0:00:07 > 0:00:09This is Bethlehem.
0:00:10 > 0:00:13MUSIC: Wonderful Christmastime by Paul McCartney
0:00:13 > 0:00:17World capital of the international Jesus Christ birthday business.
0:00:19 > 0:00:23This year, Bethlehem became home to a unique hotel.
0:00:23 > 0:00:25- REPORTER:- ..where, just metres from its doors,
0:00:25 > 0:00:27is the concrete wall Israel has built...
0:00:27 > 0:00:29..and this whole room is a Banksy...
0:00:29 > 0:00:32It's an intervention into one of the poorest parts
0:00:32 > 0:00:35of a would-be Palestinian state.
0:00:37 > 0:00:40Billed as having the worst view in the world,
0:00:40 > 0:00:42Banksy's Walled Off Hotel
0:00:42 > 0:00:44sits under the gaze of an Israeli watchtower
0:00:44 > 0:00:47in the occupied Palestinian territories.
0:00:50 > 0:00:52The place where Christmas was invented
0:00:52 > 0:00:55now feels like a city under siege,
0:00:55 > 0:00:58and in serious need of some festive cheer.
0:00:59 > 0:01:01This is the story of what happened
0:01:01 > 0:01:04when Banksy asked a world-famous movie director
0:01:04 > 0:01:07to come all the way to the little town of Bethlehem...
0:01:13 > 0:01:16..to put on a nativity play like no other
0:01:16 > 0:01:20in what was once the most Christmassy place on earth.
0:01:31 > 0:01:33My name is Wisam Salsaa,
0:01:33 > 0:01:37and I'm the manager of the Walled Off Hotel in Bethlehem.
0:01:37 > 0:01:41Working with Banksy is not something easy to do, it's not a normal job.
0:01:41 > 0:01:43I have to do everything.
0:01:43 > 0:01:45I clean bathrooms.
0:01:46 > 0:01:48I paint, I make stencils.
0:01:48 > 0:01:52It was annoying, in the beginning, to work with him,
0:01:52 > 0:01:55because I did not understand his head.
0:01:55 > 0:01:59I'm the only one who can communicate to Banksy,
0:01:59 > 0:02:02so that makes things so complicated.
0:02:02 > 0:02:06OK, there's a cameraman in front of me, filming me,
0:02:06 > 0:02:08so I'm going to take off the...
0:02:09 > 0:02:12I'm going to take off the mic, OK, and talk to you,
0:02:12 > 0:02:16unless you want me, you want him to record what I'm saying?
0:02:16 > 0:02:18Never easy to work for Banksy.
0:02:18 > 0:02:20Things are very complicated.
0:02:20 > 0:02:23I need the story, I need the story, I need the story.
0:02:23 > 0:02:25I need the story.
0:02:25 > 0:02:28Everything is unusual.
0:02:28 > 0:02:30He would, like, give someone a job,
0:02:30 > 0:02:34he would just think how to make the most difficult thing to achieve.
0:02:37 > 0:02:40Banksy's new plan is crazy, I think.
0:02:40 > 0:02:43Just crazy like the previous ones -
0:02:43 > 0:02:48and he invited some Oscar-winning film director,
0:02:48 > 0:02:50his name is Danny Boyle,
0:02:50 > 0:02:52to come and do something at the hotel's car park.
0:02:53 > 0:02:55Cool.
0:02:56 > 0:02:58Yeah, it's very sweet.
0:02:58 > 0:03:00Yeah, you can see where he's going!
0:03:02 > 0:03:05Never met Banksy or had any correspondence with him,
0:03:05 > 0:03:07or know the first thing about him, really, apart from his work.
0:03:07 > 0:03:09I mean, I like his work very much.
0:03:09 > 0:03:11I can't imagine there's many people
0:03:11 > 0:03:13who don't know something about Banksy.
0:03:13 > 0:03:15He's voted Britain's favourite artist,
0:03:15 > 0:03:18above Constable, above Turner, all that lot.
0:03:18 > 0:03:22I got a message purporting to be from Banksy,
0:03:22 > 0:03:25would I consider being roped in to...
