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Hello and welcome to Out Of The Blue. We are live from Belfast. | :00:23. | :00:33. | |
with us tonight, these guys. Also, it she went solo, worked with a | :00:33. | :00:37. | |
group of musicians, you cannot dodge them, it is Katie And The | :00:37. | :00:46. | |
Carnival! How work is in private collection on three continents and | :00:46. | :00:51. | |
playwright Martin Lynch hired her as artist in residence for his | :00:51. | :01:01. | |
:01:01. | :01:04. | ||
production company. It is Carrie Neely. -- Deepa Mann-Kler. Now it | :01:04. | :01:10. | |
is the cat that is some deeper trouble. A tis the pair with some | :01:10. | :01:18. | |
red hair, Jedward. How are you doing? You look crazy in your red | :01:18. | :01:27. | |
dress. I am John and he is Edward, together we are Jedward. It is our | :01:27. | :01:32. | |
first time on Out Of The Blue. How are you guys? I have never had a | :01:32. | :01:37. | |
guest hit me with a cushion but there is a first time for | :01:37. | :01:43. | |
everything. We could burst things with our hair. We are so excited to | :01:43. | :01:53. | |
be back in Belfast. If you could produce some energy for us in this | :01:53. | :02:01. | |
show, it would go down well. have got nice lipstick on. Hello, | :02:01. | :02:07. | |
guys! Let's just get one thing straight, which one is which? | :02:07. | :02:17. | |
:02:17. | :02:19. | ||
Jon, he is Edward, I have a scar on my nose, he has. The ear. -- he has | :02:19. | :02:25. | |
a pointy ears. She is probably the most photographed woman in the | :02:25. | :02:33. | |
world. And all those use of Queen Elizabeth II can be found currently | :02:33. | :02:37. | |
at the Ulster Museum in an exhibition of some 60 portraits of | :02:37. | :02:42. | |
the monarch from Andy Warhol to Lucian Freud to Malcolm McLaren's | :02:42. | :02:47. | |
images for the cover of the sex Pistols album. It is clear no two | :02:47. | :02:53. | |
or artists seek the same person the same way. Carrie Neely found out | :02:53. | :03:03. | |
:03:03. | :03:05. | ||
more. This is my son's first portrait. | :03:06. | :03:11. | |
For some of us, it is the limit of our creative endeavours. But | :03:11. | :03:15. | |
thousands of artists, amateur and professional have spent a lifetime | :03:15. | :03:20. | |
trying to master capturing a face on canvas. And everyone is | :03:20. | :03:25. | |
different. The style, the colours, even the subject. You not only get | :03:25. | :03:31. | |
a sense of the painted but also the painter. Bangor based award-winning | :03:32. | :03:36. | |
artist Colin Davidson painted these. I did have an idea that I wanted to | :03:36. | :03:41. | |
paint them larger than life size. That is what started off with the | :03:41. | :03:46. | |
painting of Duke which was done at the beginning of last year. It | :03:46. | :03:53. | |
always starts with the person coming here or me going and seeing | :03:53. | :03:58. | |
them. There is movement. I don't ever want anybody to sit still or | :03:58. | :04:07. | |
to pose so we chat the whole time. What I am striving for his not so | :04:07. | :04:11. | |
much depicting an interaction between the artist and the subject, | :04:11. | :04:19. | |
but what I want to do is almost capture the moment when someone is | :04:19. | :04:29. | |
lost in their own thoughts. 1, two, possibly three noses there. It is | :04:29. | :04:36. | |
almost that effect of using a camera at slow speed. Actually, in | :04:36. | :04:39. | |
static portrait capturing movement as well as form. But as what | :04:39. | :04:43. | |
Picasso was trying to do here. Nicole Mezey lectures on | :04:44. | :04:49. | |
portraiture at the Ulster Museum. There is a face on a cave wall | :04:49. | :04:54. | |
20,000 years old which it is alleged is a portrait. All we can | :04:54. | :04:58. | |
