:00:35. > :00:37.The review show is back for 2012, in the line up tonight. George
:00:37. > :00:41.Clooney's Oscar-nominated performance in The Descendants.
:00:41. > :00:48.Don't ever do that to me again. new exhibition from one of
:00:48. > :00:55.Britain's greatest living artists, David Hockney. Legendary songwriter,
:00:55. > :00:59.Leonard Cohen's first album in eight years.
:00:59. > :01:04.CIA agent, Claire Danes, searching for the truth about marine, Damian
:01:04. > :01:09.Lewis, in Homeland on Channel 4. Sergeant Brody is due home tomorrow
:01:09. > :01:14.morning, that gives us just under 22 hours. In our cultured crew,
:01:14. > :01:19.David Morrissey has starred in everything from TV's State of Play,
:01:19. > :01:26.to Macbeth at Liverpool's Everyman Theatre. Music critic, Paul Morley,
:01:26. > :01:32.who cut his teeth on MNE, and whose critical factors get Sharpe, and
:01:32. > :01:37.Natalie Haynes, whose most recent book is An Ancient Guide To Modern
:01:37. > :01:41.Live. And Maureen Lipman, one of Britain's best known and respected
:01:41. > :01:45.actresses. Welcome to the first Review show of the year. After a
:01:45. > :01:49.short break of the festive period we are back with a bang to give you
:01:49. > :01:54.the cream of culture over the next few months. We will have new talent,
:01:54. > :01:57.Jake Bud will be live in the studio. We have David, Natalie, Paul and
:01:57. > :02:00.Maureen to give their views. We want to hear from you too.
:02:00. > :02:07.Get in touch. First up tonight, a new film from
:02:07. > :02:12.one of Hollywood's most successful, not to mention photogenic actors.
:02:12. > :02:16.The Descendants has won a trio of Golden Globes, one for the movie,
:02:16. > :02:19.the director and Clooney took Best Actor. It was nominated for five
:02:19. > :02:25.Oscar, including one for Clooney who plays the distant father of two
:02:25. > :02:34.girls. George Clooney plays Matt King, who
:02:34. > :02:39.lives in the seeming paradise of Hawaii. He is the distant father of
:02:39. > :02:43.two precocious daughters, whose mother is in a coma after a water
:02:43. > :02:48.skiing accident. He discovers his wife has hidden secrets, which
:02:48. > :02:56.comKates things. Mom is cheating on you. That is what we have thought
:02:56. > :03:00.about. When I was home at Christmas I caught her with a guy. It made me
:03:00. > :03:06.sick. I went back to school thinking that was it, that I was
:03:06. > :03:15.done with her, I was going to call and tell you everything. Then the
:03:15. > :03:19.accident happened, and... I was waiting until she woke up, I guess.
:03:19. > :03:25.You didn't even suspect, right? This is director Alexander Payne's
:03:25. > :03:35.first film for seven years, following the critically acclaimed
:03:35. > :03:45.
:03:45. > :03:49.About Schmidt with Jack Nicholson Who is he? In common with those
:03:49. > :03:55.earlier films, The Descendants also has a focus on men navigating
:03:55. > :04:01.through an apparently skewed world, where the pathos of personal crisis
:04:01. > :04:11.is approached with a self-dep Kateing sense of humour. This is
:04:11. > :04:13.
:04:14. > :04:18.Sid. What's up bro. Is this a notable departure from what we
:04:18. > :04:25.expect from Clooney. How does he inhabit the male character of an
:04:25. > :04:29.Alexander Payne movie? Natalie, Alexander Payne decided he
:04:29. > :04:34.wasn't right for Sideways to be the vain actor, did he choose the right
:04:34. > :04:39.guy? If anybody picked the wrong guy it was George Clooney, Sideways
:04:39. > :04:44.was a great script, Giamatti talks about a wine, and how the grape is
:04:44. > :04:49.difficult to grow and precious and he really means him, sub-sex, sub-
:04:49. > :04:53.text. In it, it is when someone writes anything they are told show
:04:53. > :04:57.don't tell, this is what happens when you disregard that advice.
:04:57. > :05:02.People walk into the scenes and go, I'm angry and sorry, it is
:05:02. > :05:08.complicated and confusing, somebody else goes in and says I'm clever
:05:08. > :05:13.and I talk about chess club. Is there anything to dramatise about
:05:13. > :05:20.Payne, everybody tells what you they are thinking, it is on-the-
:05:20. > :05:26.nose dialogue all the time. Boring? I think Clooney is brilliant in it.