0:03:25 > 0:03:29..helping him make a nativity play
0:03:29 > 0:03:34in the car park of his hotel in Bethlehem?
0:03:34 > 0:03:36"Dear Danny,
0:03:36 > 0:03:39"I recently opened a guesthouse in Bethlehem
0:03:39 > 0:03:42"but turns out it's less Christmassy than you might imagine.
0:03:42 > 0:03:46"So I've decided we need to put on a nativity play.
0:03:46 > 0:03:49"There's stiff competition from the church down the road,
0:03:49 > 0:03:51"the place where Jesus was actually born,
0:03:51 > 0:03:54"and our show needs to appeal to everybody in the region.
0:03:54 > 0:03:57"An Alternativity. Can you help?
0:03:57 > 0:04:00"After all, you managed to make Britain look cool at the Olympics,
0:04:00 > 0:04:02"so bringing peace to the Middle East
0:04:02 > 0:04:05"through an amateur dramatics performance shouldn't be a problem.
0:04:05 > 0:04:08"Please consider. Yours, Banksy.
0:04:08 > 0:04:10"PS, finding a donkey won't be difficult
0:04:10 > 0:04:13"but I wonder if we can make it snow?"
0:04:14 > 0:04:16So I replied and said, yes, of course,
0:04:16 > 0:04:21and tomorrow morning I leave for Bethlehem.
0:04:28 > 0:04:30I've never been to Israel, Palestine.
0:04:32 > 0:04:34Never been anywhere near there, really.
0:04:37 > 0:04:39I think Majorca's the most closest I've ever got!
0:04:56 > 0:04:59There are no international airports in the West Bank.
0:04:59 > 0:05:02Tourists fly into Tel Aviv in Israel.
0:05:03 > 0:05:07From there, Bethlehem is only an hour by car...
0:05:09 > 0:05:12..but the journey means crossing through
0:05:12 > 0:05:16a 400-mile long heavily fortified separation barrier
0:05:16 > 0:05:19into the occupied Palestinian territories.
0:05:20 > 0:05:25Inside this enclosed region, movement is restricted,
0:05:25 > 0:05:28and most Palestinians are not allowed to leave without permits.
0:05:30 > 0:05:32It's a small step for Danny,
0:05:32 > 0:05:35but a huge leap into a very different reality.
0:05:36 > 0:05:39For my mother, Bethlehem meant something, completely.
0:05:39 > 0:05:41She was very strict Irish Catholic,
0:05:41 > 0:05:46and she would be very pleased that I'd finally made it to Bethlehem,
0:05:46 > 0:05:48making a nativity play.
0:05:48 > 0:05:49She would love that!
0:05:50 > 0:05:52And there's the wall. Wow.
0:05:53 > 0:05:55Yeah, look at that.
0:06:00 > 0:06:02Is this it, is this the hotel?
0:06:02 > 0:06:03- Yeah.- Oh, cool!
0:06:03 > 0:06:05- Hey!- Hi, how are you?
0:06:05 > 0:06:07Hey, I'm Danny. Thank you.
0:06:07 > 0:06:08- Welcome.- Great, thank you.
0:06:09 > 0:06:12So, this goes like this...
0:06:14 > 0:06:16..and then...
0:06:16 > 0:06:18- You push.- That's the room?!
0:06:19 > 0:06:20This is...!
0:06:21 > 0:06:25- This is the way... - You're kidding!- ..to your room.
0:06:25 > 0:06:26Yep.
0:06:31 > 0:06:32Oh, wow.
0:06:33 > 0:06:35Oh, it's lovely.
0:06:36 > 0:06:38Wow, look at the wall!
0:06:41 > 0:06:43- Let me just pull this up. - Yes, please.
0:06:48 > 0:06:49OK.
0:06:57 > 0:06:59The wall's extraordinary, isn't it?
0:06:59 > 0:07:00You'd no idea how...
0:07:02 > 0:07:07..um...like, kind of...
0:07:07 > 0:07:10It's just like nails driven into the ground. It's like...
0:07:11 > 0:07:14You just imagine something different, really.
0:07:14 > 0:07:17It's so crude and brutal.
0:07:18 > 0:07:21Well, I'm looking at the car park where we're going to do it!
