Browse content similar to 18/11/2011. Check below for episodes and series from the same categories and more!
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On the review show tonight, vampires and werewolfs, journalism | :00:12. | :00:20. | |
and another Danish killing. The lucrative Twiel light movie | :00:21. | :00:25. | |
franchise reaches its fourth installment, Breaking Dawn part 1, | :00:25. | :00:34. | |
does it still have bite. A new Hunter S Thompson collection, | :00:34. | :00:40. | |
Fear and Loathing in Las Vegas, has the Godfather of Gonzo stood the | :00:40. | :00:47. | |
test of time. A new series of The Killing starts on BBC Four, what | :00:47. | :00:53. | |
has happened to Sarah Lund's famous knitwear. | :00:53. | :00:56. | |
Stuart Maconie reports on the new album from Kate Bush. | :00:57. | :01:00. | |
Kate has now assumed a level of industry that makes Stephen Fry | :01:00. | :01:10. | |
:01:10. | :01:14. | ||
seem positively workshy. And we will end with live music | :01:14. | :01:18. | |
from Benjamin Francis Leftwich. The review show is a little shorter | :01:18. | :01:21. | |
tonight, as we have generously donated ten minutes to Children in | :01:21. | :01:31. | |
:01:31. | :01:34. | ||
Need. That won't inhibit my guests, Ian Rank kin, Kerry Shale and Andy | :01:34. | :01:44. | |
:01:44. | :01:51. | ||
Hayman. If you are an teenage girl, you won't be surprised to hear a | :01:51. | :01:58. | |
Twilight film is out. It grossed nearly $2 million at the box-office. | :01:58. | :02:01. | |
The Twilight Saga series was inspired by the writer in a dream. | :02:01. | :02:07. | |
The saga has just been that. Develop ago devout fan base, who | :02:07. | :02:11. | |
hungrily devoured the novels and the film adaptations that followed. | :02:11. | :02:16. | |
This time the producers have done a Harry Potter, spliting the last | :02:16. | :02:23. | |
book into two girls. The first is Breaking Dawn, focusing on the | :02:23. | :02:29. | |
marriage of Robert Pattinson, and the all too human, Bella. The daing | :02:29. | :02:33. | |
he is of having partner who might sink his teeth into you, aren't | :02:33. | :02:43. | |
:02:43. | :02:45. | ||
solved after marriage. That's impossible. Can this happen? | :02:45. | :02:50. | |
course the story of blood thirsty vampires seeking out young virgins | :02:50. | :02:59. | |
is nothing new. From the eerie Nosforatu, to The HBO series, True | :02:59. | :03:08. | |
Blood. Yet Ian Meiers's take on the | :03:08. | :03:14. | |
vampire -- Stephaine Myres is different, the books are influenced | :03:14. | :03:19. | |
by her own moral values as a Morman. Guiding it to its conclusion is | :03:19. | :03:25. | |
Bill Condon, the last big hit he had is Dream Girls. It is focusing | :03:25. | :03:35. | |
on the impossible love triangle between bella, Jacob and Edward,'s | :03:35. | :03:40. | |
conveniently a werewolf sworn to kill vampires. It has largely | :03:40. | :03:44. | |
captured the female audience, but spliting the films has it given | :03:44. | :03:50. | |
Twilight more life or sucked the bite out of it. It is a huge | :03:50. | :03:53. | |
worldwide phenomenon, I don't mind admitting I'm a massive Twilight | :03:53. | :03:58. | |
fan, are you in the Twilight camp? Well, to be my usual diplomatic | :03:58. | :04:03. | |
self, I thought it was a pile of tosh, from beginning to end, it is | :04:03. | :04:09. | |
definitely a vampire movie without any bite whatsoever. It goes at a | :04:09. | :04:12. | |
bad pace, it didn't grip me, I was in an audience of hundreds of | :04:12. | :04:16. | |
teenage girls. They didn't seem to be gripped, they gigled a lot. When | :04:16. | :04:20. | |
the action does happen. You have these ferocious wolves rampageing | :04:20. | :04:24. | |
through the forest, they have a wolf pow wow, they start to talk in | :04:24. | :04:29. | |
human voice, at that point I almost fell off my seat with laughter. It | :04:29. | :04:34. | |
is risable. I can't understand the phenomenal success of it. But I | :04:34. | :04:37. | |
haven't read or seen the first three, I certainly do not think it | :04:37. | :04:41. | |
is stand-alone movie. You need the backstory to make it work. I didn't | :04:41. | :04:45. | |
have it and it didn't work. Kerry, it is a very interesting point to | :04:45. | :04:49. | |
jump in, at the moment in the story, it is quite a complicated story. We | :04:49. | :04:53. | |
have had three movies up until now. Were you leaping in fresh, did you | :04:53. | :04:57. | |
