly into the UK as living rooms | :32:32. | :32:37. | |
this week. The BBC followed his emotional journey to Dignitas in | :32:37. | :32:39. | |
Switzerland, where Pratchett witnessed an assisted death and | :32:40. | :32:47. | |
The person who wants to die must The person who wants to die must | :32:47. | :32:57. | |
:32:57. | :32:57. | ||
make the last act in their life for himself or herself. Something | :32:57. | :33:01. | |
apparently nothing wrong with them deciding to die, I would not go to | :33:01. | :33:08. | |
the barricades, but if there is a clear and present reason such as a | :33:08. | :33:16. | |
debilitating problem, to me there is a fairly sound case. | :33:16. | :33:20. | |
21% of people receiving assisted 21% of people receiving assisted | :33:20. | :33:24. | |
dying in Dignitas do not have terminal or progressive illnesses | :33:24. | :33:29. | |
but rather a weariness of life. What do you do about someone who is | :33:29. | :33:36. | |
hellbent on wanting to die? Even if they appear to be fit and well? But | :33:36. | :33:43. | |
Who owns your life indeed. We are Who owns your life indeed. We are | :33:43. | :33:46. | |
going to start with Project Nim, very much a story about the | :33:46. | :33:49. | |
ownership of a life only this time it's a chimpanzee's life. This | :33:49. | :33:54. | |
story, I thought, was - this is truth is stranger than fiction. It's | :33:54. | :33:59. | |
the most fascinating story. I loved it. It was the most bizarre study of | :33:59. | :34:04. | |
70s sexual politics. Obviously the chimpanzee and the tragedy of Nim is | :34:04. | :34:14. | |
:34:14. | :34:16. | ||
what it's about and this man with a bizarre comb-over. He is the | :34:16. | :34:22. | |
Professor who runs this what out to be | :34:22. | :34:27. | |
they find out whether he has access to language and find out after this | :34:27. | :34:32. | |
trauma to the chimpanzee: nothing. Which leaves us with a film | :34:32. | :34:36. | |
human behaviour really. It is, and it is a film about the failure | :34:36. | :34:41. | |
this group of people to allege - allegedly running a science project | :34:41. | :34:49. | |
- to actually run one. The first person who has the chimp is | :34:49. | :34:53. | |
essentially a Freudian psychoanalyst who has been given a chimp to look | :34:53. | :34:56. | |
after. No training in being a zoologist or vet or anything like | :34:56. | :35:00. | |
that, and it's just bizarre. keeps him at home and breast | :35:00. | :35:05. | |
him. And gives it dope. It's like: what on earth are you doing? | :35:05. | :35:08. | |
you have to remember this is follow-on to a genuine study | :35:08. | :35:15. | |
was done properly on a chimp called Waschu and Nim was supposed to | :35:15. | :35:18. | |
replicate the signing that that chimp actually did so that's why | :35:18. | :35:22. | |
this was doubly heart-breaking for me because this was such | :35:22. | :35:30. | |
experiment when the other was so fascinating. It was almost like | :35:30. | :35:37. | |
Cheech and Chong get hold of science. Yes, it's worth saying lots | :35:37. | :35:43. | |
of people gave this chimp marijuana. I think it's absolutely about us and | :35:43. | :35:46. | |
animals and we plod along with our bizarre relationships with animals, | :35:46. | :35:50. | |
what you do about their environments, whether you stimulate | :35:50. | :35:55. | |
them or treat them as people. I - stylistically I needed my hand | :35:55. | :36:00. | |
holding at the beginning. means I am a bit dumb by I watched | :36:00. | :36:05. | |
it all the way through and was so lived for most of it. I was not sure | :36:05. | :36:09. | |
what I was watching, these people really abusing this animal, it was | :36:09. | :36:13. | |
distressing and I didn't get any reassuring signals until about | :36:13. | :36:20. | |
an hour in. When I watched it the second time, I loved it. You wanted | :36:20. | :36:23. | |
more moral guidance? If it's in the cinema, you have your audience, they | :36:23. | :36:27. | |
know what they are going in to see, they are in the dark, you have all | :36:27. | :36:29. | |
your attention and it's brilliant. If it's on television or people | :36:29. | :36:33. | |
don't know or are watching something blind, I think you need something to | :36:33. | :36:36. | |
help you know how to view that opening, so you know what's going | :36:36. | :36:40. | |
on, because he is just with the archive footage and you are | :36:40. | :36:44. | |
