:00:24. > :00:28.Did This programme contains strong Welcome to the review show, coming,
:00:28. > :00:34.for once, from London, where my guests have been immerseing hem
:00:34. > :00:41.themselves in the BFI London film fest -- themselves in the BFI
:00:41. > :00:47.London film vest fall. My guests join me, Sarfraz Manzoor, and Tori
:00:47. > :00:52.Amos will be playing us out. Before I unleash the formidable fire power,
:00:52. > :00:59.here is a sample of the 227 features and 111 shorts that
:00:59. > :01:05.comprise this year's festival. From Tim Burton, who's animation
:01:06. > :01:12.Frankenweenie got the ball rolling, to the rolling stones, who were
:01:12. > :01:19.celebrated in Crossfire Two of next year's potential crowd pleasers
:01:19. > :01:24.were there. Roger Michell Hyde Park on Hudson, George V is returning,
:01:24. > :01:30.seeking support from Bill Murray's note-perfect Roosevelt on the eve
:01:31. > :01:36.of World War II. And Quartet, mixing opera with the cream of
:01:36. > :01:41.English acting royalty, including Maggie Smith. Don't I get a kiss.
:01:41. > :01:46.The festival showcases archive treasures and new talent, from a
:01:46. > :01:51.gleaming restoration of David Lean's Lawrence of Arabia, to
:01:51. > :01:55.talented youngsters, Brandon Cronenberg, Son of David, and
:01:56. > :02:00.futuristic horror, Anti-viral. A total of 68 countries have been
:02:00. > :02:04.represented at the festival, from Iceland, Japan to Saudi Arabia. The
:02:04. > :02:11.celebration of cinema comes to a close on Sunday, with Mike Newell's
:02:11. > :02:15.impressively Gothic adaptation of Great Expectations, with rave fines
:02:15. > :02:25.as Magwitch, and Helena Bonham Carter who steals the show as Miss
:02:25. > :02:25.
:02:25. > :02:29.Havisham. It is the first year of Claire Stewart as director, has she
:02:29. > :02:32.done a good job? It is really impressive, you have to be a
:02:32. > :02:36.servant of many masters when you are running the London Film
:02:36. > :02:38.Festival, the press wants to see stars on the red carpet, they have
:02:38. > :02:42.delivered that, they have had a really good turn out, Bill Murray
:02:42. > :02:50.has been here, the rolling stars, Tim Burton, Helena Bonham Carter,
:02:50. > :02:54.they are localing, but they came. And yet, you have to please the
:02:54. > :02:58.critics, a broad spread, and world premiers. She has done an
:02:58. > :03:02.interesting thing, she has sliced it up into different theme, love,
:03:02. > :03:07.dare, thrills. It has made it audience-friend loo. Public
:03:07. > :03:10.screenings have been really well a- - audience-friendly, public
:03:10. > :03:14.screenings have been really well attended. I know how hard it is to
:03:14. > :03:18.see the films all year. She has done a great job. How does it sit
:03:18. > :03:22.on the international circuit, is it internationally significant? It is
:03:22. > :03:25.a notch below Toronto, hitherto it has been a non-competitive festle
:03:26. > :03:30.value, it is a best of the rest, collecting together all the films
:03:30. > :03:34.that have been showing over the year. Although there was a little
:03:34. > :03:39.competition for the Best First Feature, this year there is a Best
:03:39. > :03:42.Film Prize, so the big names will be competing for that, and Best
:03:42. > :03:46.First Film competition, and Best Documentary competition. That might
:03:46. > :03:50.up the profile over time. It is a hard thing to go up the ranks,
:03:50. > :03:56.unless you have a big, big cash injection. I know the British Film
:03:57. > :04:01.Institute doesn't have those kinds of rds. This festival is bookended
:04:01. > :04:06.by Tim Burton, the master of macarbre, and partner Helena Bonham
:04:06. > :04:10.Carter, she will close the ceremony on Friday with Great Expectation,
:04:10. > :04:16.and he opened it with Frankenweenie, a family-friendly take on
:04:16. > :04:22.Frankenstein. The stars graced the red carpet for the premier. Tim
:04:22. > :04:31.Burton's Lord Weinstock is a 3-D black and white animation which
:04:31. > :04:40.reworks the Mary Shelley classic, featuring WinonaRyder and Martin
:04:40. > :04:44.Landau, a young boy resurrectss had beloved dog. He was a great --
:04:44. > :04:48.resurrects his beloved dog He was a great dog. When you lose someone
:04:48. > :04:53.you love, they never leave you but move into a special place in your
:04:53. > :04:59.heart. I don't want him in my heart, I want him here with me. I know. If
:04:59. > :05:03.we could bring him back, we would. Inspired by his teacher, Victor
:05:03. > :05:13.Frankenstein, harnessing the power of lightning to kick life back into
:05:13. > :05:22.
:05:22. > :05:29.the aptly named Sparkey. Goo boy. You're alive. You're alive, Sparkey,
:05:29. > :05:34.you're alive. Can you believe it, you're alive. Victor unwittingly
:05:34. > :05:39.unleashs a Pandora's box of the undead into his neighbourhood.
