:00:12. > :00:20.On the review show tonight, vampires and werewolfs, journalism
:00:21. > :00:25.and another Danish killing. The lucrative Twiel light movie
:00:25. > :00:34.franchise reaches its fourth installment, Breaking Dawn part 1,
:00:34. > :00:40.does it still have bite. A new Hunter S Thompson collection,
:00:40. > :00:47.Fear and Loathing in Las Vegas, has the Godfather of Gonzo stood the
:00:47. > :00:53.test of time. A new series of The Killing starts on BBC Four, what
:00:53. > :00:56.has happened to Sarah Lund's famous knitwear.
:00:57. > :01:00.Stuart Maconie reports on the new album from Kate Bush.
:01:00. > :01:10.Kate has now assumed a level of industry that makes Stephen Fry
:01:10. > :01:14.
:01:14. > :01:18.seem positively workshy. And we will end with live music
:01:18. > :01:21.from Benjamin Francis Leftwich. The review show is a little shorter
:01:21. > :01:31.tonight, as we have generously donated ten minutes to Children in
:01:31. > :01:34.
:01:34. > :01:44.Need. That won't inhibit my guests, Ian Rank kin, Kerry Shale and Andy
:01:44. > :01:51.
:01:51. > :01:58.Hayman. If you are an teenage girl, you won't be surprised to hear a
:01:58. > :02:01.Twilight film is out. It grossed nearly $2 million at the box-office.
:02:01. > :02:07.The Twilight Saga series was inspired by the writer in a dream.
:02:07. > :02:11.The saga has just been that. Develop ago devout fan base, who
:02:11. > :02:16.hungrily devoured the novels and the film adaptations that followed.
:02:16. > :02:23.This time the producers have done a Harry Potter, spliting the last
:02:23. > :02:29.book into two girls. The first is Breaking Dawn, focusing on the
:02:29. > :02:33.marriage of Robert Pattinson, and the all too human, Bella. The daing
:02:33. > :02:43.he is of having partner who might sink his teeth into you, aren't
:02:43. > :02:45.
:02:45. > :02:50.solved after marriage. That's impossible. Can this happen?
:02:50. > :02:59.course the story of blood thirsty vampires seeking out young virgins
:02:59. > :03:08.is nothing new. From the eerie Nosforatu, to The HBO series, True
:03:08. > :03:14.Blood. Yet Ian Meiers's take on the
:03:14. > :03:19.vampire -- Stephaine Myres is different, the books are influenced
:03:19. > :03:25.by her own moral values as a Morman. Guiding it to its conclusion is
:03:25. > :03:35.Bill Condon, the last big hit he had is Dream Girls. It is focusing
:03:35. > :03:40.on the impossible love triangle between bella, Jacob and Edward,'s
:03:40. > :03:44.conveniently a werewolf sworn to kill vampires. It has largely
:03:44. > :03:50.captured the female audience, but spliting the films has it given
:03:50. > :03:53.Twilight more life or sucked the bite out of it. It is a huge
:03:53. > :03:58.worldwide phenomenon, I don't mind admitting I'm a massive Twilight
:03:58. > :04:03.fan, are you in the Twilight camp? Well, to be my usual diplomatic
:04:03. > :04:09.self, I thought it was a pile of tosh, from beginning to end, it is
:04:09. > :04:12.definitely a vampire movie without any bite whatsoever. It goes at a
:04:12. > :04:16.bad pace, it didn't grip me, I was in an audience of hundreds of
:04:16. > :04:20.teenage girls. They didn't seem to be gripped, they gigled a lot. When
:04:20. > :04:24.the action does happen. You have these ferocious wolves rampageing
:04:24. > :04:29.through the forest, they have a wolf pow wow, they start to talk in
:04:29. > :04:34.human voice, at that point I almost fell off my seat with laughter. It
:04:34. > :04:37.is risable. I can't understand the phenomenal success of it. But I
:04:37. > :04:41.haven't read or seen the first three, I certainly do not think it
:04:41. > :04:45.is stand-alone movie. You need the backstory to make it work. I didn't
:04:45. > :04:49.have it and it didn't work. Kerry, it is a very interesting point to
:04:49. > :04:53.jump in, at the moment in the story, it is quite a complicated story. We
:04:53. > :04:57.have had three movies up until now. Were you leaping in fresh, did you
:04:57. > :05:01.keep up with what was going on? did have to leap in fresh. I didn't
:05:02. > :05:08.know the books, or the movies. I actively avoided them in the way I
:05:08. > :05:15.actively avoid a lot of things. Why? Did I hear the word be a
:05:15. > :05:20.stennepbs, it seem to have a social - abstinence, and it seemed to have
:05:20. > :05:24.a social agenda and I didn't agree with it. It was a terrible movie
:05:24. > :05:31.with the dialogue awful. Some of the acting was interesting, a lot