0:07:23 > 0:07:26You could say it looks promising, yes.
0:07:26 > 0:07:29In fact, I wouldn't mind having a walk round that right now, actually.
0:07:39 > 0:07:40- So this is the car park?- Yeah.
0:07:40 > 0:07:42Great.
0:07:42 > 0:07:44So what we're looking at is we set up a stage
0:07:44 > 0:07:47- and somehow stage the nativity in here.- Mm.
0:07:47 > 0:07:49- Yep.- And...
0:07:49 > 0:07:53And people would come and stand - we won't have seating...
0:07:53 > 0:07:55- Yeah.- Will we have seating?
0:07:55 > 0:07:57- I don't think so. - Probably not. Just standing.
0:07:57 > 0:07:59Standing room only.
0:07:59 > 0:08:00- Yeah.- That's OK, that's all right.
0:08:00 > 0:08:03- It would be too cold to sit. - It'd be like...
0:08:08 > 0:08:10This is an extraordinary puzzle, really, I suppose.
0:08:13 > 0:08:16But its purpose and its outcome is unclear.
0:08:17 > 0:08:19In a way, the most obvious thing in the world
0:08:19 > 0:08:20is what he wants us to do,
0:08:20 > 0:08:23which is to stage a nativity play in Bethlehem.
0:08:23 > 0:08:26What school teacher wouldn't think that was a good idea?
0:08:27 > 0:08:29Being the artist that he is,
0:08:29 > 0:08:31it isn't going to be just like a school play,
0:08:31 > 0:08:35but there will be a function of the evening
0:08:35 > 0:08:39that is beyond the automatic...
0:08:39 > 0:08:42..goodwill of a school play.
0:08:43 > 0:08:46Banksy told me that Danny has done events before,
0:08:46 > 0:08:49but living in the occupied territories,
0:08:49 > 0:08:50nothing is straightforward,
0:08:50 > 0:08:52so he's going to need my help.
0:08:52 > 0:08:56I need to appoint an assistant director,
0:08:56 > 0:08:59someone who's going to rehearse while I'm away.
0:08:59 > 0:09:04Do you know anybody who has that motivation to put plays on?
0:09:04 > 0:09:06You know what? I know a young girl...
0:09:07 > 0:09:10..she's very much involved, she teaches drama,
0:09:10 > 0:09:12- I think she has the time...- Yeah.
0:09:12 > 0:09:14..I think she's creative and she has the time, you know,
0:09:14 > 0:09:16she has, you know, the passion.
0:09:16 > 0:09:18If you want, I can call her.
0:09:18 > 0:09:20That would be wonderful.
0:09:48 > 0:09:50She will be here in two minutes.
0:09:50 > 0:09:51Oh, wonderful.
0:09:55 > 0:09:58Hello. Are you Riham?
0:09:58 > 0:09:59- Riham.- Riham, I'm Danny.- Yes.
0:09:59 > 0:10:01- Hey, nice to meet you. - He got my name right!
0:10:03 > 0:10:04What we're doing is,
0:10:04 > 0:10:07we're looking to stage a little nativity play
0:10:07 > 0:10:10in the car park of the Walled Off Hotel.
0:10:10 > 0:10:13We're trying to evolve a way of involving the community in it.
0:10:13 > 0:10:15Where I come from,
0:10:15 > 0:10:17where, if kids do nativity plays,
0:10:17 > 0:10:21and it's cute beyond belief, and it has a beautiful charm,
0:10:21 > 0:10:25and it would be interspersed, maybe, with some local performers,
0:10:25 > 0:10:29like a rapper or a poet or a singer or a dancer,
0:10:29 > 0:10:31so, what I was looking for...
0:10:32 > 0:10:35..is for someone to be my co-director.
0:10:35 > 0:10:36OK.
0:10:38 > 0:10:40Do you like Banksy's work?
0:10:40 > 0:10:43- Do you know his work? - Yes, of course.
0:10:43 > 0:10:44And?
0:10:45 > 0:10:47Do you want me to be honest?
0:10:47 > 0:10:48- Yes.- Yes?
0:10:48 > 0:10:52I am, I really like his work,
0:10:52 > 0:10:56but I was very sceptical once the hotel opened.