:05:26. > :05:31.He goes from dramatic to comedic in the blink of an eye. The film
:05:31. > :05:36.traedz a fine line tonally, my disappointment is the way they
:05:36. > :05:40.treat the wife, she's a bad wife and mother, and a fool because
:05:41. > :05:44.she's married to George Clooney and has an fair with a bloke who is an
:05:44. > :05:50.idiot. The film really does tell you that this family are better off
:05:50. > :05:55.without her. That is strange and disappointment for me. I enjoyed
:05:55. > :05:59.the film more than you did. That is a real shame. You want him to have
:05:59. > :06:03.a little bit more about him than that. It means he has no journey,
:06:03. > :06:07.we start with everyone going he's a distant father. He's a nice dad
:06:07. > :06:12.from the start it's loving, caring and present. We're never given to
:06:12. > :06:16.believe's not better off without her. The wife, we have no backstory
:06:16. > :06:22.from her point of view. Clooney, the physical tee, I have never seen
:06:22. > :06:28.him change so extraordinarily as he did. He has done everything, he's
:06:28. > :06:33.been in espresso ads anden up in the air and the Ides of March,
:06:33. > :06:42.never a cluts? He shouldn't have done it, he's wonderful, I agree
:06:42. > :06:48.with you both. He pulls it off, it's a performance. The funny run
:06:48. > :06:56.with the flip-flops and the Hawaiian shirts. Can somebody
:06:56. > :07:06.explain to me, one Golden Globe, three, one Oscar nomination, five?
:07:06. > :07:07.
:07:07. > :07:15.It is on th knows dialogue? -- noise dialogue? It is Clooney-world,
:07:15. > :07:19.it is going with the theme park.'S A smart guy? Clooney is fantastic,
:07:19. > :07:24.without Clooney this film would be pretty much nothing. It is like a
:07:24. > :07:27.pilot for a fairly average Hawaiian soap. We have the backstory as well,
:07:28. > :07:33.he's actually lawyer and he is going to orchestrate a land deal
:07:33. > :07:37.with his family, that story is going through. It never recovers
:07:37. > :07:41.from the original narration that Clooney gives, it is writ nonway he
:07:41. > :07:44.as a character does speak, you are being warned this is not a good
:07:44. > :07:48.film, because Clooney is speaking something he wouldn't speak. It is
:07:48. > :07:52.the tone of it, without him I think the film would fall apart. The film
:07:52. > :07:59.is nothing without Clooney. He is an actor you feel really safe with,
:07:59. > :08:02.you feel like he's going to look after you. There are other good
:08:02. > :08:07.performances. His daughter is wonderful. This clip is Clooney
:08:07. > :08:14.getting to know his daughters, he has come back home, clearly, he's
:08:14. > :08:23.having to make awe new relationship with them. -- a new relationship
:08:23. > :08:29.with them? Get out of my underwear, you freak. Back inside, put on a
:08:29. > :08:33.swimsuit. Why? Now. Real good job you're doing. That is part of why I
:08:33. > :08:39.brought you here, you have to help me with her, I don't know what to
:08:39. > :08:45.do with her. Maybe if you spent more time with her, she wouldn't
:08:45. > :08:50.act like a complete jazz. The older girl calibrates the relationship
:08:50. > :08:57.with her father really well. They are all extremely all lented, they
:08:57. > :09:07.all do a good job. They are acting their socks off. Everything about
:09:07. > :09:08.
:09:08. > :09:11.the film is unoriginal. Chinatown did the land beauty better, and
:09:11. > :09:16.American Beauty did the dysfuntional parents better. I wish
:09:16. > :09:21.he hadn't set it up, the director is proud of it that Hawaii is not
:09:21. > :09:24.necessarily a paradise, it is pedestrain, but's overproud of it.
:09:24. > :09:30.He makes the point, and after a while you think you have made the
:09:30. > :09:35.point, what is the next point. is so pedantic, there is three
:09:35. > :09:39.curtains, you know he will open the first, the second and then the
:09:39. > :09:42.third curtain, whether you want him to or not. What about Payne, you
:09:42. > :09:47.were talking about we don't know the woman, she's obviously a bad
:09:47. > :09:52.woman. In all his films he's only interested in the male characters?
:09:52. > :09:55.It feels like his divorce didn't go very W all the way through it is
:09:55. > :10:01.like Alexander Payne, I don't know what happened. Maybe that is why it
:10:02. > :10:06.fails, at the centre is a woman in a coma, maybe we never know about
:10:06. > :10:09.her. The film starts with her speeding across the ocean, and
:10:09. > :10:17.she's smiling. Then George is surrounded by all the documents,
:10:17. > :10:24.working out what to do with the millions and wearing Noel Edmund's
:10:24. > :10:33.shirts, he's the man having all the problems. What is interesting is
:10:33. > :10:38.his cousins, he has lots of cousins in the movie, they are dull. Beau
:10:38. > :10:45.Bridges is in there a couple going for Oscars but it didn't work. It
:10:46. > :10:52.starts to fail, even the cameos don't work. Clooney though! Clooney,
:10:52. > :10:58.Clooney, Clooney. The Descendants is in cinemas now. With the recent
:10:58. > :11:02.death of Lucian Freud, David Hockney has been elevated to
:11:02. > :11:09.Britain's greatest artist, like Freud before him, he has been
:11:10. > :11:17.awarded the order of merit, the highest award in the British system.