:05:31. > :05:36.of it was very bad. It did make me think. In fact I only saw it a few
:05:36. > :05:43.hours or so, I have been thinking for a few hours. I had a kneejerk
:05:43. > :05:47.response to the idea of no sex before marriage or you die. In the
:05:47. > :05:52.last little while, I have sort of come round to thinking, well,
:05:52. > :05:57.that's not in itself necessarily, I mean, that's none of my business to
:05:57. > :06:03.say whether anybody has sex before marriage or not. Because life is so
:06:03. > :06:07.sexualised for young teenage girls, and young teenage boys, and much
:06:07. > :06:10.more than when I was growing up, and I don't like that, and I don't
:06:10. > :06:15.think it is good. So I began to think maybe the agenda this movie
:06:15. > :06:20.might not be a bad thing. In fact everybody was very polite when I
:06:21. > :06:25.saw it. I saw Hard Day's Night when it came out, girls were literally
:06:25. > :06:29.pissing themselves and screaming. With this they were listening very
:06:30. > :06:33.closely and being very attentive and respectful. I thought that was
:06:34. > :06:40.interesting. The audience I was with were very attentive apart from
:06:40. > :06:42.the giggley moments. They giggled at the sex bits. The audience were
:06:42. > :06:46.thrilled, they were the target audience the teenage girl audience.
:06:46. > :06:50.Do you think there is a problem with attempting to judge the film
:06:50. > :06:52.if you are not part of the target audience. We are not the
:06:52. > :06:56.demographic for this film, and they are not watching this programme
:06:56. > :06:59.either. We can say what the hell we like. Kerry and I went to the same
:06:59. > :07:04.showing, we were stalked by security as we went in. They
:07:04. > :07:08.obviously thought these guys ain't coming to see Twilight, they must
:07:08. > :07:12.be coming to bootleg it. They checked our bags to make sure there
:07:12. > :07:18.are no video equipment with us. What other reason could we have to
:07:18. > :07:23.see Twilight. Bits of it I enjoyed, I was looking at the structure,
:07:23. > :07:28.without getting too, you know, here was a two warring families, much as
:07:28. > :07:31.Romeo and Juliet. In this case it is a human girl between the two
:07:31. > :07:36.warring families. We have seen this tension and set up in lofts myths
:07:36. > :07:40.and sagas down the ages. People with special powers and what that
:07:40. > :07:43.can do to you, tear you apart and rip you from your family and your
:07:43. > :07:47.friends. How it alienates you from the rest of the world, how do you
:07:47. > :07:50.try to fit in, especially as a teenager. In some ways it is about
:07:50. > :07:54.teenagers who feel different and are trying to fit in, or looks a
:07:54. > :07:57.though they fit in. That is every teenager. A lot of stuff happening
:07:57. > :08:01.just below the surface of what isn't a terribly gripping film.
:08:01. > :08:04.you not think that the fact that this is a film that, it has a 12
:08:04. > :08:10.certificate, a teenage girl audience, but it was dealing with
:08:11. > :08:14.material which for some people they would find more likely to be in a
:08:14. > :08:18.Kronenbourg movie, profoundly weird and strange? I didn't realise it
:08:18. > :08:20.got a 12, towards the end it has a lot of blood and guts on the
:08:20. > :08:26.operating table. You mentioned Kronenbourg, the thing that went
:08:26. > :08:31.through my mind during the pregnancy, was part Rosemary's Baby
:08:31. > :08:35.and part The Brood, there is a weird pregnancy and the child
:08:35. > :08:39.inside might be a demon. That was going on as well. And pop culture
:08:39. > :08:46.hits, little references to things you would just about catch. It
:08:46. > :08:50.wouldn't be my idea of a great night out. Kerry, you had a problem
:08:50. > :08:54.with the acting? I have a problem with that sort of acting. Normally
:08:54. > :08:58.they play, in films that I see which, are about the parents of
:08:58. > :09:02.kids like this. They come in and do a few scenes and Government it is
:09:02. > :09:10.all that sort of things, where you have a little scrapie thing, and
:09:10. > :09:14.everything is sort of like that (? Little voice). I could understand
:09:14. > :09:24.about 75% of the dialogue. They were miced to the hilt, they must
:09:24. > :09:30.have had them inside their later ranks, you couldn't understand them.