keep up with what was going on? did have to leap in fresh. I didn't | :04:57. | :05:01. | |
know the books, or the movies. I actively avoided them in the way I | :05:02. | :05:08. | |
actively avoid a lot of things. Why? Did I hear the word be a | :05:08. | :05:15. | |
stennepbs, it seem to have a social - abstinence, and it seemed to have | :05:15. | :05:20. | |
a social agenda and I didn't agree with it. It was a terrible movie | :05:20. | :05:24. | |
with the dialogue awful. Some of the acting was interesting, a lot | :05:24. | :05:31. | |
of it was very bad. It did make me think. In fact I only saw it a few | :05:31. | :05:36. | |
hours or so, I have been thinking for a few hours. I had a kneejerk | :05:36. | :05:43. | |
response to the idea of no sex before marriage or you die. In the | :05:43. | :05:47. | |
last little while, I have sort of come round to thinking, well, | :05:47. | :05:52. | |
that's not in itself necessarily, I mean, that's none of my business to | :05:52. | :05:57. | |
say whether anybody has sex before marriage or not. Because life is so | :05:57. | :06:03. | |
sexualised for young teenage girls, and young teenage boys, and much | :06:03. | :06:07. | |
more than when I was growing up, and I don't like that, and I don't | :06:07. | :06:10. | |
think it is good. So I began to think maybe the agenda this movie | :06:10. | :06:15. | |
might not be a bad thing. In fact everybody was very polite when I | :06:15. | :06:20. | |
saw it. I saw Hard Day's Night when it came out, girls were literally | :06:21. | :06:25. | |
pissing themselves and screaming. With this they were listening very | :06:25. | :06:29. | |
closely and being very attentive and respectful. I thought that was | :06:30. | :06:33. | |
interesting. The audience I was with were very attentive apart from | :06:34. | :06:40. | |
the giggley moments. They giggled at the sex bits. The audience were | :06:40. | :06:42. | |
thrilled, they were the target audience the teenage girl audience. | :06:42. | :06:46. | |
Do you think there is a problem with attempting to judge the film | :06:46. | :06:50. | |
if you are not part of the target audience. We are not the | :06:50. | :06:52. | |
demographic for this film, and they are not watching this programme | :06:52. | :06:56. | |
either. We can say what the hell we like. Kerry and I went to the same | :06:56. | :06:59. | |
showing, we were stalked by security as we went in. They | :06:59. | :07:04. | |
obviously thought these guys ain't coming to see Twilight, they must | :07:04. | :07:08. | |
be coming to bootleg it. They checked our bags to make sure there | :07:08. | :07:12. | |
are no video equipment with us. What other reason could we have to | :07:12. | :07:18. | |
see Twilight. Bits of it I enjoyed, I was looking at the structure, | :07:18. | :07:23. | |
without getting too, you know, here was a two warring families, much as | :07:23. | :07:28. | |
Romeo and Juliet. In this case it is a human girl between the two | :07:28. | :07:31. | |
warring families. We have seen this tension and set up in lofts myths | :07:31. | :07:36. | |
and sagas down the ages. People with special powers and what that | :07:36. | :07:40. | |
can do to you, tear you apart and rip you from your family and your | :07:40. | :07:43. | |
friends. How it alienates you from the rest of the world, how do you | :07:43. | :07:47. | |
try to fit in, especially as a teenager. In some ways it is about | :07:47. | :07:50. | |
teenagers who feel different and are trying to fit in, or looks a | :07:50. | :07:54. | |
though they fit in. That is every teenager. A lot of stuff happening | :07:54. | :07:57. | |
just below the surface of what isn't a terribly gripping film. | :07:57. | :08:01. | |
you not think that the fact that this is a film that, it has a 12 | :08:01. | :08:04. | |
certificate, a teenage girl audience, but it was dealing with | :08:04. | :08:10. | |
material which for some people they would find more likely to be in a | :08:11. | :08:14. | |
Kronenbourg movie, profoundly weird and strange? I didn't realise it | :08:14. | :08:18. | |
got a 12, towards the end it has a lot of blood and guts on the | :08:18. | :08:20. | |
operating table. You mentioned Kronenbourg, the thing that went | :08:20. | :08:26. | |
through my mind during the pregnancy, was part Rosemary's Baby | :08:26. | :08:31. | |
and part The Brood, there is a weird pregnancy and the child | :08:31. | :08:35. | |
inside might be a demon. That was going on as well. And pop culture | :08:35. | :08:39. | |
