0:00:16 > 0:00:18- WOMAN:- Hi, love.
0:00:44 > 0:00:46Catrin.
0:00:46 > 0:00:47Yes, Stanley?
0:00:47 > 0:00:50I saved you this, if you'd like some.
0:00:54 > 0:00:57Erm, we could go together.
0:00:58 > 0:00:59If you like.
0:00:59 > 0:01:01Before I leave.
0:01:01 > 0:01:03- I'd like that. - SHE LAUGHS
0:01:03 > 0:01:07If you're sure you can get your feet in order.
0:01:07 > 0:01:09SHE LAUGHS
0:01:12 > 0:01:13MAN LAUGHS
0:01:13 > 0:01:16You have picked a hell of a partner for your final dance.
0:01:16 > 0:01:18Mm-hm.
0:01:18 > 0:01:21Hey, there's a foreigner advertising dancing lessons
0:01:21 > 0:01:24at the end of my street, if you're interested.
0:01:24 > 0:01:25A foreigner? No.
0:01:25 > 0:01:29Fine, mess up in front of Catrin and the whole village, then.
0:01:29 > 0:01:31HE LAUGHS
0:01:31 > 0:01:33Dancing lessons from a foreigner?
0:01:34 > 0:01:37- What are you thinking? - I'm not thrilled about it either.
0:01:37 > 0:01:40People will talk, Stanley.
0:01:40 > 0:01:41Look, it's for the best, Mum.
0:01:41 > 0:01:44Don't you think it's a bit of an insult to your father?
0:01:44 > 0:01:46What would he say?
0:01:46 > 0:01:48He's not here, is he?
0:01:51 > 0:01:54Well, if you feel that strongly, take the lessons.
0:01:54 > 0:01:56But why go to all this trouble and money
0:01:56 > 0:01:58when you're just going to leave anyway?
0:02:18 > 0:02:20Good evening.
0:02:20 > 0:02:24Erm, I've heard you're advertising dancing lessons.
0:02:25 > 0:02:26For girls.
0:02:26 > 0:02:28I only give lessons to girls.
0:02:28 > 0:02:30How much are they?
0:02:30 > 0:02:32I told you.
0:02:32 > 0:02:33Please.
0:02:45 > 0:02:50So, the key to the waltz are three steps.
0:02:50 > 0:02:52One,
0:02:52 > 0:02:53two, three.
0:02:53 > 0:02:56One, two, three.
0:02:56 > 0:02:59One, two, three. One, two, three.
0:02:59 > 0:03:01One, two, three.
0:03:01 > 0:03:04One, two, three. You understand?
0:03:04 > 0:03:06- Erm...- Good. You try.
0:03:09 > 0:03:10One...
0:03:10 > 0:03:12two, three.
0:03:12 > 0:03:15One, two, three.
0:03:15 > 0:03:17One, two, three.
0:03:17 > 0:03:18One, two... Uh.
0:03:18 > 0:03:21- Sorry.- Silly boy.- Sorry, sorry.
0:03:21 > 0:03:23No wonder you need my help. You are all feet.
0:03:26 > 0:03:28And again.
0:03:28 > 0:03:29One...
0:03:49 > 0:03:50So why are you in this dump?
0:03:52 > 0:03:55I mean, nothing ever happens.
0:03:55 > 0:03:58It's stifling. It's just the same maddening routine.
0:03:58 > 0:03:59But it's safe.
0:04:00 > 0:04:02That's important, surely.
0:04:32 > 0:04:35Can't we dance to something more modern?
0:04:36 > 0:04:39My son played this for our anniversary.
0:04:41 > 0:04:43Such a talented boy.
0:04:45 > 0:04:47Just like his father.
0:04:51 > 0:04:53Oh, Dietrich.
0:04:54 > 0:04:57Hold on, that's a German name.
0:04:58 > 0:05:02- You're German, aren't you? - Stanley, it's not that simple.
0:05:02 > 0:05:04I think it's time we finish early, don't you?
0:05:11 > 0:05:12Let me explain.
0:05:12 > 0:05:15Nah, you've done all the explaining, Jerry.
0:05:25 > 0:05:29Bad enough you're getting lessons from a foreigner, but a Jerry?
0:05:29 > 0:05:32- People are gossiping already. - I know it looks bad.