:11:17. > :11:21.A year-long event of cultural events, an eggs Biggs hopes with
:11:21. > :11:26.landscapes from Hockney, soon to be more than 75. Does it do more than
:11:26. > :11:30.drazle. When David Hockney grat waded from the School of Art, with
:11:30. > :11:35.his shock of blonde hair and glasses, he burst on to the art
:11:35. > :11:38.scene with a splash. Born two years before the outbreak of World War II,
:11:38. > :11:43.it was not surprising that the openly gay and opinionated Hockney
:11:43. > :11:49.was attracted across the pond to California. He went on to procues
:11:49. > :11:53.some of his most iconic work, including a series of pool
:11:53. > :11:58.paintings, Splash. I returned home to find inspiration
:11:58. > :12:02.in the Yorkshire landscape, which has led to A Bigger Picture at the
:12:02. > :12:08.Royal Academy. It is a bold series of landscapes, made on an almost
:12:09. > :12:15.daily basis, by this seemingly tireless 74-year-old. Hockney has
:12:15. > :12:19.only become a landscape painter since the late 1990, in 2002 he
:12:19. > :12:22.began painting in water colours and devoted himself to landscape. He
:12:22. > :12:25.was painting the east Yorkshire landscape, which he had known in
:12:25. > :12:30.his teens. This was a new development for him. There is a
:12:30. > :12:35.whole body of work here which hasn't been seen before. His age
:12:35. > :12:39.appears to be no deterrent for productivity, nor does it seem to
:12:39. > :12:45.have dulled his inquisitiveness for modern technology. Technology was
:12:45. > :12:51.not at the front of his mind when he started work on the show. He was
:12:51. > :12:56.totally absorbed by painting directly from nature. Like a 19th
:12:56. > :13:00.century wood. He has a habit of contradicting himself and getting
:13:00. > :13:03.excited by new things. He's always interested in any form of image
:13:03. > :13:09.making. When the I pad was announced, he knew before it
:13:09. > :13:16.arrived f it worked in the same way as the iPhone it would give him a
:13:16. > :13:25.much bigger canvas. The room we're sitting in, 51 pictures are created
:13:25. > :13:29.on the iPad, and a metre-and-a-half high each. Hockney joins tobgts
:13:29. > :13:37.smaller canvasses to make larger images, and a dance piece,
:13:37. > :13:42.choreographed by Wayne Sleep, adorns one wall. While citrus
:13:42. > :13:47.landscapes beckon from the other side of the gallery. With ticket
:13:47. > :13:52.sales outstripping the Van Gogh show, has Hockney's move from the
:13:52. > :13:56.sun-kissed pools of California, to the wilds of Yorkshire, been a
:13:57. > :14:00.welcome home coming. In the Royal Academy he has filled it, just as
:14:00. > :14:05.well he was so prolific, he was painting a canvas a day at one
:14:05. > :14:10.point. 150, were you overwhelmed? It moves you to tears, like Clooney,
:14:10. > :14:14.David Hockney is worth more than a banker. It is just equisite. Suns
:14:14. > :14:18.catch a glimpse of some of the colours it moves you to tears. It
:14:18. > :14:22.is so glamorous, exciting, it is tremendous in way what he's doing
:14:22. > :14:26.is moving forward at his age. The vigour of someone who is, at that
:14:26. > :14:32.age, that he can do this kind of thing, that is about an adventure.
:14:32. > :14:35.He's discovering his past, but doing it unsentimentally, there is
:14:35. > :14:40.no nostalgia, regret or remorse about what he's been through,'s
:14:40. > :14:44.excited about where he's been and how exciting it is now he does to
:14:44. > :14:49.Yorkshire what Monet does to France. We are viewing art history and
:14:49. > :14:55.history all at once. I have to say that any critic that is
:14:55. > :15:00.condescending and superior to this exhibition, should hand in their
:15:00. > :15:04.critic card and their Tesco points! He said he didn't think he could go
:15:04. > :15:07.home to east Yorkshire because there wasn't enough light, he
:15:07. > :15:12.rediscovered it when he started going back to see his mother. This
:15:12. > :15:17.is ten years where he has rooted himself back in his land? We're not
:15:17. > :15:21.used to this kind of coverage in east Yorkshire. I mean, he's done
:15:21. > :15:26.for more the Yorkshire tourist board than anybody. In Bridlington?
:15:26. > :15:32.That is where we didn't want to go for our holidays. He has brought LA
:15:32. > :15:38.sunshine to Yorkshire. That is a very true thing. He went to escape
:15:38. > :15:42.the grey of Bradford, and you look at the Bolton junction, which he
:15:42. > :15:46.painted in 1956, it is just heaven. It is grey, and fabulous, the one
:15:46. > :15:50.you would want on your wall. Goes to California, paints all the white
:15:51. > :15:57.bums and all those men diving into pools, it is fabulous. He brought
:15:57. > :16:03.the colour back with him, and made the whole of east Yorkshire
:16:03. > :16:06.psycadelic. And rouse. Very beautiful -- And glamorous.
:16:06. > :16:13.beautiful, he makes you stand in the picture and look at everything
:16:13. > :16:22.and see it afresh. There have been mainly fantastic reviews, some
:16:23. > :16:27.notable exceptions, "reflecting landscapes" we expect fromamures.