:05:39. > :05:42.need your help. Frankenweenie first saw the light of day in 1984, as a
:05:42. > :05:47.live action short film. Burton has returned to the story nearly 30
:05:47. > :05:53.years later, this time using stop- motion animation to bring the tale
:05:53. > :05:59.to life. Having been dropped by Disney back
:05:59. > :06:05.in the 80s for making stuff that was "too weird", Frankenweenie sees
:06:05. > :06:09.Burton back at the House of Mouse, has Hollywood curbed the Prince of
:06:09. > :06:13.Darkness's flare for the Gothic. can fix that.
:06:13. > :06:17.Sarfraz Manzoor, it deals with big issues of life and death, it looks
:06:17. > :06:22.beautiful, it is also very emotional? Yeah, it is funny, for a
:06:22. > :06:31.film that is actually Anwar makes film, the bits I liked were the --
:06:31. > :06:34.an animation film, the bits I liked were the most feeling bits. The
:06:34. > :06:39.relationship between Victor and Sparkey is very real. When he dies
:06:39. > :06:43.you see a tear down the boy's face, it was moving. It was charming and
:06:43. > :06:47.moving when it was small, based on a half-hour short film. When it was
:06:47. > :06:52.small it was really affecting, later on I felt like Tim Burton had
:06:52. > :06:57.a lot of set piece he wanted to crowbar in, without the plot to put
:06:57. > :07:06.them in. Obvious low, based on a very famous novel, does it do
:07:06. > :07:09.anything with the novel's theme's theme themes? It doesn't update it
:07:09. > :07:14.at all. It was dealing with interesting ideas about the nature
:07:14. > :07:18.of life and divine providence, is there a God, what can science do,
:07:18. > :07:23.what can it challenge? That is what the novel dealt with. These aren't
:07:23. > :07:27.big issues now, certainly not to 12-year-old kids, I don't respond
:07:27. > :07:35.well to children's culture generally I don't respond to Toy
:07:35. > :07:43.Story and Shrek. You didn't like Toy Story? Everyone tried in Toy
:07:43. > :07:47.Story 3, everyone cried, I didn't, I was waiting for t maybe it is my
:07:47. > :07:52.childhood hasn't ended. Children want colour, and they will see this
:07:52. > :07:55.and think the screen is broken. It is full of references, I think that
:07:55. > :08:00.was the Edward Scissorhands's suburb, there is references to his
:08:00. > :08:04.own movies, he's entitled to do that, he has made great films, but
:08:04. > :08:08.I didn't understand it. The great weakness at the end is the dog
:08:08. > :08:13.lives. If you are going to teach children anything, is he's always
:08:13. > :08:21.alive in your heart, that you can't bring animals back. They could have
:08:21. > :08:26.saved it in the end by leaving the dog dead. Children will think it is
:08:26. > :08:32.broken in the black and white? was talking to a woman who made her
:08:32. > :08:36.son watch Buster Keaton movies. This is for the young kids open to
:08:36. > :08:44.the black and white, monochrome, it is a bit scary for them, I found
:08:44. > :08:48.some of it generally frightening, especially Mr Ricekrispy, his
:08:48. > :08:52.little tiny teeth. It could be scary and dark. People don't have a
:08:52. > :08:59.resistance to black and white. They are open to it. It is part of the
:08:59. > :09:04.tool box. Technically it looks fantastic. 3-D black and white, you
:09:04. > :09:09.have colour, 3-D, it is as if the reanimated dog is leaping in your
:09:09. > :09:12.face. Everything is in colour, it is almost like we are colour-
:09:12. > :09:16.exhausted, it was something refreshing, like a cool glass of
:09:16. > :09:24.champagne, to watch a really beautifully filmed black and white
:09:24. > :09:32.movie. Jo I don't think it is a move -- movie for kids. Martin
:09:32. > :09:37.Landau plays a character that looks like Vincent Price t reminds me of
:09:37. > :09:43.Hugo, which used 3-D technology, which was an exercise in nostalgia,
:09:43. > :09:48.it is for people who love Tim Burton and love horror movies from
:09:48. > :09:51.the 1930s as opposed for kids. said you felt that some sequences
:09:51. > :09:55.were too frightening for kids, did you feel it didn't strike the right
:09:55. > :10:02.balance between the childish and the adult audience? It is a very
:10:02. > :10:06.hard balance to strike. The Pixar movies do it beautifully. My
:10:06. > :10:10.problem with Frankenweenie is it the script needed an extra pass
:10:10. > :10:14.through the mill, I agree it didn't add anything interesting to the
:10:14. > :10:21.story. If it is meant for kids, there are ways to address issues in
:10:21. > :10:26.a subtle and symbolic way through children's literature. There was a
:10:26. > :10:34.pro-science message. It is a very subversive message. The Vincent
:10:34. > :10:40.Pryc, characters slags the parents off, and wants to break kids' minds
:10:40. > :10:44.and educate them. The science being useded in it is great. He's an
:10:44. > :10:49.immigrant and explains the science of lightning, that the lightning
:10:49. > :10:53.wants to get to the United States from the bad, evil clouds, made
:10:53. > :10:57.immigration sound like a natural thing, like lightning.