0:05:32 > 0:05:34You're joining up to fight them,
0:05:34 > 0:05:36not getting dancing tips from them.
0:05:36 > 0:05:38Do you know the trouble you're getting into?
0:05:38 > 0:05:39Just calm down.
0:05:39 > 0:05:43I will not be made a pariah by association, Stanley.
0:05:43 > 0:05:45Drop her or drop me.
0:06:38 > 0:06:41My husband got this for our engagement.
0:06:44 > 0:06:46Before the regime change.
0:06:48 > 0:06:51Before they crushed us for being different.
0:06:52 > 0:06:54We were able to escape.
0:06:57 > 0:07:00They got my family.
0:07:04 > 0:07:05And this...
0:07:05 > 0:07:09This reminds me they are always with me.
0:07:24 > 0:07:27Those are your father's shoes.
0:07:27 > 0:07:29You're not wearing them.
0:07:31 > 0:07:33You'll ruin them.
0:07:33 > 0:07:36Stop treating Dad like he's a ghost!
0:07:36 > 0:07:38They're all I've got left of him, Stanley!
0:07:40 > 0:07:42Dad was right to join up.
0:07:42 > 0:07:43Just like I am.
0:07:46 > 0:07:50There's another woman living a few streets away, just like you.
0:07:50 > 0:07:52Obsessed with keepsakes of loved ones.
0:07:52 > 0:07:55I wouldn't talk to one of those people.
0:07:55 > 0:07:58People your father fought against!
0:07:58 > 0:08:00If you understood,
0:08:00 > 0:08:04that's why I've got to fight THOSE people.
0:08:06 > 0:08:09I'm going to do the right thing tonight.
0:08:16 > 0:08:18UPBEAT MUSIC PLAYS
0:08:18 > 0:08:20PEOPLE LAUGH AND TALK
0:08:36 > 0:08:38APPLAUSE
0:08:42 > 0:08:44SLOW MUSIC PLAYS
0:08:44 > 0:08:46TALKING AND LAUGHTER STOPS
0:09:25 > 0:09:28PEOPLE RESUME TALKING
0:11:22 > 0:11:27Tin Dancing Shoes is unusual in having been shot in 1940s style,
0:11:27 > 0:11:31utilising the historical village of Laugharne, west Wales.
0:11:31 > 0:11:34Authenticity is key to the film,
0:11:34 > 0:11:36especially when it comes to period detail.
0:11:40 > 0:11:43Hi, I'm the director for Tin Dancing Shoes,
0:11:43 > 0:11:47which is It's My Shout's first-ever film set in the Second World War.
0:11:51 > 0:11:55When I applied to be a director for It's My Shout this year,
0:11:55 > 0:11:57there was a particular script that jumped out at me,
0:11:57 > 0:11:59which was Tin Dancing Shoes.
0:11:59 > 0:12:03And the first reason was because it was set in the 1940s
0:12:03 > 0:12:08and I've always had a weird gravitation towards that era.
0:12:08 > 0:12:12Erm, I think because I'm really interested in
0:12:12 > 0:12:16the genealogy of my family and their connection to World War II.
0:12:18 > 0:12:21Mess up in front of Catrin and the whole village, then.
0:12:23 > 0:12:25Cut there, thank you.
0:12:25 > 0:12:27The instant thing that jumped out to me of the script was
0:12:27 > 0:12:31this lovely, homely feel of everything feeling quite rural,
0:12:31 > 0:12:35quite small, close-knit kind of community,
0:12:35 > 0:12:37as opposed to a, kind of, big cityscape
0:12:37 > 0:12:39or a big Hollywood '40s film.
0:12:39 > 0:12:42I wanted it to feel a lot more low-key,
0:12:42 > 0:12:46just so they could really concentrate on the relationships.
0:12:46 > 0:12:48Homely is a fair description of the set
0:12:48 > 0:12:51chosen for the final dance scene,
0:12:51 > 0:12:54Laugharne's very own museum of '40s memorabilia,
0:12:54 > 0:12:56known as the Tin Shed.
0:12:57 > 0:13:00Seimon Pugh-Jones at the Tin Shed Museum is
0:13:00 > 0:13:02a long-term family friend of ours
0:13:02 > 0:13:07and when I started studying film many moons ago,
0:13:07 > 0:13:11erm, I knew that he would be really helpful
0:13:11 > 0:13:14because he's worked in the industry himself
0:13:14 > 0:13:17and he's also got this same love of this era.