:16:27. > :16:30.You are a painter as well, you appreciate it from another
:16:30. > :16:34.perspective, you are a Sunday afternoon painter, would that be
:16:34. > :16:38.fair? I have President Bush ones my iPad, it is completely addictive, I
:16:38. > :16:42.can see how a really good painter would have the best time in the
:16:42. > :16:47.world. He has always embraced technology, when he did the
:16:47. > :16:51.examination of Vemeer, and the camera work he did, he's constantly
:16:51. > :16:54.changing, although it is harking back to the past, and the way he
:16:54. > :16:58.approaches some of the old masters as well, he's constantly moving
:16:58. > :17:02.forward? Yes, and also, it is kind of impossible to walk out without
:17:02. > :17:06.realising he can do all of it, he is the master of all of it. So
:17:06. > :17:11.early on you see the photocollages, and you think they are impressive,
:17:11. > :17:15.then you walk into the oil painting rooms, and people are wondering
:17:15. > :17:20.around with smiles on their faces because the colour is so exuberant
:17:20. > :17:25.and makes your heart sing. Then there are charcoal drawings, they
:17:25. > :17:31.are so beautiful, I had a Thomas Crown moment when I thought I
:17:31. > :17:36.wonder what I would have to do to nick one of these. Then the iPad,
:17:36. > :17:43.one after another, after another, everything he has touched he can do.
:17:43. > :17:48.Water colours, for goodness sake. We were referring to impressionism,
:17:48. > :17:52.Contable, Turner, and the sermon on the month, explicitly he tries lots
:17:52. > :17:56.of different styles? That was the least successful room for me. I
:17:56. > :18:00.thought it was grey, it was practising with that, going, taking
:18:00. > :18:06.the painting and using it in many different ways. But for me it was
:18:06. > :18:16.just full of positiveity, the whole exhibition. It is like him finding
:18:16. > :18:20.
:18:20. > :18:26.his way back home. You have the two paintings from 1956 and grey, then
:18:26. > :18:31.the speeding car in LA, it is him finding his way back home. It is
:18:31. > :18:36.full of positivity, the drawings, you see his craftsmanship when you
:18:36. > :18:41.see the sketch books. One problem I had with the exhibition, I thought
:18:41. > :18:43.a mistake they made was having the beautiful swech books, the whole
:18:43. > :18:47.process, everything -- sketch books, the whole process, everything in
:18:47. > :18:53.the back, I would have made it a more central part of the eggs Biggs.
:18:53. > :18:59.A lot of people would move along -- exhibition, a lot of people would
:18:59. > :19:04.move along and not see them. They are equisite, the charcoal trees
:19:04. > :19:13.were amazing, he can do anything. I liked they were a secret at the end
:19:13. > :19:22.of it, a lot of artists won't tell you what he's doing -- they are
:19:22. > :19:28.doing, he loves to tell you. could have been retrospective and
:19:28. > :19:32.nostalgic, but it is possibly the best work he has done. I heard
:19:32. > :19:39.wonderful comments, like post- middle-class people, like on a
:19:39. > :19:42.Smiths gig on campus, talking how Maureen will be talking in the
:19:42. > :19:45.future, saying they have seen enough trees. But he's talking
:19:45. > :19:53.about his memory, imagination and mood, and discovering something for
:19:53. > :19:57.the first time, he's 75. Standing still in the same place, look --
:19:57. > :20:02.licking different days, different months, the winter scene in the
:20:02. > :20:07.tunnel. That stillness, then with the cameras going along the side of
:20:07. > :20:10.the verges. You never look at foilage like that. He couldn't do
:20:10. > :20:15.everything already, now film. did say when he was in California,
:20:15. > :20:18.you don't get the seasons like you do. When he comes back you get all
:20:18. > :20:23.the seasons and he celebrates them all. That is what is wonderful,
:20:23. > :20:28.having the camera work as you are going down the road in winter and
:20:28. > :20:32.spring, it is the same vision. bravery at his age talking about
:20:32. > :20:40.time passing, knowing what it means. That is the extraordinary thing,
:20:40. > :20:46.these time pass, he will pass, and this will carry on, this is truth.
:20:46. > :20:49.He not go gently. Somebody else not going gently we will talk about in
:20:49. > :20:56.a moment. The exhibition continues until April.
:20:56. > :21:05.He has been called God Is Not Great gloom gloom, but Leonard Cohen is
:21:05. > :21:10.one of the -- The Godfather of Gloom, Leonard Cohen has a new
:21:10. > :21:16.album. Cohen's songs explore his greatest concern, religion, war,
:21:16. > :21:21.relationships, and of course, women. # You know
:21:22. > :21:26.# She will trust you # For you've touched
:21:26. > :21:32.# Her perfect body Held in great esteem in the music
:21:32. > :21:37.business, he has been covered by an array of artists. In 2010 his work
:21:37. > :21:43.was introduced to a new generation, curtesy of the unlikely figure of
:21:43. > :21:50.Simon Cowell, as X Factor winner's Alexandra Burk, he's version of
:21:50. > :21:56.Hallelujah topped the Christmas charts.
:21:56. > :22:05.-- Burke's version of Hallelujah topped the Christmas charts. He had
:22:05. > :22:08.to endure a punishing world tour to exorcise financial problems.
:22:08. > :22:16.You're famous # Blue raincoat
:22:16. > :22:25.# Was torn at the shoulder With the release of the laconicly
:22:25. > :22:30.titled Old Ideas he returns to known themes, sexuality, love, loss
:22:30. > :22:36.and death. # I've got no future # I know my days are few
:22:36. > :22:44.Now in his late 70s, it is perhaps no surprise that Cohen is facing up
:22:44. > :22:48.to the inevitable, with songs like I Know My Days Are Few. Earlier
:22:48. > :22:52.this month Cohen described his songwriting process as scraping the
:22:52. > :23:02.bottom of the barrel, and referred to some of his ideas as 2,000 years
:23:02. > :23:09.