:10:57. > :11:02.electrons, they want to flee. is a great thing to be teaching
:11:02. > :11:05.children, no doubt. But it stayed so close to the text. The lynch mob,
:11:06. > :11:11.that was quite scary, partly because we know in Frankenstein, in
:11:11. > :11:15.the book or many films, that the girl gets lynched, wrongly to have
:11:15. > :11:23.been thought to kill the child. They had the lynch mob, they were
:11:23. > :11:28.going to hang the wrongdoing, and the miscarriage of justice. Wasn't
:11:28. > :11:32.it the sense that you didn't feel, are we overanalysing the dead dog,
:11:32. > :11:37.there wasn't enough anguish in Sparkey, when he became reanimated,
:11:37. > :11:40.he wasn't particularly bothered, he was pretty much the same dog he was,
:11:40. > :11:46.except badly stitched together. There was no sense that he was
:11:46. > :11:50.aware of his zombie-like status in any way. This is the pathos of the
:11:50. > :11:54.Frankenstein, and it is a slightly missed trick. Having said that I
:11:54. > :12:01.thought it was brilliantly studied animation. The dog movements, that
:12:01. > :12:06.is someone who really knows dogs. We know Tim Burton is a fan of dogs.
:12:06. > :12:11.The way he moves and scratch, it is beautifully studied. Frankenweenie
:12:11. > :12:14.is out now, I loved it. Two new films by leading female directors
:12:14. > :12:23.set personal stories against backdrops of political instability,
:12:23. > :12:26.the birth of modern India and post- 9/11, both based on books, The
:12:26. > :12:31.Reluctant Fundamentalist, and Midnight's Children on Salman
:12:31. > :12:36.Rushdie's Booker Prize winner, as he described as his love letter to
:12:36. > :12:40.India. Rushdie himself has adapted the sore of Saleem, a boy with
:12:40. > :12:48.magical powers born at watershed moment in history. It is the
:12:48. > :12:52.novelist's own voice that narrates the story. At the precise instant
:12:52. > :12:57.of India's arrival at independence, I tumbled forth into the world.
:12:57. > :13:01.director believes the book's plot and themes called for cinematic
:13:02. > :13:05.treatment. He took romance, tragedy, melodrama, a cinematic vision, if
:13:05. > :13:12.you will, history, politics, and blended them all together. We can
:13:12. > :13:19.show people a new way of being. world is not ideas. If you don't
:13:19. > :13:24.have things, you fight. Mehta appears to be unphased by the
:13:24. > :13:27.challenge of adapting such an epic narrative for the screen. It isn't
:13:27. > :13:31.a process of adapting War and Peace or The English Patient, it is not
:13:31. > :13:35.about looking at the book and saying how do I reduce it. It is
:13:35. > :13:40.like how do I interpret it. The story that we chose to follow is
:13:40. > :13:46.the story of Saleem, and the background of that story is the
:13:46. > :13:50.history of post colonial India. were the promises of independence.
:13:50. > :13:57.Born ated my night, once upon a time.
:13:57. > :14:02.-- Born at midnight, once upon a time. Mohsin Hamid, The Reluctant
:14:02. > :14:06.Fundamentalist, which explores conflict between east and west is
:14:06. > :14:14.another film. Riz Ahmed plays Changez Khan, a young Pakistani,
:14:14. > :14:19.who spent several years as a Wall Street trader, but now a professor
:14:19. > :14:23.in his native town. He left following suspicion after the 9/11
:14:23. > :14:29.attacks. We will wipe the blood of invaders from our soul. The film is
:14:29. > :14:33.part political thriller, part romance. Recording Khaan's rocky
:14:33. > :14:39.relationship with a photographer played by Kate Hudson. Was that the
:14:39. > :14:47.idea, how chic, I'm going to date a Pakistani after 9/11, and it will
:14:47. > :14:52.be great for my Bohemian street cred. At the core is the tense
:14:52. > :14:57.conversation between Khaan and an American, which raises questions
:14:57. > :15:02.about the relationship between radicalism and the takes on the US.
:15:02. > :15:08.I hope you see I'm not celebrating the death of 2,000 innocent, as you
:15:08. > :15:13.would not celebrate the deaths of 100,000 in Pakistan. Before
:15:13. > :15:21.conscience sets in, have you never felt the split second of pleasure
:15:21. > :15:30.at arrogance brought low? Reluctant Fundamentalist is a very
:15:30. > :15:34.difficult and complex story to tell, it does at its heart some very good
:15:34. > :15:41.performances, Riz Ahmed is particularly wrong? He's amazing,
:15:41. > :15:46.he as incredibly, still, calm and beautiful, and convincing as a
:15:46. > :15:51.terrible raper and capitalist, and as a firebrand academic, who may or
:15:51. > :15:55.anot, you don't now how militant he is. He's one of those actors who
:15:55. > :15:59.can fool you into thinking you are watching a good film. That is what
:15:59. > :16:02.he did in this. He's amazing in the first manifestation, his middle
:16:02. > :16:06.manifestation, when he gets the great opportunity to go to America
:16:06. > :16:11.and be. He basically wins an episode of the Apprentice, he's
:16:11. > :16:15.very much like one of the really, really pushy, I want it, Pakistani
:16:15. > :16:19.characters you get on the Apprentice. He had something about
:16:19. > :16:23.him, when he would punch the air when he sealed the deal. Loved him
:16:23. > :16:28.for his capitalist brilliance, and slightly revolted, drifting further
:16:28. > :16:31.and further from the truth and poetry of his homeland. Then the
:16:31. > :16:35.prosession was thoroughly believable when he was an academic,
:16:35. > :16:40.you could see how. I wondered, being a management consultant,
:16:40. > :16:44.which he basically was, is that a big enough enemy for Islam. We all
:16:44. > :16:49.think they are terrible people. Asset strippers, we all think they
:16:49. > :16:53.are terrible, you don't have to be a devout Muslim to think that.