:09:30. > :09:35.It is LA modern, they all grew up doing teen series. Robert
:09:35. > :09:37.Pattinson's diction is that much better than the others. The girl, a
:09:37. > :09:41.very good actress, Kirsten Stewart, God I wish somebody would get her
:09:41. > :09:47.to learn how to move her lips just a little more. You began by saying
:09:47. > :09:51.you thought it was absolute tosh and you didn't see any merit at all,
:09:51. > :09:55.could that be you not being up to speed with the mythology. That is
:09:55. > :10:00.why I brought the issue up. I'm not offay with the first three movies.
:10:00. > :10:07.But it should work as a stand-alone piece of work, surely. You don't
:10:07. > :10:11.have to see all four parts to identify with it. This is more of a
:10:11. > :10:15.phenomenon, these things have their built-in audience. I did feel a
:10:15. > :10:18.step behind. Having seen all the movies, this is the one that is the
:10:18. > :10:22.least stand-alone, it is the one you absolutely have to have seen
:10:22. > :10:29.the other ones to be up to speed with it. I would encourage you to
:10:29. > :10:33.see all three of them back-to-back and open yourself up to the
:10:33. > :10:35.Twilight side. Why do you think it is so good? I think they are deep,
:10:36. > :10:40.interesting, profound and funny, all in Strangeways.
:10:40. > :10:46.Any way, the fact of the matter it will be a huge success, regardless
:10:46. > :10:53.of what the panel thinks, make your own mind up. Richard Thomas was as
:10:53. > :10:57.name mus for his wild -- Hunter S Thompson was someone who made his
:10:57. > :11:05.name for wildlife pictures as anything. Most people are surprised
:11:05. > :11:11.I walk on two legs. They think I'm a violent version of a comic strip.
:11:11. > :11:16.Hunter S Thompson committed suicide in 2005 at the age of 67. No God,
:11:16. > :11:22.help us, Jesus, why does this happen at the end. Whether the
:11:22. > :11:27.writing is himself or his alter ego Raoul Duke, he railed against the
:11:27. > :11:32.establishment, in his comics, and spoke to a disenfranchised
:11:32. > :11:38.generation. Fear and Loathing in Las Vegas is a collection of of
:11:38. > :11:43.Hunter S Thompson's writing for Rolling Stone over four decades. It
:11:43. > :11:49.shows the evolution of his Hallmark, Gonzo journalism. Narratives of
:11:49. > :11:51.Gonzo, the writer's personal style, takes precedence over any notion of
:11:51. > :11:56.productivity. The central problem is you are working overtime to
:11:56. > :12:00.treat this thing as straight or responsible journalism, in truth we
:12:00. > :12:05.are dealing with classic irresponsible giberish. He would be
:12:05. > :12:13.better off trying to make chronological sense of highway 61,
:12:13. > :12:19.Mr Tam bour reen Man, or Naked Lunch, despite that, I suspect the
:12:19. > :12:23.point still stand, the real nub of the problem is I resent any
:12:23. > :12:28.attempts on how I should write my Gonzo journalism, this is rude and
:12:28. > :12:31.irrational, but I tend to operate that way, now and then. Johnny Depp
:12:31. > :12:34.famously captured the extremes of Thompson's character in Fear and
:12:34. > :12:44.Loathing in Las Vegas, more recently playing another version of
:12:44. > :12:44.
:12:44. > :12:49.the writer in The Rum Diary. But on the evidence of his writing
:12:49. > :12:54.alone, does Thompson deserve his status as legend and icon. I used
:12:54. > :13:04.to be able to stand in the back, observe stories and absorb them.