know it is it is a face. We can really start to talk about | :04:58. | :05:05. | |
portraiture with the ancient Romans, five centuries BC. They had this | :05:05. | :05:13. | |
huge cult of personality. Above all, a good portrait speaks to you. The | :05:13. | :05:17. | |
best portraits make us feel that we know somebody. That we have a sense | :05:17. | :05:22. | |
of what they would be like a dinner table, of what they would be going | :05:22. | :05:27. | |
through. This is one of Rembrandt's last self-portraits. The longer you | :05:27. | :05:32. | |
look at that face, the more we feel you know the man. This was a man at | :05:32. | :05:37. | |
the end of his life. It is about connecting with people and we are | :05:37. | :05:42. | |
connecting with somebody back across nearly 400 years now. This | :05:42. | :05:50. | |
is exactly the opposite. This is about mystery. Leonardo has set her | :05:50. | :05:58. | |
outside time. Even her hair. If it is styled, you immediately dated -- | :05:58. | :06:06. | |
date it. Headdress is dark, almost dreary. -- her dress. It is miles | :06:06. | :06:11. | |
away from the bejewelled corseted cutting edge action of the day. He | :06:11. | :06:16. | |
is saying, this is not a portrait of a woman in Florence in 50 No 4, | :06:16. | :06:26. | |
he is saying this is woman, almost. And it is this quality in a | :06:26. | :06:31. | |
portrait, the ability to make you stop and connect to a painting that | :06:31. | :06:36. | |
makes you set it apart. A portrait can have all the structure and | :06:36. | :06:40. | |
technique in the world, but if the artist has not managed to connect | :06:40. | :06:44. | |
the essence of the sitter, it will not join the ranks of the true | :06:44. | :06:51. | |
greats. The Queen, art and image runs at | :06:51. | :06:59. | |
the Ulster Museum and will the 15th of generate. Now, boys, you won the | :06:59. | :07:07. | |
X Factor when you're 17. Everyone thinks we are 15. We were in | :07:07. | :07:12. | |
finance the other night,. We were in Lapland, we met a reindeer. The | :07:12. | :07:17. | |
guy would not let us into the restaurant because he thought we | :07:17. | :07:23. | |
were 15 but we are 20. What about poor Janet Devlin? She is so | :07:23. | :07:28. | |
talented, she has a great image. I think she will do so many different | :07:28. | :07:33. | |
things. I think it's a really good platform for Janet. All our fans | :07:33. | :07:38. | |
can say you do not have to win the show to be a great success. All of | :07:38. | :07:43. | |
those who are a big success have not actually won it. You went to | :07:43. | :07:49. | |
represent your country at Eurovision. Representing Ireland! | :07:49. | :07:59. | |
:07:59. | :08:20. | ||
I've come on a visit what I could find, how could I when when I'm | :08:20. | :08:28. | |
losing... Can I speak? Yes, you may speak now. What was that like, a | :08:28. | :08:34. | |
huge global audience? It was crazy. What were you like before you went | :08:34. | :08:40. | |
on stage because you bounce around? It was crazy. We were literally | :08:40. | :08:47. | |
standing there and there was a gigantic laser going 10, 9, 8, 7... | :08:48. | :08:51. | |
We were in front of the camera but you do not see the camera, we could | :08:52. | :08:57. | |
see people at home. We had support from everyone back in Ireland. | :08:57. | :09:03. | |
there was the Pope, it was crazy. And you might do it next year? | :09:03. | :09:10. | |
Everyone fate for us. Right now, we are picking songs. It is all on the | :09:10. | :09:15. | |
down their right now. But our contenders, watch out because we | :09:15. | :09:21. | |
will have an amazing song. How will you top it? It will be a better | :09:21. | :09:27. | |
song than Lipstick. We are going to get you! What about the cost tins? | :09:27. | :09:35. | |
Because used we are wearing right now. -- the costumes? We will dream | :09:35. | :09:41. | |