:23:09. > :23:13.When you listen to this? The whole of my youth passes in front of my
:23:13. > :23:18.eyes and every cigarette I ever smoked. God, he has given up
:23:18. > :23:23.cigarettes. He still sounds like he has been swallowing swords for a
:23:23. > :23:28.lifetime. I absolutely adore this record. I have been playing it
:23:28. > :23:34.around the flat, anybody who has been there has been saying what is
:23:34. > :23:41.that? Because it does sound sapochral, when you quietly listen
:23:41. > :23:46.to the music and lyrics, every track becomes wonderful. In these
:23:46. > :23:51.lyrics is so much work. What he was talking to us, we had an audience
:23:51. > :23:55.with him in London, he was talking about discarding so much, 90% f it
:23:55. > :24:01.wasn't for his partner, retrieving stuff and working it again, things
:24:01. > :24:05.would be lost. He edits hugely. has taken a long time for it to get
:24:05. > :24:10.to the stage, then he sounds as if he's making it up as he goes along,
:24:11. > :24:15.that is the beauty of it. He has made a few records, like you
:24:15. > :24:21.Maureen, I have been listening to Leonard Cohen, I suddenly realised,
:24:21. > :24:27.for 40 years. The idea in your head of how Cohen sounds it does it, for
:24:27. > :24:31.a long time it hasn't done that. There is a vulgarity and kitschness
:24:31. > :24:38.about Leonard Cohen and the music represents that, this pulls back
:24:38. > :24:41.and allows it to be the kind of sound you want Cohen to be a tone
:24:41. > :24:47.over. He was asked at a press conference
:24:48. > :24:52.if his voice would change, he said he had given up smoking and hoped
:24:52. > :24:56.it would go higher, but it had gone lower. What I loved the record and
:24:56. > :25:04.hearing it for the first time with you, it was just so funny, it is
:25:04. > :25:08.like a weird thing, it is like hymns if hymns had jokes in it. It
:25:08. > :25:12.sounds incredibly quasi-religious, for a man who says he doesn't
:25:12. > :25:18.believe in anything any more, a man who was born Jewish, then a
:25:18. > :25:23.Buddhist and now nothing. They are the most brilliant lyrics. I "I
:25:23. > :25:27.know you hate me, but could you hate me less". It is a real
:25:27. > :25:32.spiritual album, I loved his honesty, you were say saying about
:25:32. > :25:36.David Hockney, looking at him's a man of an age looking at it. There
:25:36. > :25:40.is a bravery and honesty of him looking at it and saying this is me.
:25:40. > :25:44.The one thing about it that is interesting, hi to take my Leonard
:25:44. > :25:49.Cohen in very small bites, hi listened to a track, I would resent
:25:49. > :25:53.the next one starting, slightly, I had to hold on to this one. They
:25:53. > :25:59.are so wonderful, there is a slight sense you have to take one every
:25:59. > :26:02.day. You can't believe some of the lyrics are so good. I think what is
:26:02. > :26:09.really fascinating is that consciousness he has of his own
:26:09. > :26:13.image that he plays around with. Eventhough he has given all these
:26:13. > :26:19.labels depression, and the romantic Mel collie thing, he plays around
:26:19. > :26:23.with it so wonderful he makes it more palatable. I love the backing
:26:23. > :26:26.singers. The production is brilliant. It is so Cohen, when it
:26:26. > :26:31.goes wrong it goes really wrong, but when it goes well. Needs the
:26:31. > :26:35.women to support him. He's acknowledging his voice is a bit
:26:35. > :26:43.peculiar, they are the weird equivalent of Bond girls, they are
:26:43. > :26:48.always there with him. Let's hear a little more. Here is a clip.
:26:48. > :26:52.# Going home without my sorrow # Going home some time tomorrow
:26:52. > :26:59.# Going home to where it's better than before
:26:59. > :27:09.# Going home without my burden # Going home behind the curtain
:27:09. > :27:09.
:27:09. > :27:13.# Going home without the costume # That I wore
:27:13. > :27:17.And the other thing as well, that he did all the art work for the
:27:17. > :27:21.album as well. There are moments when it is incredibly moving, and
:27:21. > :27:24.moments when you go, are you doing sixth form art, Leonard Cohen, I
:27:24. > :27:31.don't understand why you put that in there. In a way there is
:27:31. > :27:36.something very open and it is an intriguingly vulnerable thing to do,
:27:36. > :27:42.for somebody when everybody asks him questions, we asked Jarvis
:27:42. > :27:47.Cocker try to find out how he wrote his lyrics and he should it down.
:27:47. > :27:54.He enters his old age period, he's 77 now, you think in a way it is a
:27:54. > :27:58.response to Dylan entering his old age period, that was in the late 19
:27:58. > :28:02.90s, he was only in his 50s. It is interesting, we are moving age on.
:28:02. > :28:07.I remember when I used to listen to Leonard Cohen back then, he was in
:28:07. > :28:12.his early 30s, I thought he was really, really old. It is only,
:28:12. > :28:18.when I was listening to him, I didn't realise that he was in his
:28:18. > :28:24.late 30s. His voice sex ordinary now. His diction is fantastic.