:13:04. > :13:10.
:13:10. > :13:16.Now the minute I appear in a story I become part of it.
:13:16. > :13:20.Has the writing dated? The writing has not dated. The writing is a bit
:13:21. > :13:25.like Dillon, it is a poet, it is poetic in its invective. There is
:13:25. > :13:32.certain things that surprised me, in this country there is mentions
:13:32. > :13:35.of Eugene McCarthy, McGovern, and even George Romney, people in
:13:35. > :13:40.America don't even remember them now. I found that a bit odd. I
:13:40. > :13:48.think the collection is a bit reverential, I think the collection
:13:48. > :13:52.of his letters to Yen Winter it is over-reverential. He's saintly in
:13:52. > :13:55.his mad, drug-fuelled way. The writing does hold up, it is
:13:56. > :14:01.brilliant writing. It is interesting to use the word
:14:01. > :14:07."saintly" in collection with Hunter S Thompson. So much of his writing
:14:07. > :14:11.was demoniacal, do you have a piece that stands out as central in the
:14:11. > :14:15.collection? Funny you should ask that. I have this bit here. The bit
:14:15. > :14:19.read so well by whoever did that was a bit tame. And this is more
:14:19. > :14:24.like Hunter S Thompson. "our President is America's answer to
:14:24. > :14:27.the monstrous" this is about Nixon while he's President. "our
:14:27. > :14:34.President is America's answer to the Monday trous Mr Hyde, Nixon
:14:34. > :14:40.speaks to the werewolf, the shies ter, speaking the unspeakable,
:14:40. > :14:44.bleeding hard and warts on nights when the moon comes too close. "he
:14:44. > :14:52.did an obituary of Nixon, the most vicious thing you could read. It
:14:52. > :14:57.goes on for ages, called He Was A Crook. It is monstrous invective,
:14:57. > :15:04.brilliant and funny and short. My problem with Thompson, even as a
:15:04. > :15:11.kid, I used to read his stuff in Rolling Stone. I hardly finished it,
:15:11. > :15:15.they didn't edit him well. They fold in on themselves sometimes, it
:15:15. > :15:18.was like I took too many drugs, and I'm hung over and they are making
:15:18. > :15:22.me write this article. One of the interesting things about Thompson
:15:22. > :15:26.is trying to pick apart the mythology and the real man. What
:15:26. > :15:29.did you discover about the real Thompson in this? There is a the
:15:29. > :15:33.problem I had with Thompson, even reading the non-fiction is
:15:33. > :15:37.wondering how much is he making up. He was always at the centre of
:15:37. > :15:40.everything, you think is it feasible that he was at the centre
:15:40. > :15:46.of everything. The first piece I read from this book was about him
:15:46. > :15:50.going to interview Ali, just after he had lost, it starts off with the
:15:50. > :15:54.memories of Ali's promoter meeting Hunter S Thompson in the hotel
:15:54. > :15:58.lobby, where Thompson has lost his wallet. He enmities out these
:15:58. > :16:02.suitcases and bags and bottles of whiskey are flying through the air,
:16:02. > :16:07.shorts, underwear, the whole lobby of this five-star hotel is
:16:07. > :16:11.scattered with the stuff, until he gets to his shaving bag, and there
:16:11. > :16:15.is the wallet. Obviously that is not Thompson, that is someone else
:16:15. > :16:19.reporting what Thompson did. This myth is real. A lot of this crazy
:16:19. > :16:23.stuff that I thought he was making up actually happened. The story of
:16:23. > :16:29.him meeting Ali is brilliantly written and struck turbgsd he knows
:16:29. > :16:36.a lot about boxing -- structured, and knows a lot about boxing and he
:16:36. > :16:39.watches the fight with Spinx, it is talking about an extraordinary time
:16:39. > :16:45.and an extraordinary man. interview is the least interesting
:16:45. > :16:50.part of the piece? He's very funny. But so much of this reads like it
:16:50. > :16:54.needs to be performed, it needs to be read out. We talk about the fact
:16:54. > :16:59.when the faxes would come in off the mojo, they would read them to
