:00:18. > :00:23.On the review show tonight, the East End of London. Seen through
:00:23. > :00:28.the lens of one of its most famous sons, David Bailey. I hate all
:00:28. > :00:31.those old fart that is want to talk about the 60s. And transformed by
:00:31. > :00:39.the architecture of the Olympic Park. Four new films commissioned
:00:39. > :00:44.to mark the Olympics. And reverse. Into our cow.
:00:44. > :00:48.And other highlights of the London 2012 festival. 10 million
:00:48. > :00:54.opportunities to see 12,000 events and performances, but to what
:00:54. > :00:59.extent is there something for everyone.
:00:59. > :01:06.Lining up on the starting blocks are the writer and critic, Morley
:01:06. > :01:11.more, author and historian, Bettany Hughes, and Dreda Say Mitchell. The
:01:11. > :01:15.photographer David Bailey was born and brought up in London's East End,
:01:15. > :01:23.it is right his exhibition should be in the Royal Docks, as part of
:01:23. > :01:28.the capital's CREATE festival. David Bailey's east en, encompass -
:01:28. > :01:34.- East End, encompasses the change in the area. Looking at three
:01:34. > :01:38.decades in his career. Using unseen images from his vast collection.
:01:38. > :01:42.How did this exhibition come out, what motivated and prompted it?
:01:42. > :01:49.have been working on a book about the East End three or four years
:01:49. > :01:53.before. There will be three volumes, the 60s, the 80 and the present day.
:01:54. > :01:57.-- the 80 and the present day. Some how, I think somebody contacted
:01:57. > :02:01.somebody, at Boris's office, they showed me this compresser house,
:02:01. > :02:05.they said the lighting is pretty awful, but I quite like that
:02:05. > :02:09.lighting and all the reflections in pictures, it gives it another depth.
:02:09. > :02:15.What about the pictures from the early 60s, they are very surprising,
:02:15. > :02:19.I have never seen that body of your work? Visually for me the 60s are
:02:19. > :02:25.emotional, they are more somebody searching. I'm searching. I love
:02:25. > :02:30.the loneliness of them. I notice there is always a lonely figure, it
:02:30. > :02:36.sort of, I remember the East End, especially around Stepney and Brick
:02:36. > :02:43.Lane, having a lonely feeling. It was always seemingly raining.
:02:43. > :02:51.the 80s, what is the thing there? Cold, I become very technically
:02:51. > :02:56.cute, and knew, you know, you kind of take the cubic path. The 80s
:02:56. > :03:00.ones are my German pictures, they are all on expensive lens and tilts.
:03:00. > :03:08.And then in the last five years? They are more, then I didn't know
:03:08. > :03:13.what to do. I only use digital for street or snaps, it is, the digital
:03:13. > :03:17.cameras don't have attitudes, they take a similar picture. I have
:03:17. > :03:21.watch my mates use digital and they look at it and say they have got t
:03:21. > :03:26.you never have got T because it is on digital you see it and think you
:03:26. > :03:30.have. On film you don't ever think you have it, you go a bit further.
:03:30. > :03:37.The whole exhibition is your relationship to a particular place,
:03:37. > :03:41.or an area? Or a person. Do you feel, still, distinctly connected
:03:41. > :03:44.to that part of London, that is now becoming the Olympic site? First of
:03:44. > :03:48.all, I don't think it is taking over the whole of the East End,
:03:48. > :03:53.there is plenty of it left. The East End gets pushed and pushed, it
:03:53. > :03:56.will end up in France if it is not careful. Or Holland. It keeps going
:03:57. > :04:04.east. They should have gone west, if they were smart arses, that is
:04:04. > :04:09.the way it end went. Does it make you nostalgic? No, I hate nostalgia,
:04:09. > :04:13.it is awful, it is, I can't think, I hate all those old farts that
:04:13. > :04:19.want to talk about the 60s, and notth's gone, it is done, there is
:04:19. > :04:23.a few snaps of it left, let's move on. Now it is the most interesting
:04:23. > :04:28.moment we are ever going to have, isn't it?
:04:28. > :04:33.I think it probably is, in that philosophical sense, Paul Morley.
:04:33. > :04:36.There is plenty of new work in this exhibition, were you surprised or
:04:36. > :04:40.did it reinforce what you expected him to do? I have always known away
:04:40. > :04:44.from the image of Bailey he's great photographer. It great to see the
:04:44. > :04:49.sense of the now of the 60s, that was his now, he was in his element,
:04:49. > :04:55.it is this energy, and a craving of these people he captures, some more
:04:55. > :04:59.famous than others. It tell us how this is both an exhibition about
:04:59. > :05:04.Bailey's growth and the East End of London, and the parts are well done.
:05:04. > :05:08.The tremendous sense of him discovering himself in the 60s. In
:05:08. > :05:13.the 80s, as he says, there is a coldness about it, he's using it as
:05:13. > :05:17.a back drop. The East End has gone into stasis, it is dropping off the
:05:17. > :05:21.edge of the planet. It is almost beyond him when it goes digital.
:05:21. > :05:28.You realise the great analog period is over in many sorts of ways, and
:05:28. > :05:31.that energy and depth and life of the 60s has become ghostly he is
:05:31. > :05:34.not sentimental about t he's still looking and finding things.