hits, little references to things you would just about catch. It | :08:39. | :08:46. | |
wouldn't be my idea of a great night out. Kerry, you had a problem | :08:46. | :08:50. | |
with the acting? I have a problem with that sort of acting. Normally | :08:50. | :08:54. | |
they play, in films that I see which, are about the parents of | :08:54. | :08:58. | |
kids like this. They come in and do a few scenes and Government it is | :08:58. | :09:02. | |
all that sort of things, where you have a little scrapie thing, and | :09:02. | :09:10. | |
everything is sort of like that (? Little voice). I could understand | :09:10. | :09:14. | |
about 75% of the dialogue. They were miced to the hilt, they must | :09:14. | :09:24. | |
have had them inside their later ranks, you couldn't understand them. | :09:24. | :09:30. | |
It is LA modern, they all grew up doing teen series. Robert | :09:30. | :09:35. | |
Pattinson's diction is that much better than the others. The girl, a | :09:35. | :09:37. | |
very good actress, Kirsten Stewart, God I wish somebody would get her | :09:37. | :09:41. | |
to learn how to move her lips just a little more. You began by saying | :09:41. | :09:47. | |
you thought it was absolute tosh and you didn't see any merit at all, | :09:47. | :09:51. | |
could that be you not being up to speed with the mythology. That is | :09:51. | :09:55. | |
why I brought the issue up. I'm not offay with the first three movies. | :09:55. | :10:00. | |
But it should work as a stand-alone piece of work, surely. You don't | :10:00. | :10:07. | |
have to see all four parts to identify with it. This is more of a | :10:07. | :10:11. | |
phenomenon, these things have their built-in audience. I did feel a | :10:11. | :10:15. | |
step behind. Having seen all the movies, this is the one that is the | :10:15. | :10:18. | |
least stand-alone, it is the one you absolutely have to have seen | :10:18. | :10:22. | |
the other ones to be up to speed with it. I would encourage you to | :10:22. | :10:29. | |
see all three of them back-to-back and open yourself up to the | :10:29. | :10:33. | |
Twilight side. Why do you think it is so good? I think they are deep, | :10:33. | :10:35. | |
interesting, profound and funny, all in Strangeways. | :10:36. | :10:40. | |
Any way, the fact of the matter it will be a huge success, regardless | :10:40. | :10:46. | |
of what the panel thinks, make your own mind up. Richard Thomas was as | :10:46. | :10:53. | |
name mus for his wild -- Hunter S Thompson was someone who made his | :10:53. | :10:57. | |
name for wildlife pictures as anything. Most people are surprised | :10:57. | :11:05. | |
I walk on two legs. They think I'm a violent version of a comic strip. | :11:05. | :11:11. | |
Hunter S Thompson committed suicide in 2005 at the age of 67. No God, | :11:11. | :11:16. | |
help us, Jesus, why does this happen at the end. Whether the | :11:16. | :11:22. | |
writing is himself or his alter ego Raoul Duke, he railed against the | :11:22. | :11:27. | |
establishment, in his comics, and spoke to a disenfranchised | :11:27. | :11:32. | |
generation. Fear and Loathing in Las Vegas is a collection of of | :11:32. | :11:38. | |
Hunter S Thompson's writing for Rolling Stone over four decades. It | :11:38. | :11:43. | |
shows the evolution of his Hallmark, Gonzo journalism. Narratives of | :11:43. | :11:49. | |
Gonzo, the writer's personal style, takes precedence over any notion of | :11:49. | :11:51. | |
productivity. The central problem is you are working overtime to | :11:51. | :11:56. | |
treat this thing as straight or responsible journalism, in truth we | :11:56. | :12:00. | |
are dealing with classic irresponsible giberish. He would be | :12:00. | :12:05. | |
better off trying to make chronological sense of highway 61, | :12:05. | :12:13. | |
Mr Tam bour reen Man, or Naked Lunch, despite that, I suspect the | :12:13. | :12:19. | |
point still stand, the real nub of the problem is I resent any | :12:19. | :12:23. | |
attempts on how I should write my Gonzo journalism, this is rude and | :12:23. | :12:28. | |
irrational, but I tend to operate that way, now and then. Johnny Depp | :12:28. | :12:31. | |
famously captured the extremes of Thompson's character in Fear and | :12:31. | :12:34. | |
Loathing in Las Vegas, more recently playing another version of | :12:34. | :12:44. | |
:12:44. | :12:44. | ||
the writer in The Rum Diary. But on the evidence of his writing | :12:44. | :12:49. | |
alone, does Thompson deserve his status as legend and icon. I used | :12:49. | :12:54. | |