:16:53. > :16:56.you as convinced by Kate Hudson's performance as his photographer
:16:56. > :17:01.girlfriend, who creates this extraordinary controversial work of
:17:01. > :17:06.art? It is an unperformable part, she has to be a sypher for all
:17:06. > :17:13.America, she embraces him, and falls in love with him, and rejects
:17:13. > :17:18.him when he becomes politicised and having doubts about America. I
:17:18. > :17:22.agree completely, Riz Ahmed's performance, he's such a hottie and
:17:22. > :17:26.charismatic actor and so subtle, he holds the film together. She's
:17:26. > :17:33.awful. It is an unperformable role, she demonstrates that ablely.
:17:33. > :17:40.art she produces, which we saw in the vt, it is complete sympathy
:17:40. > :17:46.with his character, it is exericabl, it was offensive, the use of a
:17:46. > :17:52.throw on a burka. I left with the 20th bomber or something like that.
:17:52. > :17:55.There are women like that. There is a sexual element to terrorism.
:17:56. > :18:05.There are terror groupies, I don't know, that is what she's supposed
:18:05. > :18:11.to be. A bad artist is more credible. Not all of them get such
:18:11. > :18:17.a gallaried place. It walks a thin line between all gory and thriller,
:18:17. > :18:24.does it know what -- allegory and thriller, does it know what it is?
:18:24. > :18:28.I think it does walk a fine line. Riz Ahmed is trying to say big
:18:28. > :18:35.about the relationship between Islam and the west, and America and
:18:35. > :18:37.Islam. I think Aleksadra Mir is a good film maker, in -- she did a
:18:37. > :18:42.transplanted Asian character who goes to America and has their
:18:42. > :18:46.opinions changed in some way. Towards the end of the film,
:18:47. > :18:49.Ahmed's character said how he's tired of reduction, he's tired of
:18:49. > :18:56.being reduced to only being a Muslim. My problem with the film is
:18:56. > :19:02.all the characters were reduced, Kiefer Sutherland's character, and
:19:03. > :19:12.Kate Hudson's character, I'm annoy by all the white women in her films
:19:13. > :19:14.
:19:14. > :19:19.are the intensive lovers, and I felt the allegory part made it a
:19:19. > :19:28.more simple film when you wanted it to be sophisticated. Do you think
:19:28. > :19:33.that was more successful in doing that, the allegory? I this was -- I
:19:33. > :19:38.think it was an appalling film. I think both The Reluctant
:19:38. > :19:40.Fundamentalist and Midnight's Children are allegory, where The
:19:40. > :19:45.Reluctant Fundamentalist had to be fattened up, Midnight's Children
:19:45. > :19:51.had to be slimmed down. Film is a much less forgiving medium than
:19:51. > :19:55.novels. In? If you look at magical realisim, and the idea of allegory
:19:55. > :19:59.that might work on the page, on screen it looked ridiculous. I
:19:59. > :20:04.thought it looked ridiculous. It reduced a story that was meant to
:20:04. > :20:10.be the story of India and Pakistan over the last 70 years to a
:20:10. > :20:16.sacharine and sapy soap opera. is faithful adaptation, does it
:20:16. > :20:19.detract from his -- add to its favour? We have Rushdie doing the
:20:19. > :20:23.voiceover and writing the script, they tussled over which bits to cut,
:20:23. > :20:27.and they were on the page. It is all a bit too reverential, I think
:20:27. > :20:32.it would have been better if they did it like Frankenweenie and had
:20:32. > :20:37.puppets. Serious, I think it would have instilled more magic into it.
