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