:05:34. > :05:39.Equipment isn't helping him. There is a brittleness about it -- the
:05:39. > :05:44.equipment isn't helping him, there is a brittleness about it, that is
:05:44. > :05:50.clear to the times. These are historical documents, is there a
:05:50. > :05:54.timelessness, does Bailey manage to transcend his time, or is he always
:05:54. > :05:57.emphatically seeming to produce it? He is of his time, that is why he's
:05:57. > :06:03.such a brilliant photographer. So interesting to hear him talking
:06:03. > :06:06.about the 60s, and not being nostalgic about the 60s, he's so
:06:06. > :06:09.right, I'm sick of hearing about the swinging 60s, for those who
:06:09. > :06:15.lived in the decade the party was happening somewhere else, and you
:06:15. > :06:19.were on your own in a street in Stepney or Hackney. Or in Ronnie
:06:19. > :06:24.Kray's pub, which was firebombed moments after he took those photos
:06:24. > :06:29.there. If you look at some of the photos from 1961, you would say
:06:29. > :06:34.they were blilts photos, these are bombed and devastated streets. He
:06:34. > :06:38.has such tenderness for them. It takes place in the compressor
:06:38. > :06:42.building that was an old refrigerator. Without being too coy
:06:42. > :06:47.about it, the warmth out of the exhibition is enormous, he loved
:06:47. > :06:51.the taking of the photos, he loved the selecting, very few photos, not
:06:51. > :06:57.man in there at all. I get the sense he's being very involved in
:06:57. > :07:04.the way they have been mounted. I know he has, we were talking to the
:07:04. > :07:10.attendant, he said they made them find a tape producer for the labels,
:07:10. > :07:14.and they had to get one from the 60s. I love that he has said he
:07:14. > :07:18.doesn't like old farts getting nostalgic about the 60s, what about,
:07:18. > :07:22.then, the present in Bailey's work, what about the more recent
:07:22. > :07:27.photographs in particular, you live and work in the East End. Is this
:07:27. > :07:32.your East End, or does it chime with Bailey's East End? Which
:07:32. > :07:36.picture really struck me, from the 1960s, and I think what he does is
:07:36. > :07:41.very complex, it is the one in Spitalfields that we have shown,
:07:41. > :07:44.with the church in the background, I used to be a brownie at a
:07:44. > :07:48.neighbouring church down the road. What you have in that picture is
:07:48. > :07:52.not just a sense in the foreground of the wreckage of an Industrial
:07:52. > :07:57.Society, but you have that fabulous church that, even the shape of it,
:07:57. > :08:01.the tallness of it, you have got a real sense of prosperity and grand
:08:01. > :08:05.do you remember of the industrial age. So you have these two ages,
:08:05. > :08:10.that he snaps in this one shot. I tell you what I found out about the
:08:10. > :08:15.80s that was interesting. I lived in Docklands, I lived in Wapping
:08:15. > :08:19.for years, the pictures of his wife, I tell you what, I think sometimes
:08:19. > :08:21.what I would have liked is this sense that the Docklands and the
:08:21. > :08:25.warehouses, now people have stopped working in them, now they are
:08:25. > :08:28.living in them. I would have liked some pictures of people living in
:08:28. > :08:33.the warehouses, because I think sometimes we get this impression
:08:33. > :08:37.that the 80s in the East End was a dead time, it wasn't actually at
:08:37. > :08:41.all. It is about the idea of dwelling slightly on the 60s, now
:08:41. > :08:45.we are beorning to work out what was going on -- beginning to work
:08:45. > :08:48.out what was going on there, we are asking the questions and disregard
:08:48. > :08:53.them. And the idea that people were trying to piece together a new
:08:53. > :08:56.world, and sourcing their own sense of freedom, I think Bailey's trying
:08:56. > :08:59.to find his freedom. In the programme today it is interesting
:08:59. > :09:04.to see an unmonitored sense of people away from constantly being
:09:04. > :09:09.caught out and looked at. Bailey is capturing something that was rare
:09:09. > :09:14.to capture. Now, most images are constant, ever present. You get
:09:14. > :09:17.something really rare about the past that transcends being just
:09:17. > :09:20.nostalgic, you are not looking at it to say the good old days, but
:09:20. > :09:24.you are seeing a real energy, and the complexity of the photographs,
:09:24. > :09:28.the sense of the overwhelming nature of history, to an extent had
:09:28. > :09:34.fallen apart. And people with real, boisterous energy, like Bailey,
:09:34. > :09:38.starting to piece it back together. For me, he really gets into the
:09:38. > :09:44.whole of the East End, when people go into East London, particularly
:09:44. > :09:48.now, if you see films, it is gritty, tough, poor and downtrodden, if you
:09:48. > :09:52.look at the pictures in the club, they are suited and booted, the
:09:52. > :09:57.people in the club have their cufflinks on. It was a real thing
:09:57. > :10:02.you had to make yourself look good. Baileyesque almost, it is a big
:10:02. > :10:06.thing in communities. That is a nice thing to end it on, we are
:10:07. > :10:11.setting up what the future and the East End is now, not just suited
:10:11. > :10:15.and boot, but clad in high-tech. For the moment, David Bailey's,
:10:15. > :10:20.East End runs in the Royal Docks until August, there is a longer
:10:20. > :10:25.verse of the interslew on the website. Some of Bailey's -- on the
:10:25. > :10:29.interviews on the website. One of the stated aims of the London 2012
:10:29. > :10:34.Olympics was to transform and regenerate a neglected area of the
:10:34. > :10:40.city. The results are visible in the Olympic Park, containing eight
:10:40. > :10:47.new venues, alongside Britain's tallest work of art, and a 4,000