:20:37. > :20:40.It is so literal. We will talk later about a film about Beast of
:20:40. > :20:44.the Southern Wild, which is a magicalism in cinema. There is a
:20:44. > :20:47.way to do it, you have to have a sure touch with it. It is a film
:20:47. > :20:51.that really suffers, it is an unfilmable novel. You need a budget
:20:51. > :20:56.about 50-times what they had. Clearly they tried very hard. They
:20:56. > :21:01.had a shoot under wraps in Sri Lanka under an assumed name,
:21:01. > :21:06.because Salman Rushdie is still controversial. They tried to do
:21:06. > :21:09.crowd scenes. But it is narrative about huge changes in history, it
:21:09. > :21:14.feels slightly underfed and undernourished and half put
:21:14. > :21:18.together. What about the fact we have Salman Rushdie as narrative
:21:18. > :21:22.voice, does it lend credibility? Bad choice by Salman Rushdie, you
:21:22. > :21:29.can't disown it, you have written a great book, they are going to make
:21:29. > :21:34.a film of it, you walk away and have nothing to do with it. If you
:21:34. > :21:41.take Marquis, 100 *Years of Solt tued, and Midnight's Children,
:21:41. > :21:47.pillars of it, Marquis want have a film made of the book. Rushdie vurb
:21:47. > :21:51.should have done the same thing. It plays to his public image a
:21:51. > :21:55.brilliant writer, but pompus public image, likes to be at the centre of
:21:55. > :22:01.things. I read that book twice, I believed it was about Saleem, I
:22:01. > :22:07.didn't know it was about anyone else. He doesn't read it as well as
:22:07. > :22:08.an actor would have done. Midnight's Children is out in
:22:08. > :22:13.December, The Reluctant Fundamentalist opens next year. One
:22:13. > :22:20.of my favourite films at the festival is Good Vibrations, which
:22:20. > :22:24.celebrates the birth of the Belfast punk scene against a background of
:22:25. > :22:30.political unrest. Ron Howard has been urging followers on Twitter to
:22:30. > :22:37.look out information on Terri Hooley, Belfast's called Godfather
:22:37. > :22:43.of pump punk. Richard Dormer stars a as punk pioneer and record store
:22:43. > :22:49.owner Terri Hooley, the unlikely leader of a Motley Crue of kids. He
:22:49. > :22:54.discovered the bands scatp scat understones, and others, and had a
:22:54. > :22:59.record shop and worked out of it, it was called Good Vibrations.
:22:59. > :23:05.Hello, where have you been all my life. Do we know you. Terri Hooley,
:23:05. > :23:09.I own the shop. I want that song in my shop. You can want all you like?
:23:09. > :23:13.You haven't recorded it? Who will come to Belfast to sign us. It is
:23:13. > :23:19.the way it is, we don't care. Fuck's sake, raise your
:23:19. > :23:23.expectations. I will do it, I'll put it out.
:23:23. > :23:27.Gloriously unbothered about money, Hooley seeks to create an
:23:27. > :23:32.alternative Ulster, with an emphasis on music, creativity and
:23:32. > :23:36.anti-sec tear granianism. He has to fight -- anti-sectarianism, he has
:23:36. > :23:43.to fight to get heard in a world that has turned a deaf ear to
:23:43. > :23:50.Belfast. "dear Mr Hooley, go fuck yourself" again. The film which
:23:50. > :23:55.mixes fact and stpantcy goes to a seminal -- fantasy, goes to a
:23:55. > :24:02.seminal moment in history when The Undertones went into the studio to
:24:02. > :24:07.record. Shall we cut our losses. Cut our losses. You didn't --
:24:07. > :24:11.didn't hear the track before this one.
:24:11. > :24:21.This is the best thing I have ever recorded. It is the best thing
:24:21. > :24:22.
:24:22. > :24:32.anyone in this city ever recorded. But what does the film achieve, by
:24:32. > :24:33.
:24:33. > :24:37.shedding light on a neglected piece of punk history. I watched this
:24:37. > :24:42.with a huge smile on my face, and I'm not ashamed to say I cried
:24:42. > :24:47.twice. Did it, for you, capture the spirit of the times? Oh yeah. It
:24:47. > :24:53.really gets the atmosphere of those punk club, of those greasey little
:24:53. > :24:57.dives where everyone is sweaty, a very male energy. The fashions, the
:24:57. > :25:00.look s. I lived through the 80s and was going to club then. It really
:25:01. > :25:07.rang true for me. A little less satisfied than you with the shape
:25:07. > :25:14.of it as a narrative. It works better than other films, rock films
:25:14. > :25:19.as its ilk. We can compare it to the one about even Drury, both
:25:19. > :25:23.central character, both slightly unlikeable, selfish, bad fathers,
:25:23. > :25:26.ultimately the film has problems, it can't let you not sympathise
:25:26. > :25:30.with emthis. They have to be hero of the stories, they can't go all
:25:30. > :25:34.out and make them completely evil. It is a little equivocal in that
:25:34. > :25:39.sense. It get the energy of it, the music is great. The sleaziness,
:25:39. > :25:43.they are there are the cliches of the white transit vans going around
:25:43. > :25:47.the countryside and the camaraderiery, and the drunkenness.
:25:47. > :25:51.Real moments of magic. On a left of craft, beautifully done, nicely
:25:51. > :25:56.shot, and beautifully edited, and capturing that excitement is a very
:25:56. > :26:00.hard thing to do. It does it well. Your main memory of the punk years
:26:00. > :26:04.was being terrified of punk rockers z this bring that rushing back?