0:10:57 > 0:11:01Suddenly it is becoming like a very touristic exposure.
0:11:01 > 0:11:05I'm against even like going and painting on the wall in general.
0:11:05 > 0:11:08Is it something that would really change,
0:11:08 > 0:11:12- or like just painting on it is very...- Yeah.
0:11:12 > 0:11:15..is something that's, for you, as a satisfactory moment
0:11:15 > 0:11:18that you go and, like... you do it, and then that's it.
0:11:19 > 0:11:22- Then...- Interesting. - Yeah, the wall thing.
0:11:22 > 0:11:24And there's a lot of people who think it.
0:11:26 > 0:11:31I was surprised from Riham's reaction after meeting with Danny.
0:11:31 > 0:11:33I thought she would be more excited -
0:11:33 > 0:11:39but this wall is not a place to have fun with or to use in a play.
0:11:39 > 0:11:43This wall dominates everything in our lives, even going to work.
0:11:43 > 0:11:46- Hi, Danny.- Hey, Fadi. Good morning. - Good morning. How are you?
0:11:46 > 0:11:48Fadi, a local guide, is taking Danny
0:11:48 > 0:11:52to experience Bethlehem's version of the rush-hour,
0:11:52 > 0:11:55at 5am, when thousands of labourers queue for hours
0:11:55 > 0:11:59to get to work on the other side, in Israel.
0:12:20 > 0:12:21The separation barrier
0:12:21 > 0:12:24and the Israeli occupation of Palestinian land
0:12:24 > 0:12:28have sliced through communities, separating neighbours.
0:12:31 > 0:12:35Thousands have been imprisoned for refusing to leave their land,
0:12:35 > 0:12:38and although the exact boundaries are hotly disputed,
0:12:38 > 0:12:41many have been evicted and are now on blacklists,
0:12:41 > 0:12:44banning them from entering Israel,
0:12:44 > 0:12:46meaning they are unable to travel for work.
0:12:48 > 0:12:51One of these is Amin.
0:12:51 > 0:12:53Imprisoned as a teenager,
0:12:53 > 0:12:56he now makes his living selling refreshments to the workers.
0:12:56 > 0:12:59My day is my night and my night is my day.
0:13:01 > 0:13:02They came to my land, and...
0:13:06 > 0:13:10They take me to the prison, and I stayed for one year
0:13:10 > 0:13:15because I am a terrorist because I fight them, you know?
0:13:15 > 0:13:19And I lost my land, lost my life, lost my study.
0:13:19 > 0:13:21I hope next year when you come here, no wall.
0:13:21 > 0:13:23So this will have gone?
0:13:23 > 0:13:26- Inshallah.- Ugh! Inshallah.
0:13:28 > 0:13:31You can see the guys going to work.
0:13:31 > 0:13:33You know, it's almost like their heads were down
0:13:33 > 0:13:35so that they didn't see the indignity
0:13:35 > 0:13:38they were having to go through to pass through this thing.
0:13:38 > 0:13:41I don't know how you get inside the consciousness of people
0:13:41 > 0:13:44who actually live near it, or for whom it is a part of their life.
0:13:44 > 0:13:47When it's been a part of your life for over a decade,
0:13:47 > 0:13:49do you think about it in any way?
0:13:49 > 0:13:50Do you think about it once a day?
0:13:50 > 0:13:52Never a day? I don't know.
0:14:00 > 0:14:04I went to the Berlin Wall before it came down in the early '80s...
0:14:06 > 0:14:10..but this is so tall compared to that. It's like...
0:14:11 > 0:14:16It's like double the height of the Berlin Wall.
0:14:20 > 0:14:23Obviously, reading history and the background,
0:14:23 > 0:14:27obviously the wall was a response to suicide bombings
0:14:27 > 0:14:30and shocking acts of terror, really,
0:14:30 > 0:14:35where innocent people were blown up and a nation clearly reacts
0:14:35 > 0:14:39in an incredibly aggressive and dominant way
0:14:39 > 0:14:42to a force that they feel threatens them.
0:14:45 > 0:14:49So, I can understand - although I, personally, don't...