:10:47. > :10:51.square metres megastore. Beijing's centre piece was the
:10:51. > :10:56.bird's nest, it was always going to be hard act to follow. London's bid
:10:56. > :10:59.for the 2012 Olympics took a different approach, these are the
:10:59. > :11:04.sustainable games, where function trumps form, and buildings are
:11:04. > :11:07.lauded for their green credentials. The main stadium fits the bill. A
:11:07. > :11:14.straight forward structure praised for the use of low-carbon concrete,
:11:14. > :11:20.and the removal is up a teir, making it more viable. The
:11:21. > :11:28.velodrome has made an affectionate nickname, the pringle. The exterior
:11:28. > :11:36.echoing the shape of the track outside, has won many fans. It has
:11:36. > :11:40.been likened to a Stradivarius. The Aquatic Centre, with the wave-like
:11:40. > :11:48.roof, with highboards, and has secured approval from architects
:11:48. > :11:52.and swimmers alike. Other notable new venues are made to the
:11:52. > :11:57.sustainable brief, a reuseful basketball arena, and the copper
:11:57. > :12:03.box, set to become a community sports centre. The stand out
:12:03. > :12:09.structure is the Orbit, it is said to be inspired by the Tower of
:12:09. > :12:14.Babel, but it is more akin to a giant Helter Skelter. As the
:12:14. > :12:18.tallest tower in Britain, it comes with impressive views and a high
:12:18. > :12:23.price tag. Will it become the legacy of London 2012.
:12:23. > :12:31.How did these buildings measure up as landmarks, to previous Olympic
:12:32. > :12:37.landmarks? I think we are judging them a bit too soon, nothing is
:12:37. > :12:42.bedded in yet. When you go to the Olympic Park it is like a fun fair
:12:42. > :12:46.ride, you are arrive on the DLR or the cable car, it feels like an
:12:46. > :12:51.adventure. It is a really mixed bag. Definitely, the Pringle wins out
:12:51. > :12:56.over the volume will you vent, and none match up to the bird's nest.
:12:56. > :13:00.We can develop our new Cockney rhyming slang with all the names we
:13:01. > :13:05.give them. I have been underwhelmed by the buildings, apart from the
:13:05. > :13:10.velodrome, which is equisitely beautiful. It looks like what we
:13:10. > :13:15.are getting right, is it is called an Olympic Park, and for good
:13:15. > :13:19.reason, there is a goodment amount of green space. I want to see as
:13:19. > :13:23.the park develops and matures. Space as much as structure? I have
:13:23. > :13:28.seen quite a lot of this being built, in the car as we drive-by
:13:28. > :13:32.the Olympic stadium, and the velodrome. I have to say, like
:13:32. > :13:36.Bettany, I'm underwhelmed by it all. I don't hear people talking about
:13:36. > :13:41.it, not in the way people are talking about the Shard, you either
:13:41. > :13:45.like it or you don't, but people are talking about it. I remember
:13:45. > :13:51.when the Arsenal stadium of being built, did people talk about that.
:13:51. > :13:55.Only Arsenal fans? No, everyone talked about it. I have to say, in
:13:55. > :14:01.terms of talking about this new architecture, I'm a believer in why
:14:01. > :14:04.not use what we had already, like they did in 1948, very localised
:14:04. > :14:09.games, very successful. The athletes came into accommodation
:14:09. > :14:15.now that was there. And also that venues that were there. I don't
:14:15. > :14:19.know why we spent all this money. You want a Poundland Olympics, more
:14:19. > :14:21.appropriate to the high streets as they are. I want something that
:14:21. > :14:26.focuses on the Olympics, individuals and their talents and
:14:26. > :14:30.what they can do. Looking at the building and space, this was billed,
:14:30. > :14:34.if not the "Austerity Games" of 1948, one of the selling points
:14:34. > :14:38.that Sebastian Coe made to the Olympic Committee, is he would
:14:38. > :14:43.leave the Olympics in a more sustainable state, in terms of
:14:43. > :14:51.structures and buildings. Does that chime with you, have they succeeded
:14:51. > :14:58.in that? It has redrawn my map of East London, therefore, it might
:14:58. > :15:02.redraw the map of East London to a large extent. When you see the
:15:02. > :15:06.street down Bethnal Green, it looks like a distressed rollercoaster,
:15:06. > :15:13.close it is something else. There is a sense of inside an enclosed
:15:13. > :15:16.space, what has happened is a Balardic construct, an other place,
:15:17. > :15:21.the need for the British to present the Olympics in their own way, and
:15:21. > :15:27.the history of the Olympics has created a sub totalitarian bubble,
:15:27. > :15:33.where suddenly the Olympic rings have the feeling of a totalitarian
:15:33. > :15:38.logo. Something sinister has joined in, not the joyfulness of the rings
:15:38. > :15:42.replaced by that. The rings remind me when you had the hypermarkets at
:15:42. > :15:47.the edge of down. They are monuments to capitalism, who are
:15:47. > :15:51.these monuments to? To a few people's egos, within it is a
:15:51. > :15:55.wonderful thing. One or two architects have responded to the
:15:55. > :15:59.freedom of the brief to create wonderful things that no-one else
:15:59. > :16:05.has allowed them to do. temporary is an interesting thing,
:16:05. > :16:11.funnily enough, sculpture in the public domain has become temporary,
:16:11. > :16:15.but in the Olympic Park it is permanent. I want to say to you,
:16:15. > :16:20.Paul, I think you are being a bit harsh on it, I think, actually,
:16:20. > :16:24.there is an permanence there. There is tempity stuff coming away. But
:16:25. > :16:28.there is a character of London that you can't beat down. We have too
:16:29. > :16:33.deep roots to destroy. That the fact you have the beautiful
:16:33. > :16:37.buildings, but still, muddy old Bow Creek is surging around the corner.