to be able to stand in the back, observe stories and absorb them. | :12:54. | :13:04. | |
:13:04. | :13:10. | ||
Now the minute I appear in a story I become part of it. | :13:10. | :13:16. | |
Has the writing dated? The writing has not dated. The writing is a bit | :13:16. | :13:20. | |
like Dillon, it is a poet, it is poetic in its invective. There is | :13:21. | :13:25. | |
certain things that surprised me, in this country there is mentions | :13:25. | :13:32. | |
of Eugene McCarthy, McGovern, and even George Romney, people in | :13:32. | :13:35. | |
America don't even remember them now. I found that a bit odd. I | :13:35. | :13:40. | |
think the collection is a bit reverential, I think the collection | :13:40. | :13:48. | |
of his letters to Yen Winter it is over-reverential. He's saintly in | :13:48. | :13:52. | |
his mad, drug-fuelled way. The writing does hold up, it is | :13:52. | :13:55. | |
brilliant writing. It is interesting to use the word | :13:56. | :14:01. | |
"saintly" in collection with Hunter S Thompson. So much of his writing | :14:01. | :14:07. | |
was demoniacal, do you have a piece that stands out as central in the | :14:07. | :14:11. | |
collection? Funny you should ask that. I have this bit here. The bit | :14:11. | :14:15. | |
read so well by whoever did that was a bit tame. And this is more | :14:15. | :14:19. | |
like Hunter S Thompson. "our President is America's answer to | :14:19. | :14:24. | |
the monstrous" this is about Nixon while he's President. "our | :14:24. | :14:27. | |
President is America's answer to the Monday trous Mr Hyde, Nixon | :14:27. | :14:34. | |
speaks to the werewolf, the shies ter, speaking the unspeakable, | :14:34. | :14:40. | |
bleeding hard and warts on nights when the moon comes too close. "he | :14:40. | :14:44. | |
did an obituary of Nixon, the most vicious thing you could read. It | :14:44. | :14:52. | |
goes on for ages, called He Was A Crook. It is monstrous invective, | :14:52. | :14:57. | |
brilliant and funny and short. My problem with Thompson, even as a | :14:57. | :15:04. | |
kid, I used to read his stuff in Rolling Stone. I hardly finished it, | :15:04. | :15:11. | |
they didn't edit him well. They fold in on themselves sometimes, it | :15:11. | :15:15. | |
was like I took too many drugs, and I'm hung over and they are making | :15:15. | :15:18. | |
me write this article. One of the interesting things about Thompson | :15:18. | :15:22. | |
is trying to pick apart the mythology and the real man. What | :15:22. | :15:26. | |
did you discover about the real Thompson in this? There is a the | :15:26. | :15:29. | |
problem I had with Thompson, even reading the non-fiction is | :15:29. | :15:33. | |
wondering how much is he making up. He was always at the centre of | :15:33. | :15:37. | |
everything, you think is it feasible that he was at the centre | :15:37. | :15:40. | |
of everything. The first piece I read from this book was about him | :15:40. | :15:46. | |
going to interview Ali, just after he had lost, it starts off with the | :15:46. | :15:50. | |
memories of Ali's promoter meeting Hunter S Thompson in the hotel | :15:50. | :15:54. | |
lobby, where Thompson has lost his wallet. He enmities out these | :15:54. | :15:58. | |
suitcases and bags and bottles of whiskey are flying through the air, | :15:58. | :16:02. | |
shorts, underwear, the whole lobby of this five-star hotel is | :16:02. | :16:07. | |
scattered with the stuff, until he gets to his shaving bag, and there | :16:07. | :16:11. | |
is the wallet. Obviously that is not Thompson, that is someone else | :16:11. | :16:15. | |
reporting what Thompson did. This myth is real. A lot of this crazy | :16:15. | :16:19. | |
stuff that I thought he was making up actually happened. The story of | :16:19. | :16:23. | |
him meeting Ali is brilliantly written and struck turbgsd he knows | :16:23. | :16:29. | |
a lot about boxing -- structured, and knows a lot about boxing and he | :16:29. | :16:36. | |
watches the fight with Spinx, it is talking about an extraordinary time | :16:36. | :16:39. | |
and an extraordinary man. interview is the least interesting | :16:39. | :16:45. | |
part of the piece? He's very funny. But so much of this reads like it | :16:45. | :16:50. | |
needs to be performed, it needs to be read out. We talk about the fact | :16:50. | :16:54. | |
when the faxes would come in off the mojo, they would read them to | :16:54. | :16:59. | |
each other in the offices of Rolling Stone, it feels like a | :16:59. | :17:04. | |
performance piece? He has a visceral and muscular style of | :17:04. | :17:08. | |