an amazing outfit and we will wake up and ask them to make it for us. | :09:41. | :09:47. | |
Lipstick is last year's song, you have a new song called Wow Oh Wow. | :09:47. | :09:57. | |
:09:57. | :10:18. | ||
But guess who is in the video? It is American Pie crazy. What do you | :10:18. | :10:28. | |
:10:28. | :10:29. | ||
guys think? We love it. We will hear more, of course, in a minute. | :10:29. | :10:37. | |
Wow Oh Wow is out now! Roy Walker was merely moved City is | :10:37. | :10:42. | |
telling us his. They have all curated their own private | :10:42. | :10:49. | |
exhibition of works of art which mean something to them. Today, the | :10:49. | :10:53. | |
Bangor born MP who has cheaply worked his way through jungles in | :10:53. | :11:03. | |
:11:03. | :11:14. | ||
Now, there is an old friend on canvas. I have not seen that for a | :11:14. | :11:20. | |
long, long time. This is a wonderful painting which really got | :11:20. | :11:25. | |
me interested in art. For water lilies by Claude Monet, which is | :11:25. | :11:33. | |
not just one painting, it is a series of paintings. I learnt about | :11:33. | :11:37. | |
Impressionism by this. Just by making small brush marks you create | :11:37. | :11:47. | |
:11:47. | :11:48. | ||
an overall picture. I think that is like life. A different kind of art, | :11:48. | :11:57. | |
a different medium, this one is the art of words. And it is my | :11:57. | :12:04. | |
favourite book. It is a book which really paints a picture of optimism | :12:04. | :12:10. | |
in the very dark circumstances. The author experienced life at the | :12:10. | :12:15. | |
roughest end in the Soviet Union. He was banged up in a forced labour | :12:15. | :12:23. | |
camp in Siberia and one of the inspirational out comes of it was | :12:23. | :12:29. | |
one day in the life. The Allied deal of a man who is banged up in | :12:29. | :12:34. | |
prison for about eight years for political crimes -- the idea of a | :12:34. | :12:41. | |
man. Although the circumstances are dreadful, he has a good day. I was | :12:41. | :12:44. | |
particularly interested in it because my whole family has been | :12:44. | :12:50. | |
affected by the Soviet Union. I was born in Bangor but my family are | :12:50. | :12:54. | |
Estonians so they came from similar circumstances as this. Eyelid | :12:54. | :12:58. | |
characterise it by saying suffering is inevitable but misery is a | :12:58. | :13:08. | |
:13:08. | :13:12. | ||
choice -- I would characterise it. That has got to be one of the most | :13:12. | :13:17. | |
profound photographs ever taken by the human race. The Apollo | :13:18. | :13:25. | |
astronauts took this picture. It is called Earth rise. They actually | :13:26. | :13:34. | |
made this journey on 25th December 1968. As they came round the moon, | :13:35. | :13:39. | |
they read parts of Genesis from the Bible and they wished everybody a | :13:39. | :13:44. | |
merry Christmas on the Good Earth. It is really moving how they talk | :13:44. | :13:50. | |
about it. It is an important picture and we forget the message | :13:50. | :14:00. | |
:14:00. | :14:26. | ||
of Our important blue dot at our I am talking over it. I have | :14:26. | :14:35. | |
nothing to say. It talks for itself. It has got to be one of the most | :14:35. | :14:40. | |
compulsively resilient pieces of music ever written about the human | :14:40. | :14:49. | |
race. This is fanfare For The Common man, written in 1942, the | :14:49. | :14:56. | |
height of World War II. It summarises in musical terms what I | :14:56. | :14:59. | |
think politics should be about. What the best human endeavour is | :14:59. | :15:08. | |
about. It moves you to tears. Anybody who is not moved by this is | :15:08. | :15:15. | |
not human. It is about seeing the whole view like Monet. It is about | :15:15. | :15:25. | |
:15:25. | :15:28. | ||
seeing the best situation. It is Lembit Opik with his private | :15:28. | :15:32. | |