:16:37. > :16:40.You were saying that, about the energy and character of the people,
:16:40. > :16:45.it doesn't represent this kind of London, it is droplets of something
:16:45. > :16:48.else. If you talk to local people, there is a real disconnect with
:16:48. > :16:52.those buildings. I think it is what you are saying, Paul, it seems to
:16:52. > :16:58.be happening over there. That may change when the Olympic Park is
:16:58. > :17:02.opened? And the long-term. They look like carcasses already.
:17:02. > :17:07.that edifying and optimistic note, we will end that. We will move.
:17:07. > :17:12.love sport! We will move into the creative domain. The Olympics may
:17:12. > :17:16.not have started yet, but we have almost reached the end of the
:17:16. > :17:20.fourth year of the Cultural Olympiad. According to the
:17:20. > :17:23.organisers more than 16 million people have taken part in or
:17:23. > :17:28.attended performance in the largest cultural celebration in the history
:17:28. > :17:34.of the modern Olympics. If you feel it has passed you buy, don't worry,
:17:34. > :17:39.the London 2012 festival is in full swing. As the Cultural Olympiad
:17:39. > :17:45.races towards the finish line, the arts baton is passed to the 2012
:17:45. > :17:50.festival. An all-encompassing programme, bringing together
:17:50. > :17:55.artists from all over the world. The festival deserves a gold medal
:17:55. > :18:05.for the sheer scale of programming. You may have attended an exhibition
:18:05. > :18:05.
:18:05. > :19:02.Apology for the loss of subtitles for 57 seconds
:19:02. > :19:05.It's clearly enormous, does that size reflect ambition and
:19:06. > :19:09.achievement for you? It does, I think if you are going to have a
:19:09. > :19:13.party, have a big one. I think it does, I think if you're having an
:19:13. > :19:17.Olympics that is looking at humour, endurance and achievement, why not
:19:17. > :19:20.have cultural events as well. What I love about what we are doing with
:19:20. > :19:25.this festival is we are drawing in artists, I believe, from all the
:19:25. > :19:27.countries taking part in the Olympic. What we are doing is
:19:27. > :19:31.putting British achievement, cultural achievement, in the
:19:31. > :19:35.context of world achievement. I just think it is fantastic. We are
:19:35. > :19:41.also having everything from the Proms, to Tate Modern exhibitions,
:19:41. > :19:46.to various projects that may have exists any wa, but is the 2012
:19:46. > :19:50.Festival a good idea, because it gains a momentum and gives a sense
:19:50. > :19:54.of something much larger? There is an obligation to the shadowy
:19:54. > :20:04.figures that run the International Olympic Committee that this must be
:20:04. > :20:04.
:20:04. > :20:08.done. Sorry to be all Albert Steptoe, I love art and sport, I
:20:09. > :20:14.think there is a cultural obligation. The closer you get to
:20:14. > :20:17.that, and things squeezed in to being sporty, and inclusive, and in
:20:18. > :20:22.the long run it is anti-democratic, it gets cold. I get the feeling if
:20:22. > :20:25.you have been to some things and didn't know you were the Olympiad,
:20:25. > :20:29.you would have come across fantastic things. As soon as it
:20:29. > :20:33.gets close to that bloody logo it starts to shiver into the corporate
:20:33. > :20:38.world that is slightly underwomening. The ambition and
:20:38. > :20:43.idea of sell -- underwomening, the ambition and the idea of selling it,
:20:43. > :20:48.it is not all the bleeding obvious. A lot of the mainstream celebration
:20:48. > :20:54.and cermonial aspect of the Olympics is the bleeding obvious,
:20:54. > :20:57.it is great to get things around the edge that are not. Does it
:20:57. > :21:02.matter the Olympiad cultural festival? David Bailey is not part
:21:02. > :21:06.of the festival, and part of CREATE. The art is great as long as the
:21:06. > :21:10.audiences are right. There were interesting kids in the David
:21:10. > :21:13.Bailey, I have been to the events and it is your standard public, it
:21:13. > :21:17.doesn't seem to be anybody new coming to appreciate the art.