writing, agree with Kerry, it feels very contemporary, eventhough the | :17:08. | :17:12. | |
subjects, his objects are historical. I loved it, it was a | :17:12. | :17:15. | |
great joy having this for a week, and dipping in and out of it and | :17:15. | :17:20. | |
reading a couple of chapters every day. A real, real joy, it reminded | :17:20. | :17:24. | |
me just how important he is as a writer, actually. Extremely | :17:24. | :17:30. | |
important. You were particularly struck by the Pulitzer divorce | :17:30. | :17:35. | |
case? Stick a pin in any of the chapters in the book. This one I do | :17:35. | :17:39. | |
love. It is probably one of the most, God it is the most vicious | :17:39. | :17:42. | |
description of the idle rich I have ever come across. And the | :17:42. | :17:46. | |
description of their greed and their hold on power. Their | :17:46. | :17:49. | |
arrogance and that moral corruption that they have and their life tile | :17:49. | :17:53. | |
styles. It was brilliant, the piece is called -- lifestyles. It was | :17:53. | :18:00. | |
brilliant the piece is called A Dog Took My Place. It is about the | :18:00. | :18:07. | |
divorce of the Pulitzer, Pete Pulitzer was a 53 millionaire, a | :18:07. | :18:11. | |
hot bachelor, he married a lass from the wrong side of the tracks, | :18:11. | :18:20. | |
it was a few lasted, they had a couple of, and a messy divorce. | :18:20. | :18:28. | |
These are people who spend a million dollars on household | :18:28. | :18:36. | |
expenses. Millions go on unknown. There was drugs, incest, beastality. | :18:36. | :18:43. | |
Alleged. Keep me on the right track. It sounds like a serious den of | :18:43. | :18:47. | |
iniquity. At one point when Thompson is reporting on T he's | :18:47. | :18:54. | |
talking to the barman. He says, he asks the barman how did he feel. He | :18:54. | :18:57. | |
said "like a God dam animal, like a beast, I look at the scum and the | :18:57. | :19:02. | |
way they live, and I see the shit- eating grins on their faces and I | :19:02. | :19:08. | |
feel like a dog took my place". That is how they made him feel. | :19:08. | :19:11. | |
Absolutely fascinating, how the rich look after their own, they | :19:11. | :19:15. | |
pull up the barricades. These days they make a Channel 4 series and | :19:16. | :19:18. | |
everybody would think they are charming. That idea that Thompson | :19:18. | :19:24. | |
is talking about, it eludes back to F Scott Fitzgerald, the rich are | :19:24. | :19:32. | |
not like you and I. This was written by someone who | :19:32. | :19:35. | |
studied writing, it is not the ramblings of someone off his head | :19:35. | :19:39. | |
on chemicals. He was off his head, but his classical training. I don't | :19:39. | :19:47. | |
think he went to university. I read in the book that he typed out the | :19:47. | :19:50. | |
Great Gatsby on his portable typewriter to just get the rhythm | :19:50. | :19:54. | |
of the writing. Do you think you would have wanted to spend time | :19:54. | :19:59. | |
with him on the strength of this? No. Not just in the strength on | :19:59. | :20:04. | |
this, but on everything else I know about him. I wouldn't last five | :20:04. | :20:09. | |
minutes. There is a quote by George Bernard Shaw, it says "reasonable | :20:09. | :20:13. | |
people adapt themselves to the world, unreasonable people attempt | :20:13. | :20:21. | |
to daipt the world to themselves, change, therefore, is only possible | :20:21. | :20:25. | |
through unreasonable people" I think Hunter S Thompson is a | :20:25. | :20:28. | |
wonderful unreasonable people. Nobody thought this year's sleeper | :20:28. | :20:34. | |
hit would be a 20-part Danish crime driver. It attracted over half a | :20:34. | :20:38. | |
million viewers, that gave the actress Sofie Grabol a cult | :20:38. | :20:43. | |
following, and the chunky knit sweater too. | :20:43. | :20:53. | |
:20:53. | :21:01. | ||
Two years have passed and Sarah Lund has been demoted by the police | :21:01. | :21:09. | |
force, and is working in passport control at a Danish ferry port. | :21:09. | :21:14. | |
The murder of a female lawyer, discovered tied to a post in | :21:14. | :21:18. | |
Copenhagen's memorial park, results in Lund being recalled to work on | :21:18. | :21:25. | |
the case with her old boss Leonard Brix. A lot of women come up to me | :21:25. | :21:28. | |
and say we want to be like her, she's so strong. Up until that | :21:28. | :21:35. | |
point, I had, for some reason, always played very emotional | :21:35. | :21:39. | |