0:13:17 > 0:13:19Also, because we're very passionate
0:13:19 > 0:13:22about film-making, and theatre, and music,
0:13:22 > 0:13:27we found that the Tin Shed, as a location,
0:13:27 > 0:13:30has worked really well for quite a few productions.
0:13:36 > 0:13:40We're not setting it in a place which is particularly affluent.
0:13:40 > 0:13:43It's a village which is, you know, very make-do-and-mend,
0:13:43 > 0:13:45and no-one's got a lot of money rolling about
0:13:45 > 0:13:49so it's all, kind of, you wear one dress over and over again
0:13:49 > 0:13:52and you wear, you know, one tie over and over again.
0:13:52 > 0:13:54Everything's worn to the hilt.
0:13:56 > 0:13:57It was a lot more uniform.
0:13:57 > 0:14:00Everybody wore the same kind of style.
0:14:00 > 0:14:03Whereas nowadays,
0:14:03 > 0:14:05you can wear anything, literally.
0:14:08 > 0:14:14Trying to find original vintage clothing is quite hard.
0:14:14 > 0:14:17It's quite hard to find good original stuff
0:14:17 > 0:14:21that's in the condition where it can be worn for actors.
0:14:23 > 0:14:27So you had these lovely tea dresses that were all very dull colours,
0:14:27 > 0:14:30your hair was always shoved up in a headscarf or whatever
0:14:30 > 0:14:31cos you needed it out of your face
0:14:31 > 0:14:33if you're going to be working in ammunitions.
0:14:33 > 0:14:35So there were so many little touches like that
0:14:35 > 0:14:37that me and the art department
0:14:37 > 0:14:40and the costume department have had to keep a really close communication
0:14:40 > 0:14:42because I'm a real stickler for authenticity
0:14:42 > 0:14:44and I'll be really upset if I notice something's wrong.
0:14:44 > 0:14:46SHE LAUGH
0:14:50 > 0:14:55Here we are on the set of the final scene of the film.
0:14:55 > 0:14:57It's the village barn dance
0:14:57 > 0:15:03and we're very fortunate in the fact that we've got this location,
0:15:03 > 0:15:06which is absolutely ideal.
0:15:06 > 0:15:11The sort of thing's we've had to do, though, is take out of vision
0:15:11 > 0:15:14any 21st-century stuff.
0:15:18 > 0:15:21And in creating an authentic feel for the scene,
0:15:21 > 0:15:23Ellen was able to draw on
0:15:23 > 0:15:26the memories of people who lived in Laugharne in the '40s
0:15:26 > 0:15:29and remembered the wartime dances.
0:15:29 > 0:15:32That was the part of the week, of the year,
0:15:32 > 0:15:34or however often they'd have a village dance,
0:15:34 > 0:15:35that everyone would come together
0:15:35 > 0:15:39and everyone would just have a real moment of happiness.
0:15:39 > 0:15:42And in those times, as well, especially in the Second World War,
0:15:42 > 0:15:44you know, people didn't know what was going to happen
0:15:44 > 0:15:46- the next day, did they? - No, no, no.
0:15:46 > 0:15:48As I said, dancing, that's all we had.
0:15:48 > 0:15:51- We had to go to church, as well, on a Sunday, mind you.- Yeah.
0:15:51 > 0:15:53But...
0:15:54 > 0:15:56..there was nothing else to do.
0:15:56 > 0:15:58- You know, phoning boys in the kiosk. - SHE LAUGHS
0:15:58 > 0:16:01Music and dancing and a bit of romancing.
0:16:01 > 0:16:03- Oh, yeah, yeah. - HE LAUGHS
0:16:03 > 0:16:06- Good days.- Good days, happy times. - Yeah.
0:16:23 > 0:16:25- Cut!- Wonderful.
0:16:25 > 0:16:27- Thank you.- We loved it.
0:16:27 > 0:16:28Give yourselves a round of applause.
0:16:28 > 0:16:30- Thank you, everyone, so much. - That's a wrap.
0:16:30 > 0:16:32CHEERING AND APPLAUSE