:21:17. > :21:22.go deeper into the art, in particular, we have seen the
:21:22. > :21:28.festival is nothing if not diverse, the film strnd is small t includes
:21:28. > :21:33.-- strand is small, it includes four of our known directors and two
:21:33. > :21:38.new ones. From the director of the acclaimed documentary, Senna,
:21:38. > :21:43.coming The Oddyssey. It is a mixture of aerial footage, Olympic
:21:43. > :21:47.archive, and interviews with unnamed Londoners, recalling the
:21:47. > :21:52.excitement of the announcement of the games in 2005, and reflecting
:21:52. > :21:57.the troubles since. It celebrate the inspirational power of sports,
:21:57. > :22:01.and asks, if London, in spite of recent difficulties, can bounce
:22:01. > :22:05.back. Lifetimes of stuff has happened, since that joyous
:22:06. > :22:12.screaming day in Trafalgar Square, but it is still London.
:22:12. > :22:19.It probably is still the greatest city in the world. Mike Leigh's A
:22:19. > :22:25.Running Jump, is fast-paced comedy about an all singing and diving car
:22:25. > :22:28.salesman, desperate to nail a sale. Shimmy on in and take a test flight.
:22:28. > :22:33.You can drive this with chopsticks and wash it on a Saturday night.
:22:33. > :22:37.Away you go. Leight's film also reflects the importance of sport in
:22:37. > :22:46.people's lives. From armchair punditry, to the teaching of
:22:46. > :22:54.aerobics and yoga. And reverse, into your cow.
:22:54. > :23:04.Set on a London council estate, What If, by the street dancing
:23:04. > :23:05.
:23:05. > :23:09.directing duo, draws on Rudyard Kipling's people If, a guardian
:23:09. > :23:15.angel guides a young boy through his troubles. Your's it is earth
:23:15. > :23:25.and everything in it. And which is more, there will be --
:23:25. > :23:26.
:23:26. > :23:30.you will a man, my son. Swimmer is Lynn Ramsey's poetic
:23:30. > :23:37.interpretation following a swimmer through Britain's waterways, lakes,
:23:38. > :23:42.rivers and urban canals. Intended as a showcase of Britain's finest
:23:42. > :23:49.director, these show radically different interpretations of a wide
:23:49. > :23:54.brief. Do they represent the best of British film making talent?
:23:54. > :23:58.How was the balance for you, both of the directors chosen and the
:23:58. > :24:02.films produced? It was a great balance. You have a very quirky,
:24:02. > :24:09.fast-moving film with Mike Leigh, A Running Jump, then you have the
:24:09. > :24:13.documentary, that is great, I loved that. You get such an aerial vision,
:24:13. > :24:17.The Oddyssey, then you get the Swimmer, which to me was a lot more
:24:17. > :24:21.abstract. It was the one I didn't connect with. I could see people
:24:21. > :24:28.connecting with it, it is absolutely beautiful. The favourite
:24:28. > :24:36.one for me was What If, it made me for the first time like brutalist
:24:36. > :24:41.architecture, I absolutely ait hate that. But they use it to show sport
:24:41. > :24:46.really well. And the nod to the Paralympics with the baseball
:24:46. > :24:50.player in the baseball court in a wheelchair. The basketball player?
:24:50. > :24:54.None of them feel like films that would have been commissioned by a
:24:54. > :24:57.tourist board, maybe that was never going to happen. But they give, to
:24:57. > :25:03.a certain extent, warts and all view of Britain, with the
:25:03. > :25:08.exceptional of Swimmer, much more poetic? I wouldn't argue with you,
:25:08. > :25:12.The Oddyssey could be given to the tourist board, beautiful aerial
:25:12. > :25:20.shots. It has the financial crisis? Then you go back to the wonderful
:25:20. > :25:25.sunset across the Shard. They are an eclectic mix, I love the Lynn
:25:25. > :25:29.scam Ramsey, completely abstract and it seems to be the most about -
:25:29. > :25:39.- Lynn Ramsey, completely abstract and it seems to be the most about
:25:39. > :25:45.London. It is waters all around us and the swimming is part. As a
:25:45. > :25:50.historian you must have liked it? There was a Famous Five theme tune
:25:50. > :25:54.to it, she enjoyed making it, you could see that. I love films, there
:25:54. > :25:58.was the thing that happens, I hate to come back to it, it is the sense
:25:58. > :26:02.of obligation. Here it is, we have to dot films now. In that sense,
:26:02. > :26:08.Mike Leigh's was the most honest because it was so slap dash and
:26:08. > :26:13.thrown away, it was like a weak sitcom F he was the Woody Allen, it
:26:13. > :26:17.was the film that would be his worst. The Lynn Ramsey and the What
:26:17. > :26:22.If, and The Oddyssey, they are interesting, they have a sense of
:26:22. > :26:25.whistfulness and bleakness, honest in a different sort of way. I like
:26:25. > :26:28.the idea that The Oddyssey could be a travel log film, it could be
:26:28. > :26:35.selling London to the rest of the world. There is a thing that Jeremy
:26:35. > :26:41.Hunter wants us to move up from the legal tables of most visited
:26:41. > :26:45.countries, from sixth to fifth. I guess that is what it is about, it
:26:45. > :26:51.is what are these films saying about London at the moment a l they
:26:51. > :26:54.achieve it. The Ramsey one, looking back to a postoral Britain, a
:26:54. > :26:57.psycadelic Britain, in black and white, is maybe what will bring
:26:57. > :27:01.people. To an extent The Oddyssey as well, the sense that London is
:27:01. > :27:04.an anxious and tough place, and it represents that really well. But
:27:05. > :27:09.also with a rather British sentimental quality as well. Just
:27:09. > :27:13.to say, it is a shame, I think, as you said it is the best of British
:27:13. > :27:17.making film talent, but not the best films they have ever made.