characters, and I remember thinking I would like to play a person who | :21:39. | :21:46. | |
is not able to communicate, who is very isolated and at peace with | :21:46. | :21:50. | |
that. I have actually found it very, very difficult to play her. But I | :21:50. | :21:57. | |
think it was because I discovered that it was so much in my bones as | :21:58. | :22:03. | |
an actress, to always put emotions in everything. | :22:03. | :22:10. | |
I imagined her being a man, and that was sort of my entrance into | :22:10. | :22:14. | |
that character. Series two consists of only ten episodes compared with | :22:14. | :22:18. | |
the 20 of series one, yet the unusual writing style and shooting | :22:18. | :22:24. | |
schedule remain the same. This writing, he insists on writing as | :22:24. | :22:29. | |
we go along. We get the script on Friday, and then they start | :22:29. | :22:34. | |
shooting Monday. If he sees something, if you add something as | :22:34. | :22:40. | |
an actor, he will start writing in that direction f he gets inspired. | :22:40. | :22:43. | |
Scandinavia seems to dominate the crime genre at the moment, across | :22:43. | :22:47. | |
film, television and books. Is there anything about the territory | :22:47. | :22:51. | |
which has made it the new home for noir, and what is it about Sarah | :22:51. | :23:01. | |
:23:01. | :23:13. | ||
Lund in particular that connects In this first episode, it takes its | :23:13. | :23:18. | |
time to set out its stall to show us the characters, there is not an | :23:18. | :23:21. | |
action-packed first episode. How do you feel about that space that the | :23:22. | :23:30. | |
drama is allowed? Well, very envious, obviously. The Rebus | :23:30. | :23:36. | |
novels got to a situation on ITV they were 45-minutes per book. Here | :23:36. | :23:40. | |
you get a series of ten hours. It is allowed to take its time, lots | :23:40. | :23:44. | |
of characters are introduced, we have a three-dimensional sense of | :23:44. | :23:48. | |
them, how they relate to each other. We have all the avenues and the red | :23:49. | :23:52. | |
herings that the viewer will stick around to explore. The novelty is | :23:52. | :23:55. | |
gone because they can't repeat the trick. You have seen the series, | :23:55. | :23:59. | |
you know where it is set, what she's going to be like, you know | :23:59. | :24:03. | |
she will wear chunky knit sweaters. I was sitting there going this | :24:03. | :24:10. | |
feels a little bit like Manhunter, the film. And oh, this is a wee bit | :24:10. | :24:18. | |
like the early Prime Minister Suspects. It didn't have that fresh | :24:18. | :24:25. | |
-- Prime Superintendant. It didn't have that fresh feeling, but -- | :24:26. | :24:29. | |
Prime Suspect, but it didn't have that fresh feeling. But comparing | :24:29. | :24:34. | |
it to Manhunter is a high water mark? It is, but you feel things | :24:34. | :24:38. | |
should have moved on. You see it in episode one and going into the | :24:38. | :24:40. | |
house and piecing the crime scene together. You think that is a | :24:40. | :24:45. | |
straight lift, that is not a homage, that is a straight lift from | :24:45. | :24:48. | |
Manhunter. It is still an engaging character, and she's surrounded by | :24:48. | :24:52. | |
new engaging characters. There is a political subtext to it and also | :24:52. | :24:54. | |
the threat of terrorism, international terrorism, and what | :24:54. | :24:58. | |
that's doing to Scandinavia. We know how current that threat is. | :24:58. | :25:02. | |
Not just international terrorism, but domestic terrorism as well. | :25:02. | :25:06. | |
have obviously your own experience of playing police characters, how | :25:06. | :25:10. | |
did this work for you, did it feel original and fresh? It absolutely | :25:10. | :25:14. | |
did. I didn't see the first series at all, I came new to it, I loved | :25:14. | :25:19. | |
it from beginning to end, I was gripped. There is a real truth to | :25:19. | :25:23. | |
it. It is the way they underplay everything, it is very muted, I | :25:23. | :25:28. | |
loved that. It is understated in terms of the acting, direction, | :25:28. | :25:33. | |
even the soundtrack, the music score. The script, beautifully | :25:33. | :25:37. | |
understated. I feel the director has a very tight control of the | :25:37. | :25:43. | |
helm of that ship. I think he paces it absolutely spot on. So therefore | :25:43. | :25:48. | |
you are pulled into this almost like nether world, this dark, | :25:48. | :25:51. | |