:16:59. > :17:04.each other in the offices of Rolling Stone, it feels like a
:17:04. > :17:08.performance piece? He has a visceral and muscular style of
:17:08. > :17:12.writing, agree with Kerry, it feels very contemporary, eventhough the
:17:12. > :17:15.subjects, his objects are historical. I loved it, it was a
:17:15. > :17:20.great joy having this for a week, and dipping in and out of it and
:17:20. > :17:24.reading a couple of chapters every day. A real, real joy, it reminded
:17:24. > :17:30.me just how important he is as a writer, actually. Extremely
:17:30. > :17:35.important. You were particularly struck by the Pulitzer divorce
:17:35. > :17:39.case? Stick a pin in any of the chapters in the book. This one I do
:17:39. > :17:42.love. It is probably one of the most, God it is the most vicious
:17:42. > :17:46.description of the idle rich I have ever come across. And the
:17:46. > :17:49.description of their greed and their hold on power. Their
:17:49. > :17:53.arrogance and that moral corruption that they have and their life tile
:17:53. > :18:00.styles. It was brilliant, the piece is called -- lifestyles. It was
:18:00. > :18:07.brilliant the piece is called A Dog Took My Place. It is about the
:18:07. > :18:11.divorce of the Pulitzer, Pete Pulitzer was a 53 millionaire, a
:18:11. > :18:20.hot bachelor, he married a lass from the wrong side of the tracks,
:18:20. > :18:28.it was a few lasted, they had a couple of, and a messy divorce.
:18:28. > :18:36.These are people who spend a million dollars on household
:18:36. > :18:43.expenses. Millions go on unknown. There was drugs, incest, beastality.
:18:43. > :18:47.Alleged. Keep me on the right track. It sounds like a serious den of
:18:47. > :18:54.iniquity. At one point when Thompson is reporting on T he's
:18:54. > :18:57.talking to the barman. He says, he asks the barman how did he feel. He
:18:57. > :19:02.said "like a God dam animal, like a beast, I look at the scum and the
:19:02. > :19:08.way they live, and I see the shit- eating grins on their faces and I
:19:08. > :19:11.feel like a dog took my place". That is how they made him feel.
:19:11. > :19:15.Absolutely fascinating, how the rich look after their own, they
:19:16. > :19:18.pull up the barricades. These days they make a Channel 4 series and
:19:18. > :19:24.everybody would think they are charming. That idea that Thompson
:19:24. > :19:32.is talking about, it eludes back to F Scott Fitzgerald, the rich are
:19:32. > :19:35.not like you and I. This was written by someone who
:19:35. > :19:39.studied writing, it is not the ramblings of someone off his head
:19:39. > :19:47.on chemicals. He was off his head, but his classical training. I don't
:19:47. > :19:50.think he went to university. I read in the book that he typed out the
:19:50. > :19:54.Great Gatsby on his portable typewriter to just get the rhythm
:19:54. > :19:59.of the writing. Do you think you would have wanted to spend time
:19:59. > :20:04.with him on the strength of this? No. Not just in the strength on
:20:04. > :20:09.this, but on everything else I know about him. I wouldn't last five
:20:09. > :20:13.minutes. There is a quote by George Bernard Shaw, it says "reasonable
:20:13. > :20:21.people adapt themselves to the world, unreasonable people attempt
:20:21. > :20:25.to daipt the world to themselves, change, therefore, is only possible
:20:25. > :20:28.through unreasonable people" I think Hunter S Thompson is a
:20:28. > :20:34.wonderful unreasonable people. Nobody thought this year's sleeper
:20:34. > :20:38.hit would be a 20-part Danish crime driver. It attracted over half a
:20:38. > :20:43.million viewers, that gave the actress Sofie Grabol a cult
:20:43. > :20:53.following, and the chunky knit sweater too.
:20:53. > :21:01.
:21:01. > :21:09.Two years have passed and Sarah Lund has been demoted by the police
:21:09. > :21:14.force, and is working in passport control at a Danish ferry port.