:27:17. > :27:22.should be, we are going to watch athletes in that. Jo what is the
:27:22. > :27:26.brief, who is in charge? I found it difficult, it needs that thing that
:27:26. > :27:32.at the moment that is so out of fashion, which maybe Danny Boyle
:27:32. > :27:37.will deliver, which is one voice, not this inclusive thing. We don't
:27:37. > :27:40.live We don't live in a country of one voice. You need one in control.
:27:40. > :27:47.That is the problem, it was interesting, this year I went to
:27:47. > :27:51.see John Carlos, one of the Olympiads from 1968, with the Black
:27:51. > :27:54.Power salute, which he said wasn't Black Power, he was talking about
:27:54. > :27:59.what we allow to happen to ourselves, is we allow people to
:27:59. > :28:03.choose our icons, that is kind of almost your modern one voice, that
:28:03. > :28:06.everyone filters through, I don't think it is like that. I think we
:28:06. > :28:13.can have many voices and pathway, that is what I liked about the
:28:13. > :28:20.films, it gave us an eclectic range of forces. Choosing Noel Clarke as
:28:20. > :28:30.our icon. What is wrong with him? That delivery of "If". It was great.
:28:30. > :28:33.
:28:33. > :28:38.No, no, no. They felt slightly committeeised. There were still six
:28:38. > :28:42.executive producers. And the sport was squeezed in. The sport was the
:28:42. > :28:45.overarching thing, you think that was tokenistic. What is it saying,
:28:45. > :28:49.an unexpected sporting moment, not planned and not an ad telling us
:28:49. > :28:51.what will happen, will light up the Olympic Games. At the moment there
:28:51. > :28:57.is so much ordering and organising of how we should respond, and even
:28:57. > :29:02.this art is doing that. I think they have enabled art is a terrible
:29:02. > :29:05.thing. You want the one voice. missing something and focus, its a
:29:05. > :29:10.committee, the committee is the voice. The wider committee, once
:29:10. > :29:14.you start to get inclusive is the voice. That won't lead it a good
:29:14. > :29:18.place, this called Blue Peter inclusiveness. As tkhair of the
:29:18. > :29:23.committee I will stop this -- as chair of the committee, I will stop
:29:23. > :29:29.this. Unlike this sofa here, actually BBC Two and Channel 4 have
:29:29. > :29:35.collaberated on this proebgtj, all films will be shown -- project, all
:29:35. > :29:38.films will be shown next week. In an attempt to cover as much ground
:29:38. > :29:42.as possible, we have split the panel up and sent them to report on
:29:43. > :29:46.different events. Bettany, you first, you went to the Royal Opera
:29:46. > :29:56.House, to see a collaboration that involved ballet, choreographer,
:29:56. > :29:57.
:29:57. > :30:00.dancers, artists and a robot? robot who is a goddess. It wasn't
:30:00. > :30:04.entirely coincidental, there is an ancient historic theme to this,
:30:05. > :30:10.that is why I leapt at the chance to see it. There is a lot of names,
:30:10. > :30:16.I went to see Titian 2012, there is also Metamorphosis, at the national
:30:16. > :30:21.gall hery they are responses to this extraordinary group of peoples,
:30:21. > :30:28.in particular the story of Diana and Acteon, the cheeky hunter, who
:30:28. > :30:32.spies on her, turns into a stag, and eaten by his own hounds.
:30:32. > :30:42.Chris Ofili, responding to Titian, and in turn they have worked with
:30:42. > :30:42.