exhibition of his favourite things. If there was a Jedward version... | :15:32. | :15:35. | |
You have an amazing collection of memorabilia. What would you | :15:36. | :15:43. | |
include? We have outfits that we war. My God Jackson's autograph. So | :15:43. | :15:51. | |
much memorabilia. -- Michael Jackson's autograph. One day we | :15:51. | :15:58. | |
will open a museum. Notice in a secret location at the moment. | :15:59. | :16:06. | |
not asking you where it is! Crazy. You obviously both like the same | :16:06. | :16:11. | |
things. Is there anything that you like that he does not? He likes | :16:11. | :16:16. | |
honey. You know cones for ice cream? I got to an age when I did | :16:16. | :16:25. | |
like them. I like everything that you like. If you ever ask him, then | :16:25. | :16:32. | |
they say he is the talkative one and I am a quiet one. Not one of | :16:32. | :16:40. | |
you is quiet! He was totally sleeping when we were about to go | :16:40. | :16:45. | |
on air. I was telling him to drink water. I tell him to drink water to | :16:45. | :16:51. | |
hydrate. If you want energy, drink lots of water and eat healthy. | :16:51. | :16:55. | |
were just checking our phone. you have both met some fantastic | :16:55. | :17:05. | |
:17:05. | :17:07. | ||
people along the way. Barack Obama. And Katy Perry, and Michael Buble... | :17:07. | :17:14. | |
And out of all of them who would you duet with? Who? I don't know. | :17:14. | :17:22. | |
Barack Obama. He might have a lovely voice. He might wrap. | :17:23. | :17:29. | |
Britney Spears. Lady Gaga. Who do you think? I don't know. Is there | :17:29. | :17:32. | |
anybody that you would like to meet that you have not met? Justin | :17:32. | :17:39. | |
Timberlake. And he Wells? Nelson Mandela. You could have her dancing | :17:39. | :17:49. | |
competition with him. He looks really call. -- cool. Who do you | :17:49. | :17:54. | |
want to meet? We are just happy to meet Jedward. You say I love | :17:55. | :18:04. | |
Jedward but it should be we love Jedward. Justin Bieber and all the | :18:04. | :18:08. | |
guys are in Belfast chilling. What is the main question that you want | :18:08. | :18:13. | |
to ask us? I want to know who came up with the turn Jedward? One | :18:13. | :18:17. | |
minute you were John and Edward and then he became the huge phenomenon | :18:17. | :18:21. | |
Jedward. We were in a bar and we found an envelope that said you are | :18:21. | :18:31. | |
Jedward. Somebody said is it John? Is it bed? It was good for the | :18:31. | :18:39. | |
tabloids. John and Edward takes up too much space on the page. But | :18:39. | :18:47. | |
Jedward is a brand. Then everybody can say, Jedward! Jedward! Can I | :18:47. | :18:54. | |
hear you chanting Jedward? Jedward! It has been a revelation to have | :18:54. | :18:59. | |
you here. All the people watching, our brand new single is out now. | :18:59. | :19:04. | |
Every single person should download it. We love you guys so much. Out | :19:04. | :19:09. | |
Of The Blue is the best show. have got the plug. Thank you. Now | :19:09. | :19:13. | |
for something go broody different. The creators of Wallace and Gromit | :19:13. | :19:21. | |
have something else on their hands. Animation works as well as it did | :19:21. | :19:27. | |
since Walt Disney and Mickey Mouse. Toy Story, two dimensional, three- | :19:27. | :19:33. | |
dimensional, there is box-office in computer modelling. We meet a man | :19:33. | :19:37. | |
that is getting Northern Ireland on the same page as Hollywood. | :19:37. | :19:41. | |
They are is a crack in the Northern Irish film industry. A fracture | :19:41. | :19:48. | |
that needs to be mended. The success of our international TV | :19:48. | :19:57. | |
and film work is awe-inspiring. Your Highness was made here. | :19:57. | :20:02. | |
Despite their being lots of talent, our industry has been left quaking | :20:02. | :20:09. | |