- he is just starting with this footage and you are introduced | :36:44. | :36:47. | |
nutters abusing an animal and I responded strongly right | :36:47. | :36:52. | |
beginning to just the chimp the baby taken away and living | :36:52. | :37:00. | |
a human as if that's a really idea. But I think she is right and | :37:00. | :37:06. | |
it's also about sexual politics of the 70s. Yes, but - You think it's | :37:06. | :37:09. | |
about us and animals. They treat Nim as a human for the purposes of the | :37:09. | :37:13. | |
experiment and as soon as the experiment is over he is back to | :37:13. | :37:20. | |
being a chimp again and goes to an animal testing lab. The story gets | :37:20. | :37:23. | |
incredibly unpleasant when you realise the scientist has no | :37:23. | :37:28. | |
connection with that. But he is sitting there now and not being | :37:28. | :37:30. | |
challenged at all. He telling us about it. But I don't | :37:30. | :37:33. | |
think you need to challenge him because the film shows us it | :37:33. | :37:35. | |
clearly about his self-glorification, it was | :37:35. | :37:40. | |
about the chimp or signing, it was about his status within that little | :37:40. | :37:44. | |
world of academia that he was in. Moving on to a film that has had an | :37:44. | :37:49. | |
awful lot of press this week, Terry Pratchett's film Choosing to Die and | :37:49. | :37:53. | |
we know well the subject matter assisted suicide but moving on to | :37:53. | :37:55. | |
the actual circumstances of the film, the way it's made, approach | :37:56. | :38:01. | |
film making, was it film for you? I thought it was | :38:01. | :38:04. | |
very successful film. We have remember it's 60 minutes as a film | :38:04. | :38:08. | |
and it was shown on television, also was shown at the festival, and | :38:08. | :38:13. | |
think it's very spare. It's very focused and I think you have to | :38:13. | :38:17. | |
really pay attention to this film because it's so | :38:17. | :38:20. | |
very delicately and subtly made about something that's | :38:20. | :38:28. | |
powerful. I found that very moving and deft and emotionally you are | :38:28. | :38:31. | |
engaged immediately, even if don't really know who Terry | :38:31. | :38:34. | |
Pratchett is. You are immediately emotionally engaged. It reminded | :38:34. | :38:40. | |
a little of a documentary made in 2008 about somebody going over to | :38:40. | :38:44. | |
Dignitas, but that was a Canadian documentary. Strange that nobody | :38:44. | :38:47. | |
really seems to connect those this one is framed slightly | :38:47. | :38:57. | |
differently because we do get intro and an outro. There was a | :38:57. | :39:01. | |
discussion on the Newsnight debate earlier which is available on the | :39:01. | :39:04. | |
iPlayer. The key to this was Terry Pratchett and his engagement with | :39:04. | :39:08. | |
the camera. There's some very, very tight, intimate work of Terry | :39:08. | :39:12. | |
talking to the camera very directly. But he is doing the job often the | :39:12. | :39:17. | |
film maker has to do. He is turning round, when Peter Smedley has taken | :39:17. | :39:21. | |
- they are about to actually - he about to die and he is commenting to | :39:21. | :39:25. | |
us, saying: it's just like a tea party. Normally as the film maker, | :39:25. | :39:28. | |
you would be filming that, you wouldn't have Terry in between. So | :39:28. | :39:31. | |
there's something actually very reassuring about him holding | :39:31. | :39:35. | |
hand throughout it. I thought it was a wonderful film but I did have a | :39:35. | :39:39. | |
problem with the amount and volume of music. I didn't need the | :39:39. | :39:42. | |
manipulation. I was already deeply moved by all of it and particularly | :39:42. | :39:46. | |
when the younger man is dying, they are sitting together with the | :39:46. | :39:51. | |
laptop, and they have gone his choice of music. And they | :39:51. | :39:56. | |
choose Elgar, I think. Yes, I they had gone with Pink Floyd and | :39:56. | :40:00. | |
then left the actual music, because the problem with Elgar and then | :40:00. | :40:03. | |
dubbing it is that you are lifted into an emotional peak but I | :40:03. | :40:08. | |
was so profoundly with it already. I think there's a really interesting | :40:08. | :40:12. | |
thing with Terry Pratchett, as a of his books and I have to hold | :40:12. | :40:18. | |
hands up and say I have read all of the Discworld novels, that actually | :40:18. | :40:21. | |