:28:24. > :28:31.had to do the tour because of financial problems. It has been
:28:31. > :28:36.good for him, it has reinvigorated him, he has the phrasing of Fran
:28:36. > :28:40.circumstance he has the lyrics of the Old Testament. He used to be
:28:40. > :28:46.detatched now he's engaged, he knows he's there because he has
:28:46. > :28:50.seen it with the audience. Ideas is released on Monday.
:28:51. > :28:56.Homeland the new American TV drama has landed a Golden Globe for Danes.
:28:56. > :29:02.She plays a highly-strung CIA agent, who has her dougts about the return
:29:02. > :29:08.home of a marine played by Damian Lewis, he has been declared dead
:29:08. > :29:13.after the war in Iraq. But found locked behind a door in an Al-Qaeda
:29:13. > :29:17.hideout. It starts on Channel 4 next month and contains strong
:29:17. > :29:23.language. From the sail lem witch-hunts and
:29:23. > :29:28.McCarthyism, and through to the latest national occupation,
:29:28. > :29:35.Islamophobia, in America, the real and imagined threat has become part
:29:35. > :29:41.of the psyche. It was adapted from an Israeli series by the award-
:29:41. > :29:47.winning producers of 24. Lewis is familiar to American audiences from
:29:47. > :29:52.acclaimed series like Band of Brothers and Life. Lewis plays
:29:52. > :29:56.Sergeant Nicholas Brody, he has spent eight years in Afghan
:29:56. > :30:00.captivity. Left for dead by the American military, he returns home
:30:01. > :30:06.as a national hero. During the sweep, one of the deltas found
:30:06. > :30:16.something else. A padlocked door to an interior room, I wanted you to
:30:16. > :30:27.
:30:27. > :30:31.see for yourselves. Get down, get him on his feet. I'm an American.
:30:31. > :30:37.Officer Carrie Mathison, played by Claire Danes suspected that Brody
:30:37. > :30:42.has turned Mancurian Candidate, radicalised by Al-Qaeda, she
:30:42. > :30:49.believes he's a sleeper, a threat to national security. Sergeant
:30:49. > :30:53.Brody is returning home tomorrow morning, it gives us 24 hours.
:30:53. > :30:59.do what? Authorise a search warrant, tap his phones, follow him wherever
:30:59. > :31:04.he goes. The spying on Brody's family becomes obsessive,
:31:04. > :31:07.exacerbated by Mathison's fragile state, and her part in a 9/11
:31:07. > :31:11.oversight. The series won two Golden Globes this year, and also
:31:11. > :31:15.tipped for BAFTA success this side of the pond. But will a counter
:31:15. > :31:20.terrorism thret thriller strike a chord with British audiences.
:31:20. > :31:27.As you know the first 72 hours after a soldier's capture are
:31:27. > :31:33.critical, what he knows could be used by the enemy during that
:31:33. > :31:38.period with great tragedy. Sergeant Brody was kept alive for eight more
:31:38. > :31:42.years, I want to ask him if he knows why. As a thriller, what it
:31:42. > :31:48.feeds on is fear still stalks America, you know that when you go
:31:48. > :31:52.to JFK and you are not welcome n a funny way, sometimes? At its heart
:31:52. > :31:58.is paranoia. It is the enemy within, it is all about that. It is great
:31:58. > :32:03.to see two British actors in this as well, David Hailwood, and Damian
:32:03. > :32:06.Lewis giving great performances. I have only seen two, and it is a
:32:06. > :32:11.set-up, it is intriguing, a man lost in action, his family and wife
:32:11. > :32:16.moving on. He has to adjust to that. It has been eight years. He has to
:32:16. > :32:20.adjust that, and America need him to be a hero, the CIA agent played
:32:20. > :32:24.by Claire Danes is convinced that he has been turned by Al-Qaeda. The
:32:24. > :32:30.pace is good, it is quite glossy in that. I think it is really well
:32:30. > :32:35.done. I keep watching. My worry with it is slightly how it portrays
:32:35. > :32:39.its enemy. There is a slight sense that anyone with a Middle East
:32:39. > :32:43.complexion is the enemy, I was worried about that slightly. I will
:32:43. > :32:48.definitely keep watching. I didn't think it was a demonisation at all.
:32:48. > :32:51.I worried about that, how the series was going to handle that.
:32:51. > :32:56.think they were terribly aware of being very careful about not doing
:32:56. > :33:01.that, actually it's a brilliant actor for the role, because he's so
:33:01. > :33:06.opaque, you can read anything into that face, and he's not American
:33:06. > :33:11.body language. With the girls and stuff like that, there was a weird
:33:11. > :33:16.scene where they were grooming the girls for his hare recommend.
:33:16. > :33:20.was a seen -- Harem. There was Australian expected scene, he's
:33:20. > :33:24.doing something in the garage, and you're thinking what is he up to,
:33:24. > :33:29.he's fixing the electric garage door. It is no secret, he wants to
:33:29. > :33:33.pray. He puts a bit of carpet down that he has bought. Of course he's
:33:33. > :33:38.suffering from post-traumatic stress. The scene, I thought the
:33:38. > :33:43.juxtaposition of her in ecstacy with her lover, and the phone call
:33:43. > :33:48.comes, her husband is alive, the remorse. It is about remorse.