0:14:49 > 0:14:53It's not a solution that I think works, ultimately,
0:14:53 > 0:14:57nor I think is it a solution that is fair for any nation
0:14:57 > 0:15:00to impose upon itself or a community within itself.
0:15:00 > 0:15:02I find that very, very, very difficult.
0:15:10 > 0:15:12HE HUMS TO HIMSELF
0:15:16 > 0:15:19Apparently, for a census, for taxation reasons,
0:15:19 > 0:15:21you had to go and register where you were from,
0:15:21 > 0:15:23and so Joseph had to return to Bethlehem,
0:15:23 > 0:15:26and so they undertook... Which is quite a considerable journey.
0:15:26 > 0:15:29So, I think a sense of journeying is very important -
0:15:29 > 0:15:33and, obviously, it was very interesting seeing all the workers
0:15:33 > 0:15:35who travel to the other side of the wall to work,
0:15:35 > 0:15:38and then had to walk back through the wall again.
0:15:38 > 0:15:40So, the sense of foot travel, journeying,
0:15:40 > 0:15:43would be a very powerful way to start it, I think.
0:15:43 > 0:15:46My instinct is to replicate an image we all have
0:15:46 > 0:15:48that is embedded in so many of us,
0:15:48 > 0:15:50I think, which is the school nativity play,
0:15:50 > 0:15:53and let the circumstances of where it is set,
0:15:53 > 0:15:57out here in this car park, by the wall,
0:15:57 > 0:16:01and by putting those two worlds together, that, to me, is enough.
0:16:01 > 0:16:06I think, if I try to decorate the nativity play,
0:16:06 > 0:16:08if I try to put a twist on that,
0:16:08 > 0:16:11that in some way reflects on the circumstances here,
0:16:11 > 0:16:13I think it would be very patronising.
0:16:16 > 0:16:17Yeah, there's a message from Banksy.
0:16:17 > 0:16:20"Here are a couple of random thoughts."
0:16:20 > 0:16:21HE CHUCKLES
0:16:21 > 0:16:24"Peace on Earth and goodwill to all, asterix,
0:16:24 > 0:16:26"terms and conditions apply!
0:16:26 > 0:16:29"Opening, Mary gets a text from a number she doesn't recognise
0:16:29 > 0:16:30"telling her she's pregnant."
0:16:30 > 0:16:32So, he's thinking more modern day.
0:16:32 > 0:16:35I'm not sure about that. I worry about modernising it.
0:16:35 > 0:16:38Um, maybe it can be traditional and she does have a phone,
0:16:38 > 0:16:40maybe that's the...maybe that's fun,
0:16:40 > 0:16:42that that actually she pulls a Samsung or an Apple
0:16:42 > 0:16:44out of her traditional costume, you know?
0:16:49 > 0:16:52So, I'm going to take you today to the Church of the Nativity.
0:16:52 > 0:16:53How do you do, are you good?
0:16:53 > 0:16:56- Yes. Good morning. - Good morning, how are you?
0:17:00 > 0:17:03But Danny's nativity won't be the only show in town.
0:17:03 > 0:17:07This is Bethlehem - the birth of Jesus is big business.
0:17:12 > 0:17:15A short drive from the hotel is Manger Square,
0:17:15 > 0:17:18and the actual birthplace of Jesus Christ.
0:17:19 > 0:17:23The Church of the Nativity might be cut off from the world
0:17:23 > 0:17:25by walls and watchtowers,
0:17:25 > 0:17:28but it still gets over a million tourists a year.
0:17:28 > 0:17:33This is the exit of the... of the cave where Jesus was born.
0:17:33 > 0:17:34Right.
0:17:36 > 0:17:37Wow.
0:17:40 > 0:17:45It's the manger where he was laid after being born over there.
0:17:46 > 0:17:50Obviously, under intense tourist pressure, um,
0:17:50 > 0:17:54like, of the intensity of the experience for everyone.
0:17:56 > 0:17:57Banksy?
0:17:57 > 0:17:59Yeah.
0:17:59 > 0:18:01Sides of the world, isn't it?
0:18:01 > 0:18:04And the ever-present Banksy T-shirt's here.