mysterious cloudy world that you never see the light of day. I was | :25:51. | :25:55. | |
very gripped, it was extraordinary stuff. I loved the idea that they | :25:55. | :26:00. | |
don't glamorise her at all. She's not running around in an Armani | :26:00. | :26:05. | |
suit with gloss lipstick. She looked like she tumbled out of bed | :26:05. | :26:09. | |
in the morning. I love how she feels her way through the process | :26:09. | :26:16. | |
of detection. When you say it feels understated, in comparison to home- | :26:16. | :26:21. | |
grown dramas? I think so. In this country we play to the camera, we | :26:21. | :26:25. | |
present the performance, remember than inhabiting, and letting the | :26:25. | :26:29. | |
camera observe us doing that. I think they do it beautifully, they | :26:29. | :26:34. | |
really do. Which makes them utterly believable as characters, as | :26:34. | :26:38. | |
detectives. There is obviously this political backdrop going on all the | :26:38. | :26:42. | |
way through. I felt watching some of it, there would be references I | :26:42. | :26:47. | |
wasn't getting, did you feel the same? Yes, as a matter of fact, the | :26:47. | :26:51. | |
killing takes place in a place called Memorial Park, I was moved | :26:51. | :26:55. | |
to look it up. Because I thought there is something missing there | :26:55. | :27:00. | |
that we, the English audience aren't getting. So Memorial Park is | :27:00. | :27:10. | |
:27:10. | :27:13. | ||
this park where the nas did Is, and the Nastenkacy and -- -- the Nazi | :27:13. | :27:16. | |
fighters took the Danish and executed them and they turned it | :27:16. | :27:21. | |
into a park. This woman is found chained to a pole, they shot the | :27:21. | :27:25. | |
resistance fighters against these poles. So everybody in Copenhagen | :27:25. | :27:34. | |
would know that, I didn't know that. So now I do. There is plenty, you | :27:34. | :27:40. | |
never know what's important. I noticed a mention of dog tags in | :27:40. | :27:43. | |
the little clip there. At the beginning I watched the first five | :27:43. | :27:47. | |
minutes two or three times, I had the option having a DVD at one | :27:47. | :27:52. | |
point Brix walks on and he says will somebody should shut that dog | :27:52. | :27:57. | |
up, and I thought could that be be a clu. It is like a giant cross | :27:57. | :28:01. | |
word and everything is connected. At the end with the dog tags, I | :28:01. | :28:04. | |
thought maybe it was a clue, because that seems to be important. | :28:04. | :28:10. | |
But you just don't know. It could be anything from her eating an egg, | :28:10. | :28:15. | |
her little apartment. This is part of a broader landscape of what is | :28:15. | :28:18. | |
so-called Scandinavian noir, how much are these stories defined by | :28:18. | :28:21. | |
the I can't remember they come out from, how much are they landscape | :28:21. | :28:26. | |
influenced? I think hugely. I think that's one of the attractions of | :28:26. | :28:35. | |
Scandinavian crime fiction is it seems very widescreen. It is a | :28:35. | :28:40. | |
metaphor of the crime you are going to get. It is grey exteriors with a | :28:40. | :28:45. | |
lot of repressed anger and emotions that will have to burst through at | :28:45. | :28:49. | |
some point. Place that feels on the edge of the world. And maybe feels | :28:49. | :28:55. | |
cut off from mainland. So you get people thinking they will get away | :28:55. | :28:59. | |
with anything. Or people who grew up with a distorted view of | :28:59. | :29:03. | |
morality. Tooth feels like a place anything could happen way from the | :29:03. | :29:08. | |
eyes and conscience of the world. Scandinavian crime writers are | :29:08. | :29:11. | |
becoming very influenced by the American thriller. You are getting | :29:11. | :29:16. | |
a lot more books like the Thomas Harris novels, than say the | :29:16. | :29:19. | |
traditional English and European crime novels. It is safe to say, | :29:19. | :29:23. | |
despite the reservations about seeing this before, the general | :29:23. | :29:26. | |
feeling is everybody is anxious to see the next episode. Or the whole | :29:26. | :29:30. | |
series. It is one of my favourites. Thank you very much. | :29:30. | :29:35. | |
Kate Bush, you wait six years for a new album and two come along at | :29:35. | :29:43. | |
once. Breaking the silence since 2055 Aerial, Director'S Cut was a | :29:43. | :29:53. | |
:29:53. | :29:54. | ||