:30:42. > :31:27.Apology for the loss of subtitles for 57 seconds
:31:27. > :31:32.the Royal Ballet. Let's see the Plenty of Metamorphosis there, did
:31:32. > :31:37.it do justice to its origins? I loved the ambition of the project,
:31:37. > :31:41.I loved the fact it could have gone so spectacularly wrong, you have so
:31:41. > :31:45.many people involved, it short circuited you back to the
:31:45. > :31:51.brilliance, and beyond that to the primal, prehistoric roots of the
:31:51. > :31:56.games themselves, like the sanctuary of Artimis, a spiritual,
:31:56. > :32:01.dark, dangerous place, Trespass, gets you straight there. It
:32:01. > :32:07.succeeds on every level. It is at the Royal Ballet, but there is an
:32:07. > :32:10.exhibition at the national gallery and there is a book. Something more
:32:10. > :32:13.temporary, you were in Stratford at the royal theatre in Stratford, you
:32:13. > :32:21.weren't inside, what were you doing? This is a collaboration
:32:21. > :32:27.between the theatre Royal, strat -- Theatre Royal, and an Australian
:32:27. > :32:31.company, it is an award-winning production, called On Route, you
:32:31. > :32:36.turn up in a designated space outside, someone sends you to
:32:36. > :32:42.someone else, you get a set of headphones and an MP3 player, and
:32:42. > :32:47.lots of interactive instructions, envelopes on walls, messages own
:32:47. > :32:52.walls, tracks telling you where to go. You start wandering in spaces
:32:52. > :32:57.you wouldn't usually wander. It is a fantastic example of psycho-
:32:57. > :33:01.geography. The idea is people in urban dwellings are meant to send
:33:01. > :33:07.off their beaten track. I ended up in spot and spaces. I know
:33:07. > :33:12.Stratford well, that I would never end up in. Let's see where you did
:33:12. > :33:17.end up. If I told you a loved and hated the city. Loved and hated the
:33:17. > :33:22.way it surprises me, the way it changes, transforms. If I told you
:33:22. > :33:31.I loved this city. Loved and hated the way it takes me with it,
:33:31. > :33:41.absorbs me. Love the way it surprises me. Would you believe me?
:33:41. > :33:47.
:33:47. > :33:50.Take a photo, now, take a photo. Licensed graffiti there. I loved it.
:33:50. > :33:55.Did you feel vulnerable, did you feel you were being taken to place
:33:55. > :34:00.you didn't necessarily want to go? Definitely, for example, there were
:34:00. > :34:03.a couple of stairwells, if I had been on my own, I had somebody with
:34:03. > :34:06.me, I wouldn't have actually gone up. I know the theatre company they
:34:06. > :34:10.were monitoring and making sure you were safe. But as a woman, every
:34:10. > :34:14.now and then, I thought, if I was doing this on my own, he wouldn't
:34:14. > :34:17.go to certain spaces. But, you knew somebody was looking after you. So
:34:17. > :34:23.it was great in that sense, because you were then able to enter spaces
:34:23. > :34:28.you wouldn't go to. Theatre tends to be, obviously we're isolated
:34:28. > :34:32.individuals, but we experience it communally, this seemed to be a
:34:32. > :34:35.more isolated experience, of that strong? What they wanted to do was
:34:35. > :34:40.to make it a solitary experience, for somebody to do on their own of
:34:40. > :34:44.the I'm not that kind of person, I want somebody with me, I had
:34:45. > :34:49.somebody with me, every now and then I could flip the ear phones of
:34:49. > :34:52.and ask what you think and what will you write on the wall.
:34:52. > :34:55.Something very nice happens to you at the end, which I won't tell
:34:55. > :35:01.anybody about. People can experience it for themselves. Paul,
:35:02. > :35:05.had you the monumental job of experiencing as many of the 20,
:35:05. > :35:08.2012 commissions for music, 12- minute slots each. They have been
:35:08. > :35:11.played in various place all over the country. For the first time
:35:11. > :35:21.they were all performed over the same weekend at the Southbank
:35:21. > :35:48.
:35:48. > :35:58.# Can you not stop running # Stop running
:35:58. > :36:10.
:36:10. > :36:14.So how was it for you? Just wandering into spaces you never
:36:14. > :36:17.usually wander, that is the function of this kind of music,
:36:17. > :36:22.contemporary music. I love music, what is interesting about that is
:36:22. > :36:27.the idea that some of this contemporary music will be some of
:36:27. > :36:31.the most marginalised alleyways of modern culture, to an extent. It is
:36:31. > :36:34.often the distance is down ununusual alleyways, it is an
:36:34. > :36:39.opportunity for them to get some attention. Within that you kind of
:36:39. > :36:42.think, there has to be 20, and they have to be 12 minutes each, they
:36:42. > :36:48.didn't have to have a sporting theme, but everybody did do them.