:26:04. > :26:08.brought some of it. I didn't see their artistic side, I was born in
:26:08. > :26:12.1969, I was really into the Jubilee, who are these people ruining it
:26:12. > :26:17.with their spikey hair and rude manners. I went to school in a pink
:26:17. > :26:21.uniform with a little cap on, they used to beat me up. I thought they
:26:21. > :26:25.were terrifying, I thought you would see those signs "punk isn't
:26:25. > :26:32.dead" and I was praying for the death of punk. The under upped, by
:26:32. > :26:38.1982 I bought It skaes Going To Happen, you said you cried, it's
:26:38. > :26:45.the scene when he has the head phones on, I'm watching it with my
:26:45. > :26:51.wife, and she's ten years younger, and she's saying what is he
:26:51. > :26:56.listening to? And it is Teenage Kicks. Second only to the scene
:26:56. > :27:05.when John Peel plays it twice in a row. We see it being played on the
:27:05. > :27:08.radio. You talk about Sex Drugs and Rock and Roll. It reminded me of
:27:08. > :27:13.24-Hour Party People, it was this thing about the record store being
:27:13. > :27:17.a refuge in a place where the old labels and allegiances don't matter.
:27:17. > :27:22.It talks about friends who used to be anarchists and socialists, and
:27:22. > :27:28.after the troubles started they were Protestants and clilgts, the
:27:28. > :27:33.way it marshalls the time is very good. The moment when terri and his
:27:33. > :27:37.wife are jumping up -- Terry and his wife are jumping up and down
:27:37. > :27:40.when John Peel plays it and then again, it worth watching it for
:27:41. > :27:45.that. It is about drawing you into and being interested in the music
:27:45. > :27:49.of the people, even if you weren't beforehand, were you drawn into the
:27:49. > :27:53.world of Terri Hooley? I was interested in the music beforehand.
:27:53. > :27:59.A lot of it is down to Richard Dormer, I never heard of him before,
:27:59. > :28:02.I understand he's well known in the Belfast theatre scene, he was
:28:02. > :28:06.terrific, so charismatic and strong. It has to pull you into the human
:28:06. > :28:10.stories. Even though I was unsatisfied at the way, the slight,
:28:10. > :28:14.his interpersonal relationships of his wife and child. He completely
:28:14. > :28:17.can't face fatherhood. He was a terrible individual, I was
:28:17. > :28:21.irritated he was so bad with money. He could have made a few quid.
:28:21. > :28:25.you not find that charming the fact he was so bad with money Eventually
:28:25. > :28:30.I thought I was his wife, come home, stop drinking, you have a child
:28:30. > :28:39.here, you have one gig to give yourself a chance and you gave the
:28:39. > :28:45.money to the -- you gave the tickets to the kids. You are
:28:45. > :28:47.record shop stuff was good. It is not you are a rapist or an entire
:28:47. > :28:52.corporate loser, it is the two extremes, I thought punks were
:28:52. > :28:57.terrifying, but obvious low, in some ways, difficult in 70s Belfast,
:28:57. > :29:02.the punks were the good guy, that line to put on the poster, New York
:29:02. > :29:06.has the haircuts, London has the trousers and Belfast has the reason.
:29:06. > :29:12.The book has a very certainly edge, it pulls on the heartstring, two of
:29:12. > :29:17.us have talked about crying, did you find that sentimentality worked
:29:17. > :29:21.in favour or detriment? It is certainly about a time when music
:29:21. > :29:25.mattered. The idea that music could be something that would bring
:29:25. > :29:29.people from different religions together. That is both sentimental
:29:29. > :29:32.and nostalgic, but also gone. I think for me it is as much an
:29:32. > :29:36.energy for a time when music could be that transformative, people
:29:36. > :29:43.don't listen to radio and jump around in the same way now, because
:29:43. > :29:49.everyone has it on Spotify playlist. You talk about Sex Drugs ska rock
:29:49. > :29:52.'n' roll, that film was stagey and built and construct, this felt much
:29:52. > :29:59.like an all-comers narrative that anyone can watch and enjoy? Very
:29:59. > :30:05.accessible and enjoyable. I thought 24-Party People was more innovative
:30:05. > :30:11.and I liked that much more as a film. I'm less close to the
:30:11. > :30:16.Manchester film, I barely know man chest krb -- Manchester at all, but
:30:16. > :30:19.I felt for the city. This could have been filmed anywhere. You were
:30:20. > :30:23.aware of the smallest of the budget and how tight all the shots could
:30:23. > :30:27.be, outside they couldn't afford to dress the street to look like the
:30:27. > :30:32.70s. Small budget and two men crying, I think that is a thumbs up.
:30:32. > :30:37.With so much to cover at the festival, we decided to split the
:30:37. > :30:42.panel up and send them to see something different. Sarfraz
:30:42. > :30:47.Manzoor went to see a film that the director of The French Connection,
:30:47. > :30:56.said could be the best cult movie every. End of Watch, tells the
:30:56. > :31:03.story of Los Angeles police officers. I date all these girls,
:31:03. > :31:10.they are smoking hot. BEEP badge bunnies. It puts the Monday not fee
:31:10. > :31:20.of car cruising, and the intense crime fighting with a Mexican drugs
:31:20. > :31:27.