:21:14. > :21:18.The murder of a female lawyer, discovered tied to a post in
:21:18. > :21:25.Copenhagen's memorial park, results in Lund being recalled to work on
:21:25. > :21:28.the case with her old boss Leonard Brix. A lot of women come up to me
:21:28. > :21:35.and say we want to be like her, she's so strong. Up until that
:21:35. > :21:39.point, I had, for some reason, always played very emotional
:21:39. > :21:46.characters, and I remember thinking I would like to play a person who
:21:46. > :21:50.is not able to communicate, who is very isolated and at peace with
:21:50. > :21:57.that. I have actually found it very, very difficult to play her. But I
:21:58. > :22:03.think it was because I discovered that it was so much in my bones as
:22:03. > :22:10.an actress, to always put emotions in everything.
:22:10. > :22:14.I imagined her being a man, and that was sort of my entrance into
:22:14. > :22:18.that character. Series two consists of only ten episodes compared with
:22:18. > :22:24.the 20 of series one, yet the unusual writing style and shooting
:22:24. > :22:29.schedule remain the same. This writing, he insists on writing as
:22:29. > :22:34.we go along. We get the script on Friday, and then they start
:22:34. > :22:40.shooting Monday. If he sees something, if you add something as
:22:40. > :22:43.an actor, he will start writing in that direction f he gets inspired.
:22:43. > :22:47.Scandinavia seems to dominate the crime genre at the moment, across
:22:47. > :22:51.film, television and books. Is there anything about the territory
:22:51. > :23:01.which has made it the new home for noir, and what is it about Sarah
:23:01. > :23:13.
:23:13. > :23:18.Lund in particular that connects In this first episode, it takes its
:23:18. > :23:21.time to set out its stall to show us the characters, there is not an
:23:22. > :23:30.action-packed first episode. How do you feel about that space that the
:23:30. > :23:36.drama is allowed? Well, very envious, obviously. The Rebus
:23:36. > :23:40.novels got to a situation on ITV they were 45-minutes per book. Here
:23:40. > :23:44.you get a series of ten hours. It is allowed to take its time, lots
:23:44. > :23:48.of characters are introduced, we have a three-dimensional sense of
:23:49. > :23:52.them, how they relate to each other. We have all the avenues and the red
:23:52. > :23:55.herings that the viewer will stick around to explore. The novelty is
:23:55. > :23:59.gone because they can't repeat the trick. You have seen the series,
:23:59. > :24:03.you know where it is set, what she's going to be like, you know
:24:03. > :24:10.she will wear chunky knit sweaters. I was sitting there going this
:24:10. > :24:18.feels a little bit like Manhunter, the film. And oh, this is a wee bit
:24:18. > :24:25.like the early Prime Minister Suspects. It didn't have that fresh
:24:26. > :24:29.-- Prime Superintendant. It didn't have that fresh feeling, but --
:24:29. > :24:34.Prime Suspect, but it didn't have that fresh feeling. But comparing
:24:34. > :24:38.it to Manhunter is a high water mark? It is, but you feel things
:24:38. > :24:40.should have moved on. You see it in episode one and going into the
:24:40. > :24:45.house and piecing the crime scene together. You think that is a
:24:45. > :24:48.straight lift, that is not a homage, that is a straight lift from
:24:48. > :24:52.Manhunter. It is still an engaging character, and she's surrounded by
:24:52. > :24:54.new engaging characters. There is a political subtext to it and also
:24:54. > :24:58.the threat of terrorism, international terrorism, and what
:24:58. > :25:02.that's doing to Scandinavia. We know how current that threat is.
:25:02. > :25:06.Not just international terrorism, but domestic terrorism as well.