:36:48. > :36:52.There is lots of lines on the stage. That was a frame for people to kick
:36:52. > :36:57.against? It is interesting, it workeded in a number of ways. The
:36:57. > :37:04.opera, in 12 minutes it is a tremendous opera. It gave us an
:37:04. > :37:09.opportunity to come across someone like Graham Phikin, one of the
:37:09. > :37:15.great composers in the country, no- one will know his name. Even though
:37:15. > :37:20.he's squashed into being one of the 20, you get a sighting of someone
:37:20. > :37:24.who needs more exposure. That was a real success. People wandering off
:37:24. > :37:28.the streets too, because they were free. People sit down and coming
:37:28. > :37:32.across different forms of music, way outside the Gary Barlow end of
:37:32. > :37:36.things. And being excited, seeing different levels of fantasy, noise,
:37:36. > :37:41.ways of expressing themselves. Even though the thing had that thing
:37:41. > :37:45.that I love music, but the relay, it is a marathon, I think this was
:37:45. > :37:48.a tremendous example of how a focus over things released over a year or
:37:49. > :37:53.two suddenly came into one place, and really gave a meaning about
:37:53. > :37:57.other places to listen to, that are usually covered up. Instead of the
:37:57. > :38:02.idea about Olympics and the Cultural Olympiad being about
:38:02. > :38:05.legacy in terms of monument or works of art that will last, I get
:38:05. > :38:10.the impression from you all that the strongest things are
:38:10. > :38:13.experimental, and are only with now, and what happens in the future are
:38:13. > :38:17.not a concern of the those creating them? It is interesting that it
:38:17. > :38:20.needs something like this to give access and space to the tremendous
:38:21. > :38:23.nature of what is at the heart of this, one of the most central parts
:38:23. > :38:28.of our soul, which is experimentation. But the corporate
:38:28. > :38:31.world, of course, continue, and tries to undermine it, because it
:38:31. > :38:35.is ideolgical, they want to control that, because it leads to the sort
:38:35. > :38:39.of freedom they wouldn't like, and we would all be complaining about
:38:39. > :38:43.the totalitarian logo. The legacy is the moment when your mind is
:38:44. > :38:49.open to something new. That is the thing. And we share it. I think it
:38:49. > :38:54.is the connections people make, dare I use the word "inclusive"
:38:54. > :39:00.connections people make. We may have agreement breaking out. We
:39:00. > :39:05.will end with historical precedence, the arts and Olympics have a long
:39:05. > :39:11.shared history, a long time ago, artists were up for medals
:39:11. > :39:15.alongside the athletes. The revival of the Olympics came down it a
:39:15. > :39:19.Frenchman. Art was just as important to his vision as sport.
:39:19. > :39:25.He wanted the event to unite the muscles and the mind.
:39:25. > :39:32.Beginning with the stock Millennium Dome games of 1912, art med --
:39:32. > :39:37.Stockholm games in 1912, art medals were given out in 12 catagories,
:39:37. > :39:42.sculpture, music, literature and art. They had to relate to sport in
:39:42. > :39:50.some way. Works have been submitted from all over the world. This group
:39:50. > :40:00.in plaster from Sweden has won a first prize. He himself won the
:40:00. > :40:04.
:40:04. > :40:08.literature measure, with his Ode to Even athletes got in on the act,
:40:08. > :40:17.several wins medals for sports and art.
:40:17. > :40:21.Bartok, Ravel and Stravinsky sat on the music board, but were so
:40:21. > :40:26.unimpressed they didn't award a single medal. Few Olympic artists
:40:26. > :40:30.are remembered today. After 1948 art medals were dropped in favour
:40:30. > :40:37.of exhibitions and festivals. If art medals had survived, who would
:40:37. > :40:44.be on the podium this year? Bettany, is this an hissoral idea
:40:44. > :40:53.to be resurrected in further -- an historic idea to be r resurrected?
:40:53. > :40:57.It was Mark Wenlock who reinvented the Olympic Games, and had medals
:40:57. > :41:04.for embroidery. I think we should have medals for the unsung heros. I
:41:04. > :41:09.would like to see a medal for a group that have revived
:41:09. > :41:16.synchronised swimming in Worthing. Who would get your medal for
:41:16. > :41:22.cultural achievement in the Cultural Olympiad? Dr D, Rufus N
:41:22. > :41:26.Norris, a beautiful collaboration with David Albarn. The great and
:41:26. > :41:30.the good getting your medals? a man of the street. I don't agree
:41:30. > :41:34.they should be brought back. Because I think it is the Olympics,
:41:34. > :41:38.and it should be a focus on sports, I used to do sports when I was
:41:38. > :41:42.younger, I would love it see that continue. In the spirit of my crass
:41:42. > :41:46.question, who would win the medal for you. I wouldn't choose anyone,
:41:46. > :41:51.I have an issue with the question, my issue is, I often think awards
:41:51. > :41:54.are done by a small select group of people, and the majority of people
:41:54. > :41:59.don't get to vote, really, we would be choosing the great and the good.
:42:00. > :42:09.If you asked me, I want people who do cake-making, corb chet, and
:42:09. > :42:16.those kind of people. There was an excellent piece I
:42:16. > :42:22.didn't mention called Spinal Chords. I love this, I would give all sorts
:42:22. > :42:26.of people it. The gold medal should go to the cast of 2012 they are our
:42:26. > :42:30.enduring legacy I'm hoping Danny Boyle will be energetic and
:42:30. > :42:36.romantic and eccentric enough to win a medal as well. That is almost
:42:36. > :42:40.all from us, review show medals and Jim Will Fix It to Paul and Bettany,
:42:40. > :42:44.they will fight it out in the Green Room. Tell us what you think via
:42:44. > :42:48.Twitter, and check out the website. We are taking a break for the
:42:48. > :42:53.Olympics, but the review show will be back looking at the best of the
:42:53. > :42:59.Edinburgh Festival in August. We leave you with one of the fiech
:42:59. > :43:03.official songs composed for Rock the Games. It is Survival by Muse.
:43:03. > :43:10.# I'm gonna win # Yes I'm gonna win
:43:10. > :43:16.# I will make the fuse # I'll never lose
:43:16. > :43:20.# I choose to survive # Whatever it takes