:31:27. > :31:30.cartel. Is the film that good? I thought it
:31:30. > :31:36.was absolutely spectacular. I really did. Essentially, you know,
:31:36. > :31:39.the plot is about these two cop, they patrol the streets of South
:31:39. > :31:42.Central LA, they cross into random problems, whether it is to do with
:31:42. > :31:45.gangs or human trafficking, but to be honest, what I found most
:31:45. > :31:49.interesting is the moments when nothing was happening, and there
:31:49. > :31:52.was these two guys, sitting in a car and talking about their lives.
:31:52. > :31:55.I thought it was one of the best depictions of male friendship I
:31:55. > :31:59.have seen. It was fascinating, what you found is these were guys
:31:59. > :32:04.talking about their search for love, and wanting things, and suddenly
:32:04. > :32:06.they would be getting in the middle of getting shot and aed. I thought
:32:06. > :32:09.what was really interesting is there were only two moment when
:32:09. > :32:13.these two guys said they love each other, one is when they are drunk,
:32:13. > :32:18.and the other one is when they are being shot. There was something
:32:18. > :32:22.really fascinate beg it. It is also so visceral, there is a car chase,
:32:23. > :32:27.at the beginning, with footage in it, there is a camera in the front
:32:27. > :32:32.of the car zipping through. It was so exciting I was having to remind
:32:32. > :32:39.myself to breath. Did you find any of the shaky camfootage distancing,
:32:39. > :32:45.or did it work? -- shaky cam footage distancing or did it work?
:32:45. > :32:48.It felt a bit of a thing that this character, Jake Gylenhall's
:32:48. > :32:53.character was filming everything, once you got over that, you cared
:32:53. > :32:57.about the characters, and I didn't care about any of the characters of
:32:57. > :33:02.the films we are talking about so far. You wanted them to live and
:33:02. > :33:05.you were getting to know them. It made me respected as cop, saw them
:33:05. > :33:08.as human beings and then being shot at. Do you think Andrew Mitchell
:33:08. > :33:16.needs it see that? Giles Giles Giles asked for
:33:16. > :33:23.something to do with superheros or sport. This is what he got.
:33:23. > :33:30.Mighty king of the gods, dear father, it's your son, Thor. This
:33:30. > :33:33.is Iceland's full length animation, adapted from the Norse myth, Thor
:33:33. > :33:39.and his hammer need little introduction. The text has been to
:33:40. > :33:46.end down for children, but the story is the name. Thor's father
:33:46. > :33:56.drops the hammer to earth. Thor himself is destined to defend
:33:56. > :34:08.
:34:08. > :34:12.Valhalla from the evil Queen of the underworld.
:34:12. > :34:16.You wanted sport or superhero, this is what you got how was it? This
:34:16. > :34:22.goes and presents Thor as a meat head, I don't know when that
:34:22. > :34:27.happened, he was a warrior, but the Marvel Thor is meat head and this
:34:27. > :34:31.chap is a complete meat head. This is the first Icelandic animated
:34:31. > :34:37.feature, if anyone waves anything and says the Icelandic are coming,
:34:37. > :34:41.they are entirely wrong. This one sinks like a stone. They made it
:34:41. > :34:46.for eight million euros, $12 million dollars, very cheap
:34:46. > :34:49.compared to a Disney film. As you saw there, the movement isn't great.
:34:49. > :34:55.It is less fluid than Frankenweenie, which was made with little models,
:34:55. > :34:59.this is meant to be CGI. They have missed a trick in dubbing it for
:34:59. > :35:09.the English market. At the very least they could have given them
:35:09. > :35:09.
:35:09. > :35:19.coddy, Nordic, they -- comedy Nordic, you could have had Bjork,
:35:19. > :35:21.
:35:21. > :35:26.or swars neglecter, they have with -- Schwartz neglecter, and they
:35:26. > :35:31.have Sw -- they have these silly accents and the hammer. You drew
:35:31. > :35:33.the short straw. We sent Leslie to a film that has become a festival
:35:34. > :35:40.favourite. Beast of the Southern Wild, is
:35:40. > :35:46.adapted from the play Juicy and Delicious by Lucy Alaba, it is
:35:46. > :35:54.narrated by hush puppy, who lives with her hard drinking father in
:35:54. > :35:58.the bath tub, a fictional locality, beset by rising waters and
:35:58. > :36:08.Catriona-style storms. The whole universe defends on everything
:36:08. > :36:09.