:25:06. > :25:10.have obviously your own experience of playing police characters, how
:25:10. > :25:14.did this work for you, did it feel original and fresh? It absolutely
:25:14. > :25:19.did. I didn't see the first series at all, I came new to it, I loved
:25:19. > :25:23.it from beginning to end, I was gripped. There is a real truth to
:25:23. > :25:28.it. It is the way they underplay everything, it is very muted, I
:25:28. > :25:33.loved that. It is understated in terms of the acting, direction,
:25:33. > :25:37.even the soundtrack, the music score. The script, beautifully
:25:37. > :25:43.understated. I feel the director has a very tight control of the
:25:43. > :25:48.helm of that ship. I think he paces it absolutely spot on. So therefore
:25:48. > :25:51.you are pulled into this almost like nether world, this dark,
:25:51. > :25:55.mysterious cloudy world that you never see the light of day. I was
:25:55. > :26:00.very gripped, it was extraordinary stuff. I loved the idea that they
:26:00. > :26:05.don't glamorise her at all. She's not running around in an Armani
:26:05. > :26:09.suit with gloss lipstick. She looked like she tumbled out of bed
:26:09. > :26:16.in the morning. I love how she feels her way through the process
:26:16. > :26:21.of detection. When you say it feels understated, in comparison to home-
:26:21. > :26:25.grown dramas? I think so. In this country we play to the camera, we
:26:25. > :26:29.present the performance, remember than inhabiting, and letting the
:26:29. > :26:34.camera observe us doing that. I think they do it beautifully, they
:26:34. > :26:38.really do. Which makes them utterly believable as characters, as
:26:38. > :26:42.detectives. There is obviously this political backdrop going on all the
:26:42. > :26:47.way through. I felt watching some of it, there would be references I
:26:47. > :26:51.wasn't getting, did you feel the same? Yes, as a matter of fact, the
:26:51. > :26:55.killing takes place in a place called Memorial Park, I was moved
:26:55. > :27:00.to look it up. Because I thought there is something missing there
:27:00. > :27:10.that we, the English audience aren't getting. So Memorial Park is
:27:10. > :27:13.
:27:13. > :27:16.this park where the nas did Is, and the Nastenkacy and -- -- the Nazi
:27:16. > :27:21.fighters took the Danish and executed them and they turned it
:27:21. > :27:25.into a park. This woman is found chained to a pole, they shot the
:27:25. > :27:34.resistance fighters against these poles. So everybody in Copenhagen
:27:34. > :27:40.would know that, I didn't know that. So now I do. There is plenty, you
:27:40. > :27:43.never know what's important. I noticed a mention of dog tags in
:27:43. > :27:47.the little clip there. At the beginning I watched the first five
:27:47. > :27:52.minutes two or three times, I had the option having a DVD at one
:27:52. > :27:57.point Brix walks on and he says will somebody should shut that dog
:27:57. > :28:01.up, and I thought could that be be a clu. It is like a giant cross
:28:01. > :28:04.word and everything is connected. At the end with the dog tags, I
:28:04. > :28:10.thought maybe it was a clue, because that seems to be important.
:28:10. > :28:15.But you just don't know. It could be anything from her eating an egg,
:28:15. > :28:18.her little apartment. This is part of a broader landscape of what is
:28:18. > :28:21.so-called Scandinavian noir, how much are these stories defined by
:28:21. > :28:26.the I can't remember they come out from, how much are they landscape
:28:26. > :28:35.influenced? I think hugely. I think that's one of the attractions of
:28:35. > :28:40.Scandinavian crime fiction is it seems very widescreen. It is a
:28:40. > :28:45.metaphor of the crime you are going to get. It is grey exteriors with a
:28:45. > :28:49.lot of repressed anger and emotions that will have to burst through at
:28:49. > :28:55.some point. Place that feels on the edge of the world. And maybe feels
:28:55. > :28:59.cut off from mainland. So you get people thinking they will get away
:28:59. > :29:03.with anything. Or people who grew up with a distorted view of
:29:03. > :29:08.morality. Tooth feels like a place anything could happen way from the
:29:08. > :29:11.eyes and conscience of the world. Scandinavian crime writers are
:29:11. > :29:16.becoming very influenced by the American thriller. You are getting
:29:16. > :29:19.a lot more books like the Thomas Harris novels, than say the
:29:19. > :29:23.traditional English and European crime novels. It is safe to say,
:29:23. > :29:26.despite the reservations about seeing this before, the general
:29:26. > :29:30.feeling is everybody is anxious to see the next episode. Or the whole
:29:30. > :29:35.series. It is one of my favourites. Thank you very much.
:29:35. > :29:43.Kate Bush, you wait six years for a new album and two come along at
:29:43. > :29:53.once. Breaking the silence since 2055 Aerial, Director'S Cut was a
:29:53. > :29:54.
:29:54. > :30:01.re write of some new songs, The Word has six new songs on it.