in the wake of Hollywood. Until now. Now one man has appeared in our | :20:09. | :20:14. | |
midst. His mission is to turn Northern Ireland into an animation | :20:14. | :20:20. | |
superpower. His name is Greg Maguire. Creative technical | :20:20. | :20:24. | |
director on Avatar, this man has also worked on Spiderman and Harry | :20:25. | :20:29. | |
Potter. In the animation world he is Stella. His star is about to | :20:29. | :20:35. | |
shine on Northern Ireland. originally went to California for a | :20:35. | :20:41. | |
year and ended up staying. When I was there, I was able to grab on to | :20:41. | :20:43. | |
some opportunities and great experiences and get some great | :20:43. | :20:48. | |
movies under my belt as well. The talent here has been amazing. The | :20:48. | :20:54. | |
skill level, not so much. That is why we are running courses at the | :20:54. | :21:01. | |
University here. Most companies are probably one or two man bans. The | :21:01. | :21:06. | |
more I talk to them, the more it seems that they are in competition | :21:06. | :21:10. | |
with one another. Instead of collaborating with each other. When | :21:10. | :21:14. | |
you come together, then you can be assured of getting jobs from the | :21:14. | :21:21. | |
USA. You would think you would take years for changes to occur in the | :21:21. | :21:29. | |
animation industry, even with Greg's support. You would be wrong. | :21:29. | :21:33. | |
Meet the new company Black North. The studio is two years old and we | :21:34. | :21:37. | |
find that we get more and more creative and exciting projects | :21:37. | :21:41. | |
coming through the door. I think we are an example that you can be | :21:41. | :21:45. | |
based in Belfast and working on a Hollywood feature film. Adam | :21:45. | :21:51. | |
Santa's latest film, we are doing the effects on that. We are | :21:51. | :21:56. | |
painting in elements of something called Atomic Fiction. | :21:56. | :22:00. | |
confidence grows among animation companies, things are looking up | :22:00. | :22:05. | |
for the industry. And it is not just animation companies feeling | :22:05. | :22:09. | |
the Greg effect. We're working on short animation at the moment. We | :22:09. | :22:13. | |
got funding from the European Commission. It enabled us to come | :22:13. | :22:16. | |
together as a group and so that something to the German film | :22:16. | :22:22. | |
festival. It is awesome. People like Craig here, they bring back | :22:22. | :22:29. | |
the skills. They tell us what we need to know to be at this level. | :22:29. | :22:33. | |
am amazingly proud. I would not send people's work to California | :22:33. | :22:38. | |
unless I was proud of it. I have sent some of the student work to | :22:38. | :22:41. | |
California. I sent it to the director of Star Wars and said, | :22:41. | :22:45. | |
look at what they are doing with just one year of work under their | :22:45. | :22:53. | |
belt. He can't believe it. It is outstanding. And one of his | :22:53. | :22:56. | |
students managed to make ralph looked better when transforming him | :22:56. | :23:06. | |
:23:06. | :23:07. | ||
into 3D. Truly terrifying. Working away for the last 16 minutes has | :23:07. | :23:12. | |
been our artist, Deepa Mann-Kler. Can you tell us what you have done? | :23:12. | :23:18. | |
I have tried to produce a painting which has connections with children | :23:18. | :23:23. | |
that are in need. I have used lilac, a spiritual colour with yellow, a | :23:23. | :23:28. | |
healing colour. You describe your work as Abstract Expressionism. Can | :23:28. | :23:32. | |
you do find that? It is working in an emotional way quite quickly. For | :23:32. | :23:38. | |
me it is using colour and texture. You were in your mid-30s when you | :23:38. | :23:42. | |
started working as a professional artist. Why did you leave it so | :23:42. | :23:47. | |