he does what he does in the books. It's really familiar territory | :40:21. | :40:25. | |
you know the books. This is a journey of himself glimpsing at his | :40:25. | :40:29. | |
future self, which is incredibly moving and he has this old master | :40:29. | :40:34. | |
with his young apprentice which is classic fantasy stuff in his weird | :40:34. | :40:39. | |
hat and cloak setting off to load of characters who wouldn't | :40:39. | :40:44. | |
out of place in his books. who are proper but not prim, not | :40:44. | :40:48. | |
usual suspects, the Smedleys being this well to do family, tradition | :40:48. | :40:52. | |
but very pragmatic and they are characters out of his book | :40:52. | :40:55. | |
That's fascinating. But this is quest without a resolution. Terry | :40:56. | :41:00. | |
Pratchett goes out to try to find an answer to the terrible question he | :41:00. | :41:05. | |
will inevitably have to face and the end he leaves that door open. | :41:05. | :41:08. | |
That's what is so moving about it and there has been this | :41:08. | :41:12. | |
balance but actually the balance for me came from within Terry Pratchett. | :41:12. | :41:15. | |
He in principle thinks people should be able to choose the moment | :41:15. | :41:18. | |
their death in that circumstance but you can see how difficult that | :41:18. | :41:20. | |
decision is going to be for because it's never an easy decision. | :41:20. | :41:23. | |
It's like the People talk about if it's | :41:23. | :41:28. | |
on demand people would do it without thinking but no one would ever | :41:28. | :41:33. | |
that decision lightly and no one would ever take the decision that | :41:33. | :41:37. | |
you can see Terry wrestling with. very provocative film and we | :41:37. | :41:40. | |
going to have to leave it there. Project Nim will be in cinemas | :41:40. | :41:45. | |
1st August and Choosing to Die along with that Newsnight debate on the | :41:45. | :41:49. | |
issue is available now on the BBC iPlayer. That's just about it for | :41:49. | :41:53. | |
tonight. My thanks to Molly Dineen and Karen Krizanovich, to called | :41:53. | :41:58. | |
called and Mark Thomas. Remember, you can find out about all of | :41:58. | :42:01. | |
tonight's items and send us your thoughts please on Twitter. We | :42:01. | :42:07. | |
just about recovered from the tweets last week about Martha's | :42:07. | :42:11. | |
Next week we step aside for slightly less rocking show than | :42:11. | :42:17. | |
ours, Glastonbury, but the week afterwards Martha is back featuring | :42:17. | :42:27. | |
:42:27. | :42:27. | ||
interviews with David Broth but for now here is Julian Velard with his | :42:28. | :42:34. | |
album, Sentimental. Mr Saturday Night. A very Good Friday night to | :42:34. | :42:41. | |
# Time has never been in love # Time has never been in love | :42:41. | :42:44. | |
# He's just a no good hustler in club | :42:44. | :42:50. | |
# To takes you home # Telling lies like any other guy | :42:50. | :42:56. | |
# Tells you want you want to # He says if you get ahead in your | :42:56. | :42:57. | |
career # I'm never here | :42:57. | :43:03. | |
# My broken heart # And I should hate myself because | :43:03. | :43:07. | |
I'm just # Sentimental fool in love | :43:07. | :43:12. | |
# Can't get to sleep # 'Cos I'm thinking about us | :43:12. | :43:17. | |
# Makes no difference if it's wrong or it's right | :43:17. | :43:23. | |
# I'll stay awake just in case you come home tonight | :43:23. | :43:28. | |
# come home to | :43:29. | :43:32. | |
# I should leave you in the past # I should leave you in the past | :43:32. | :43:35. | |
# Take the train or the plane # Something that goes really fast | :43:35. | :43:40. | |
# And fly it to a place on the right track | :43:40. | :43:44. | |
# I should be selling stocks and selling bonds | :43:44. | :43:49. | |
# I should be making deals, creating jobs for the poor | :43:49. | :43:55. | |
# Doing good for mankind # Instead of being stuck way back | :43:55. | :43:59. | |
time # I'm just a sentimental fool in | :43:59. | :44:02. | |
love # Can't get to sleep 'cos I'm | :44:02. | :44:06. | |
thinking about us # Makes no difference if it's wrong | :44:06. | :44:12. | |
or it's right # I stay awake just in case you come | :44:12. | :44:22. | |
:44:22. | :44:36. | ||
home # | :44:36. | :44:40. | |
# And I hate myself because # And I hate myself because | :44:40. | :44:46. | |
# And I hate myself because # I'm just a sentimental fool | :44:46. | :44:50. | |
love # Can't get to sleep 'cos I'm | :44:50. | :44:53. |