:30:01. > :30:07.It is a disturbing business being a Kate Bush fan, not that she has
:30:07. > :30:13.anything as prosaic as fans, but disorientating nonetheless. Having
:30:13. > :30:18.spent 30 years being roughly as productive as eastern island statue
:30:18. > :30:23.makers, she has now had a level of industry that makes Stephen Fry
:30:23. > :30:28.seem workshy two, albums in a year, the latest 50 Words for Snow.
:30:28. > :30:33.Kate's sainthood and the reference she has been held, particularly by
:30:33. > :30:39.men of a certain age, is understandable, it seems to puzzle
:30:39. > :30:45.and amuse her more than anyone else. It is not hard to see where it
:30:45. > :30:49.comes from. 177, and punk scourged earth policy has instituted a year
:30:49. > :30:54.zero for British music where anything goes. Enter a doctor's
:30:54. > :31:00.daughter from Kent, who is in her own winsome way as shockingly
:31:00. > :31:09.original as Strummer and others, dreamly beautiful, and gifted,
:31:09. > :31:15.singing about long dead Victorian novelists and novel the Yorkshire
:31:15. > :31:19.movies. There are in fact some remarkable parallels with Emily
:31:19. > :31:24.Bronte's extraordinary debut. How would someone who was a provincial
:31:24. > :31:29.schoolgirl made this stuff mysterious, sexy and utterly self-
:31:29. > :31:35.possessed. Wherever it had come from, it made her an overnight star,
:31:35. > :31:41.and set a temple that would serve her for the next three decade. It
:31:41. > :31:45.made her the example for many performers over the years,
:31:45. > :31:49.including Nicola Roberts from Girls Aloud. That brings us to 50 Words
:31:49. > :31:52.for Snow, a gorgeously seasonal collection of wintry and
:31:52. > :31:56.contemplative chamber pieces, that I think is right up there with the
:31:56. > :32:03.best thing she has done. Not that Kate cared, but also as a boy
:32:03. > :32:06.entranceed by the Kicking Side and the Lionheart, this is the album I
:32:06. > :32:11.have wanted her to make for years, with the piano and her voice, the
:32:11. > :32:17.best it has ever been, to the fore. It is daring and experimental,
:32:17. > :32:21.closer to Joany Mitchell than Peter Gabriel or Elton John. Like
:32:21. > :32:24.everything she has done but more so, 50 Words for Snow is completely
:32:24. > :32:28.captivating and completely Kate Bush. We can't know what she will
:32:28. > :32:34.do next, but we know it will be breathlessly anticipated, and
:32:34. > :32:43.always worth listening to. Next week Martha Kearney will be
:32:43. > :32:49.here with guests, including Maureen Lipman and others. My thanks to
:32:50. > :32:52.David, Kerry and Ian. Stay tuned for Later in 15 minutes, featuring
:32:52. > :32:56.a compilation of the best performances from the last series.
:32:56. > :33:00.The review show does a great line in talented singer song writers,
:33:00. > :33:10.tonight is no exception. Here is Benjamin Francis Leftwich
:33:10. > :33:14.
:33:14. > :33:20.performing Pictures. # If you crash a car
:33:20. > :33:26.# In your best friend's house # Would he be quiet
:33:26. > :33:27.# As words came out # Of their mouth
:33:28. > :33:33.# Stop # Don't do it
:33:33. > :33:40.# I have been waiting for it # Stall
:33:40. > :33:48.# I knew it would come # If you find a God
:33:48. > :33:53.# Next to your girlfriend's bed # Would it be hard to
:33:53. > :33:59.# Sort out your spinning head # Stop
:33:59. > :34:06.# Don't say that dear # That you wanted him here
:34:06. > :34:16.# Stop # Don't give him the clear
:34:16. > :34:20.
:34:20. > :34:27.# Take a picture of this # Take a picture of them
:34:27. > :34:31.If you are afraid don't be # I have the whole thing planned
:34:31. > :34:39.# We will start in the ocean # Baby
:34:39. > :34:45.# And when we find the land # We will be thankful too
:34:45. > :34:55.# All of our friend # That they didn't leave us
:34:55. > :34:55.
:34:55. > :35:04.# As we got to the end # Take a picture of this
:35:04. > :35:11.Take a picture of this # If you find your faith in
:35:11. > :35:17.# Your parents' God # Don't be so quick to