late? I think just through circumstance. Being a second | :23:47. | :23:53. | |
generation Indian, my parents wanted me to take an academic route | :23:53. | :23:56. | |
to protect me from the racism they had encountered and I went down | :23:56. | :24:00. | |
that road. It has not really stop to because you are branching into | :24:00. | :24:06. | |
the lucrative market of New York. - - stopped you. Yes, I want to get | :24:06. | :24:12. | |
into India, to go to Delhi, London. I have some exciting plans with the | :24:12. | :24:15. | |
galleries that are expanding in the new year. It is difficult to crack | :24:15. | :24:23. | |
but you are doing very well. Your time in India and England | :24:23. | :24:30. | |
influences your work ferry profusely. Yes, there was a Celtic | :24:30. | :24:34. | |
Indian influence in my drawings. Why am drawing on my childhood | :24:34. | :24:39. | |
experiences in my current body of work. -- I am drawing. And you have | :24:39. | :24:44. | |
signed that. It is personal to the show, as personal as I can make it. | :24:44. | :24:53. | |
Some of them have gone, but all of the works have been signed. They | :24:54. | :24:59. | |
are all being auctioned with proceeds going to charity. | :24:59. | :25:06. | |
Now it is time for some music. Her voice has touched the heights with | :25:06. | :25:11. | |
choirs in Manchester. She has done some puppeteer Rome and she fronts | :25:11. | :25:18. | |
her own band. The band is called Katie and The Carnival. You have | :25:18. | :25:22. | |
finally hit on music after a lot of things. Yes, I have tried lots of | :25:22. | :25:27. | |
things. I love working on my own songs. Even within your musical | :25:27. | :25:31. | |
career in has been varied. This is the first time that you are | :25:31. | :25:35. | |
standing up as the front person. There must be more pressure. Yes, | :25:35. | :25:41. | |
but more reward at the end of 12. I love writing music. I love getting | :25:41. | :25:47. | |
up and performing. You change your musicians and your line-up | :25:47. | :25:51. | |
according to the noise that you are creating. With these guys, you have | :25:51. | :25:57. | |
stuck with them for a while. Yes, for a year. We are really having a | :25:57. | :26:03. | |
bus, making big sounds. It is great. -- having a blast. And a Christmas | :26:03. | :26:09. | |
album is coming? Yes, we decided to write some Christmas songs. We are | :26:09. | :26:14. | |
doing lots of Christmas concerts in the run-up. We thought we would | :26:14. | :26:18. | |
release our own CD. I look forward to catching some of those concerts | :26:18. | :26:28. | |
:26:28. | :26:29. | ||
and to hearing you play live so. On Out Of The Blue, we meet your | :26:29. | :26:35. | |
alter ego. Why can't we get enough of men dressing up as women? And we | :26:35. | :26:38. | |
meet the person that survived concentration camps before bringing | :26:38. | :26:43. | |
modern dance to Northern Ireland. At least a Hannigan plays live. | :26:43. | :26:49. | |
you next week at 7:30pm. But to end the programme, we have Katie and | :26:49. | :26:59. | |
:26:59. | :27:03. | ||
# To the sea I will go running. # Off on my own again. | :27:03. | :27:13. | |
:27:13. | :27:21. | ||
# Keep those happy thoughts. # My Heart keeps escaping, round | :27:21. | :27:31. | |
:27:31. | :27:43. | ||
# You never understand anything about my plans. | :27:43. | :27:49. | |
# We know exactly what you do. # I am going far away from here. | :27:49. | :27:56. | |
A # Getting far away from you. # I don't need you. | :27:56. | :28:06. | |
:28:06. | :28:19. | ||
# Going to reach the bottom. # Never thought this day would come. | :28:19. | :28:29. | |
:28:29. | :28:34. | ||
# When I play her new horizon, # I know you never understand | :28:34. | :28:43. | |
anything about my plans. # And their exactly what you do. | :28:43. | :28:47. |