:36:09. > :36:16.fitting together just right. If one piece busts, even the smallest
:36:16. > :36:23.piece, the entire universe will get busted. Director Ben Zietlin, won
:36:23. > :36:29.the Cannes dor for Best Feature in Cannes this year. Chose to cast
:36:29. > :36:36.non-professional actors from the Louisiana Bayou. Are you leaving me
:36:36. > :36:39.alone. If you be gone, I be gone too. Plaudits all around the world,
:36:39. > :36:43.an extraordinary performance of the five years old, six-year-old when
:36:43. > :36:49.she did. Your feelings? I was bowled over by it. There is already
:36:49. > :36:55.a bit of a backlash, it is around since sun dance, winning awards
:36:55. > :36:59.everywhere, winning the Palme d'Or at Cannes. It was an emotional film,
:36:59. > :37:03.it was beautifully assembled. We are talking about budgets. Money
:37:03. > :37:09.into light is the great phrase of what cinema is about. This was done
:37:09. > :37:13.on �2 million, less than the Icelandic Thor movie. It looks
:37:13. > :37:16.luminous, it is beautiful 16mm filming. The idea it is shot in
:37:16. > :37:21.16mm, rather than digital, you would think with a tight budget
:37:21. > :37:31.that would be the default setting, but the 16mm does add to the look
:37:31. > :37:40.of the film? It gives it the grainy, gritty feeling, it goes back to the
:37:40. > :37:46.films like the 1960, Give Me Shelter. Yet he's working on film
:37:46. > :37:49.with water and children and fire. The things you shouldn't do, and
:37:49. > :37:54.got astonishing performance, the little girl has charisma to spare,
:37:54. > :37:58.a great little performer, but the director needs the he credit. To
:37:58. > :38:02.coax that performance out of a five-year-old is no mean feat. It
:38:02. > :38:06.has depth, beauty, something to say about America. It is symbolic and
:38:06. > :38:11.beautiful and magical realist, but it also is about itself. It works
:38:11. > :38:15.on a very simple realist level, about a story about a community
:38:15. > :38:20.under stress, experiencing tragedy, pulling together. But not soppy.
:38:20. > :38:25.Some people have accused it of being sentimental. It worked for me.
:38:25. > :38:28.This had me in floods of tears, especially the ending scene.
:38:28. > :38:32.looks great and sounds great, it has a wonderful soundtrack t
:38:32. > :38:36.becomes almost a musical in some places? There is a lock together of
:38:36. > :38:43.sound and image. These sweeping strings, slightly electronic noises,
:38:43. > :38:51.mixed with the sound of the thunder, these creatures, prehistoric
:38:51. > :38:55.creatures, Ice Age creatures, the Orox, the little girl character
:38:55. > :39:00.imagining being thawed out, and they are working their way towards
:39:00. > :39:06.her, and the sound of the hooves and the water rushing with the
:39:06. > :39:15.flood. Everything is organically unified throughout the film. When
:39:15. > :39:21.ever one evokes Malix? I don't think Terence Malik should have
:39:21. > :39:25.ownership over the elements. He has made something quite different.
:39:25. > :39:35.Terence Malik has gone into Cosmo logical creations, I think this is
:39:35. > :39:39.better than recent malik. I went to see Argo Ben Affleck's gripping
:39:39. > :39:44.thriller about the siege of the embassy in Iran. Many are unaware
:39:44. > :39:52.of the bizarre twist of CIA teeming up with Hollywood attempting to
:39:52. > :39:58.sneak people out of the country under a fake science fiction movie.
:39:58. > :40:03.We all fly out together as a film crew. I need you to make a fake
:40:03. > :40:06.movie and help me. You want to act like a big shot in Hollywood
:40:06. > :40:11.without knowing anything? You will fit right in.
:40:11. > :40:17.We need an exotic location to shoot. You need a producer. If I'm doing a
:40:17. > :40:21.fake movie, it will be a fake hit. This isn't going to be the best
:40:21. > :40:31.baded in? This is the best bad idea by far. Argo is out in November.
:40:31. > :40:36.That is almost all. My thanks to Leslie, Safraz, and Jo. And the One
:40:36. > :40:46.Studio for letting us use the -- the One Studio, and letting us use
:40:46. > :40:47.
:40:47. > :40:57.the studio. We will be looking at Sky fld fall, stay tuned for Jools
:40:57. > :41:05.Holland. Tori Amos has re-released her album with orchestra, here she
:41:05. > :41:11.is now. # So it begins again
:41:11. > :41:21.# One zip # Favouring familiar sill wits
:41:21. > :41:23.
:41:23. > :41:28.# Behind I'm boycotting trends # It is my new look this season
:41:29. > :41:32.# Riding on bags of # Palominos
:41:32. > :41:41.# It is as good # As good
:41:41. > :41:47.# As it gets # With girl disappearing
:41:47. > :41:54.# With all of the cold ankle # She's right in front of me
:41:54. > :42:02.# Girl disappearing # To some secret prison
:42:02. > :42:05.# Behind her # Eyes she whispers
:42:05. > :42:15.# Big surprise # There was
:42:15. > :42:16.
:42:16. > :42:23.# No protection by this # Urban life
:42:23. > :42:33.# So I'm running to # A constellation
:42:33. > :42:41.
:42:41. > :42:45.# Where they can still see you # She can spread
:42:45. > :42:48.# Herself so thinly # She slipped in before I could
:42:48. > :42:58.notice it # Riding on bags
:42:58. > :42:58.
:42:58. > :43:05.# Of palominos # Working her hell
:43:05. > :43:08.# On that red carpet # With girl disappearing
:43:08. > :43:18.# What is occurring # Because she's right in front of
:43:18. > :43:19.
:43:19. > :43:24.# A girl disappearing # To some secret prison
:43:24. > :43:27.# Behind her # Eyes she whispers
:43:27. > :43:37.# Big surprise # There was
:43:37. > :43:40.
:43:40. > :43:47.# No protection by this # Urban light