:33:48. > :33:53.it did incredibly well was mix the domestic with the whole kind of CIA
:33:53. > :33:59.intrigue and the Claire Danes character coming in with this equal
:33:59. > :34:04.paranoia. But mixing those two in a very, very slick way? I think it
:34:04. > :34:07.does it extremely well. Before we go any further, with can he
:34:07. > :34:12.register the fact that Moren Baccarin is not old enough to be
:34:12. > :34:16.the mother of a teenager, please Hollywood stop thinking that once a
:34:16. > :34:20.woman turns 29 that she could have a 17-year-old. That is demented.
:34:20. > :34:24.That is what I think is at the heart of this show, the idea of
:34:24. > :34:30.what we want from our heros. It seems it is about the paranoia, is
:34:30. > :34:33.he, isn't he, is he good, is he bad, is she mad, is she sane, but
:34:33. > :34:38.actually, those two binary things don't get you through a full series.
:34:38. > :34:41.At the heart of it is the idea of what a hero is. He has to be
:34:41. > :34:46.constructed from having been a military hero to being a domestic
:34:46. > :34:50.hero. Can he be the hero with his wife. When he comes home he beats
:34:50. > :34:55.up a reporter in his garden and harassing him with questions. The
:34:55. > :34:58.question is are you still the hero when you behave like a soldier with
:34:58. > :35:02.post-traumatic stress disorder, which you are, or be the grinning
:35:02. > :35:08.hero. I will take a strangely British view of this. I grew up
:35:08. > :35:13.watching Damian Lewis, you know what I mean, he was always in a
:35:13. > :35:20.Frost or a Lewis, he was always this still centre. This is
:35:20. > :35:23.fascinating, it was like his A -- apprentice period for being in this.
:35:23. > :35:28.He's in this, British television can't do this. It is because we
:35:28. > :35:33.don't understand that red heads are hot. The Danish can do it. That has
:35:33. > :35:39.made a difference. Great producers as well, that understand, the
:35:39. > :35:46.producers of 24 that understand that. It is writing as well, it
:35:46. > :35:50.unfolds like a novel. It was a fine night series, it stopped. This is
:35:50. > :35:53.designed to go on and on and on. It is obvious why America want the
:35:53. > :35:57.talent to come to there. It is interesting why the talent wants to
:35:57. > :36:02.go that way, that is the other thing. There are some clunky
:36:02. > :36:07.moments in this, there is a sense where we know she's a jazz fiend,
:36:07. > :36:11.because she has pictures of miles Davies on her wall, her ureekia
:36:11. > :36:17.moment is in a jazz club, you think that is a bit weird, she gets the
:36:17. > :36:23.thing with the hand. If you watch Diagnosis Murder you would see that
:36:23. > :36:26.happen all the time. It reminds me of The Treatment, it is inherited
:36:26. > :36:30.from Israel, this was an Israeli production. There is a weird
:36:30. > :36:37.America I don't recognise, sometimes you see things, they are
:36:37. > :36:42.traces, you wonder if they have come from the Israeli one. He's a
:36:42. > :36:46.prose dueser the guy from Israel. - He's a producer the guy from
:36:46. > :36:49.Israel. We are talking about the British actors going to America,
:36:49. > :36:54.perhaps because there is an investment in teams of writers that
:36:54. > :37:02.carry on? What they want is fame and fortune, which is no bad thing.
:37:02. > :37:07.The spoils that have afforded you in a successful American television
:37:07. > :37:11.is very different. Hugh Laurie, jazz album. Here it is three or
:37:11. > :37:16.four episodes, in Denmark, and in America, because of 24 and the West
:37:16. > :37:21.Wing, it is 20, 30, you are allowed to linger over it like over a novel.
:37:21. > :37:25.You are saying here it is a kind of case you can have Downton Abbey, or
:37:25. > :37:30.whatever, running for 30 episodes. You can have it. But you can't have
:37:30. > :37:34.a long anything else? They do it with Shameless, they are the
:37:34. > :37:39.exceptions, really, it is about investment, money, and how we watch
:37:39. > :37:42.television. I have only watch two, you have the sense, here is Claire
:37:43. > :37:46.Danes, Damian Lewis, they are not mean, they are the intimate
:37:46. > :37:51.relationship, you know that is going down, that is going to happen.
:37:51. > :37:55.Homeland starts on Channel 4 next month. BBC introducing is the place
:37:55. > :38:00.where unsigned and under the radar musicians get the chance to feature
:38:00. > :38:04.on BBC radio, television and on- line, and perform on the festival
:38:04. > :38:08.circuit, we will hear from Jake Bug at the end of the show. We sent
:38:08. > :38:11.Paul to find out more. In the olden days, if you were single in a band
:38:11. > :38:16.and you definitely thought they were the next big thing. You would
:38:16. > :38:21.send your demos on a cassette to a radio station or record company.