re write of some new songs, The Word has six new songs on it. | :29:54. | :30:01. | |
It is a disturbing business being a Kate Bush fan, not that she has | :30:01. | :30:07. | |
anything as prosaic as fans, but disorientating nonetheless. Having | :30:07. | :30:13. | |
spent 30 years being roughly as productive as eastern island statue | :30:13. | :30:18. | |
makers, she has now had a level of industry that makes Stephen Fry | :30:18. | :30:23. | |
seem workshy two, albums in a year, the latest 50 Words for Snow. | :30:23. | :30:28. | |
Kate's sainthood and the reference she has been held, particularly by | :30:28. | :30:33. | |
men of a certain age, is understandable, it seems to puzzle | :30:33. | :30:39. | |
and amuse her more than anyone else. It is not hard to see where it | :30:39. | :30:45. | |
comes from. 177, and punk scourged earth policy has instituted a year | :30:45. | :30:49. | |
zero for British music where anything goes. Enter a doctor's | :30:49. | :30:54. | |
daughter from Kent, who is in her own winsome way as shockingly | :30:54. | :31:00. | |
original as Strummer and others, dreamly beautiful, and gifted, | :31:00. | :31:09. | |
singing about long dead Victorian novelists and novel the Yorkshire | :31:09. | :31:15. | |
movies. There are in fact some remarkable parallels with Emily | :31:15. | :31:19. | |
Bronte's extraordinary debut. How would someone who was a provincial | :31:19. | :31:24. | |
schoolgirl made this stuff mysterious, sexy and utterly self- | :31:24. | :31:29. | |
possessed. Wherever it had come from, it made her an overnight star, | :31:29. | :31:35. | |
and set a temple that would serve her for the next three decade. It | :31:35. | :31:41. | |
made her the example for many performers over the years, | :31:41. | :31:45. | |
including Nicola Roberts from Girls Aloud. That brings us to 50 Words | :31:45. | :31:49. | |
for Snow, a gorgeously seasonal collection of wintry and | :31:49. | :31:52. | |
contemplative chamber pieces, that I think is right up there with the | :31:52. | :31:56. | |
best thing she has done. Not that Kate cared, but also as a boy | :31:56. | :32:03. | |
entranceed by the Kicking Side and the Lionheart, this is the album I | :32:03. | :32:06. | |
have wanted her to make for years, with the piano and her voice, the | :32:06. | :32:11. | |
best it has ever been, to the fore. It is daring and experimental, | :32:11. | :32:17. | |
closer to Joany Mitchell than Peter Gabriel or Elton John. Like | :32:17. | :32:21. | |
everything she has done but more so, 50 Words for Snow is completely | :32:21. | :32:24. | |
captivating and completely Kate Bush. We can't know what she will | :32:24. | :32:28. | |
do next, but we know it will be breathlessly anticipated, and | :32:28. | :32:34. | |
always worth listening to. Next week Martha Kearney will be | :32:34. | :32:43. | |
here with guests, including Maureen Lipman and others. My thanks to | :32:43. | :32:49. | |
David, Kerry and Ian. Stay tuned for Later in 15 minutes, featuring | :32:50. | :32:52. | |
a compilation of the best performances from the last series. | :32:52. | :32:56. | |
The review show does a great line in talented singer song writers, | :32:56. | :33:00. | |
tonight is no exception. Here is Benjamin Francis Leftwich | :33:00. | :33:10. | |
:33:10. | :33:14. | ||
performing Pictures. # If you crash a car | :33:14. | :33:20. | |
# In your best friend's house # Would he be quiet | :33:20. | :33:26. | |
# As words came out # Of their mouth | :33:26. | :33:27. | |
# Stop # Don't do it | :33:28. | :33:33. | |
# I have been waiting for it # Stall | :33:33. | :33:40. | |
# I knew it would come # If you find a God | :33:40. | :33:48. | |
# Next to your girlfriend's bed # Would it be hard to | :33:48. | :33:53. | |
# Sort out your spinning head # Stop | :33:53. | :33:59. | |
# Don't say that dear # That you wanted him here | :33:59. | :34:06. | |
# Stop # Don't give him the clear | :34:06. | :34:16. | |
:34:16. | :34:20. | ||
# Take a picture of this # Take a picture of them | :34:20. | :34:27. | |
If you are afraid don't be # I have the whole thing planned | :34:27. | :34:31. | |
# We will start in the ocean # Baby | :34:31. | :34:39. | |
# And when we find the land # We will be thankful too | :34:39. | :34:45. | |
# All of our friend # That they didn't leave us | :34:45. | :34:55. | |
:34:55. | :34:55. | ||
# As we got to the end # Take a picture of this | :34:55. | :35:04. | |
Take a picture of this # If you find your faith in | :35:04. | :35:11. | |
# Your parents' God # Don't be so quick to | :35:11. | :35:17. |