:38:21. > :38:26.Now things are slightly more sophisticated, you can upload your
:38:26. > :38:34.songs on to the BBC Introducing website, and the culmination of
:38:34. > :38:39.someone sorting through the demos is the BBC Introducing masterclass
:38:39. > :38:45.at Abbey Road studios, where potential next big things have
:38:45. > :38:48.turned up to hear music insiders answer questions about how they
:38:48. > :38:54.broke into it. I have been asked the questions about the big break,
:38:54. > :38:59.you have to remove the ideas out of your brain, that you will be picked
:38:59. > :39:02.out by the Simon Cowell-type person and made into a superstar.
:39:02. > :39:07.cannoted to do something people could gel with and understand me as
:39:07. > :39:13.a person. I made a mix tape, almost like an album, that made me stand
:39:13. > :39:21.up, that is how I got my first in, radio play and few gigs. For myself,
:39:21. > :39:25.I got some whereby just playing an awful lot of shows. It is such a
:39:25. > :39:29.personal thing, when it is done well, music should be about bearing
:39:29. > :39:34.your soul. You don't want someone to see your soul until you have
:39:34. > :39:38.tarted it up and put make-up on. it possible for the next big thing,
:39:38. > :39:45.the future of rock'n'roll to come through something like this
:39:45. > :39:51.educational system that is almost alternative, Indie X Factor, is it
:39:51. > :39:56.like, what we need, more sue sick, to add to the glut of music. Or is
:39:56. > :40:01.it, this is just what we need. The genuine chance for a visionary to
:40:01. > :40:05.use BBC Introducing to crack through a system, that in the past
:40:05. > :40:11.was complicated and bureaucratic. Unhelpful, complicated and
:40:11. > :40:15.bureaucratic, that is your A & R man? Systems in the way. I'm asking
:40:15. > :40:19.myself my own question now, do I have to give an answer. It is a
:40:19. > :40:23.hugely optimistic idea isn't it? is. It is something that, in a
:40:23. > :40:27.funny sort of way, being the age I am, which is close to Leonard Cohen,
:40:27. > :40:34.demanding 30 years ago. You are coming to a productive period?
:40:34. > :40:39.wonder if as talented and ambitious and enthusiastic as people want to
:40:39. > :40:43.be a popstar. If you have the vision and char ris ma you need,
:40:43. > :40:46.would you come through the route or a completely unexpected way. I
:40:46. > :40:49.don't know if you are going to get is people doing the familiar
:40:49. > :40:54.because systems are set up that way. This is another way of getting more
:40:54. > :40:58.of the same thing. Interesting for music and acting you could send in
:40:58. > :41:02.a tape? Yes, of course, everybody thinks they can be famous very
:41:02. > :41:06.quickly yet if you are at a drama school, you are not allowed to work
:41:06. > :41:09.until you get suspended, if you do a job like this. There is
:41:09. > :41:13.absolutely no sense, really. Everybody wants to be famous.
:41:13. > :41:16.may just be the case there isn't enough revenue for all these people
:41:16. > :41:20.to survive. That is what bothers me. There is terrifying statistics
:41:20. > :41:26.about the number of people going to public school in the charts. They
:41:26. > :41:31.are the only people who can afford to. This way all you have to do is
:41:31. > :41:37.send in a demo and put it on-line. And have a day job because you
:41:37. > :41:43.can't sell records. I don't think that will be the case for our next
:41:43. > :41:51.guess, for all you inspiring musicians check out the website.
:41:51. > :41:59.Many thanks it my guests, Natalie, David, Maureen and Paul. Next week
:41:59. > :42:03.I will talk to Daniel Radcliffe about his role in A The Woman In
:42:03. > :42:10.Black. Back to BBC Introducing, we will be showcaseing artists over
:42:10. > :42:18.the coming weeks, we start with 17- year-old singer-songwriter Jake Bug,
:42:18. > :42:22.he recently signed to Mercury Records. So he's on his way.
:42:22. > :42:26.# Stop and speed bump city # Where the only thing that is
:42:26. > :42:29.pretty # Is the thought of getting out
:42:29. > :42:36.# There's a tower block # Overhead
:42:36. > :42:43.# All you got your benefits # You're barely scraping by
:42:43. > :42:53.# In this troubled town # Troubled -- troubles are found
:42:53. > :42:58.# If this trouble town # Fools are found
:42:58. > :43:05.# Kick a ball to make trouble # Smoked until our eyes bleed
:43:05. > :43:11.# Sparkle pop the seed # Hear the sirens down the street
:43:11. > :43:14.# The kids get light on their feet # Or they will be in the back seat
:43:14. > :43:21.# For you are sitting on the pavement
:43:21. > :43:27.# Boy you missed your payment # They're gonna find you soon
:43:27. > :43:29.# If there's a beating in the rain # If there's a little bit of pain
:43:30. > :43:35.# Man # You're the one it happens to
:43:35. > :43:44.# Oh # When I talk any night
:43:44. > :43:47.# I only hear the laughter loud # It has an ugly echo
:43:47. > :43:53.# Somewhere there's a secret to take me far away
:43:53. > :44:00.# I know # Till them I am hollow
:44:00. > :44:09.# In these troubled town # Troubles are found
:44:09. > :44:11.# In this troubled town # Fools are found
:44:11. > :44:19.# For you are sitting on the pavement
:44:19. > :44:21.# Boy you missed your payment # They're going to find you soon
:44:21. > :44:26.# If there's a beating in the street
:44:26. > :44:33.# If there's a feeling I've been beat