0:18:04 > 0:18:06HE CHUCKLES
0:18:06 > 0:18:07Incredible.
0:18:09 > 0:18:12Everybody knows Banksy here, like, Banksy's a big thing in Bethlehem.
0:18:12 > 0:18:17Sometimes I feel that some people deal with Banksy
0:18:17 > 0:18:19as a prophet or a god or something.
0:18:22 > 0:18:23I met Banksy in 2005.
0:18:23 > 0:18:26At that time, I was working as a tour guide,
0:18:26 > 0:18:30and there were not much tourists coming to Palestine.
0:18:30 > 0:18:32So, he was my only customer -
0:18:32 > 0:18:34but he was a weird customer,
0:18:34 > 0:18:38because he did not want to go to see the holy sites,
0:18:38 > 0:18:42he wanted to look at the walls and paint the walls.
0:18:46 > 0:18:49- This is amazing.- And there's a store where you can go in
0:18:49 > 0:18:51and they encourage you to paint the wall.
0:18:51 > 0:18:54And, even, I run Banksy's hotel
0:18:54 > 0:18:58but my hotel is not the only Banksy hotel in Bethlehem.
0:18:58 > 0:19:02Hi. You are most welcome, come in, please.
0:19:06 > 0:19:08It's a Banksy guest house.
0:19:10 > 0:19:12Yeah, this is the sitting room.
0:19:12 > 0:19:14It's a sharing room.
0:19:14 > 0:19:15Every room has a toilet.
0:19:15 > 0:19:18You can come in, please, welcome.
0:19:18 > 0:19:21This is one of the bedrooms and it has this view.
0:19:21 > 0:19:24We wanted to let the people come
0:19:24 > 0:19:28and have the experience how to live surrounded by the wall
0:19:28 > 0:19:29from three sides.
0:19:30 > 0:19:35Banksy, he has a really nice face and nice mind.
0:19:35 > 0:19:36He looks a gentleman -
0:19:36 > 0:19:41but I won't tell how he looks like because I respect his anonymous...
0:19:41 > 0:19:43..that he is anonymous.
0:19:43 > 0:19:48This room, called Bristol, because he came from Bristol,
0:19:48 > 0:19:52that's what he said.
0:19:52 > 0:19:56We had the name of Banksy's Guesthouse about two years,
0:19:56 > 0:20:00and then, in March, this Banksy's hotel, The Walled Off, appeared,
0:20:00 > 0:20:03and now we might have to change the name because
0:20:03 > 0:20:05the clients booked here
0:20:05 > 0:20:08thinking that they're coming to Banksy's hotel,
0:20:08 > 0:20:11and we have to deal with the manager in the hotel.
0:20:12 > 0:20:14Oh, I can't say that!
0:20:14 > 0:20:17Forget it! He will come and kill me!
0:20:21 > 0:20:25That manager might run the official Banksy hotel now,
0:20:25 > 0:20:28but he is actually from a family of carpenters,
0:20:28 > 0:20:31and is taking Danny to an olive wood factory.
0:20:31 > 0:20:32Oh.
0:20:32 > 0:20:34HE LAUGHS
0:20:34 > 0:20:35He's a bit rusty.
0:20:35 > 0:20:39Maybe 20 years since I carved one of these like this.
0:20:39 > 0:20:41Mind your fingers!
0:20:41 > 0:20:44The olive tree is hugely important in Palestinian culture,
0:20:44 > 0:20:48but thousands of families have seen their olive groves
0:20:48 > 0:20:51enclosed by the wall and uprooted.
0:20:51 > 0:20:54The wood is now used to produce souvenirs for tourists -
0:20:54 > 0:20:57but Danny wants to find a way to reference trees
0:20:57 > 0:20:59in The Alternativity.
0:20:59 > 0:21:03Could you make me one of those that is as...
0:21:04 > 0:21:06..as big as the stage?
0:21:06 > 0:21:08Yes, how many metres do you want?
0:21:08 > 0:21:10That's not a problem.
0:21:10 > 0:21:12About five metres, four metres? Of course.
0:21:12 > 0:21:15And it would be on the... it would be on the stage,
0:21:15 > 0:21:18- and the nativity would happen under it.- Oh? Of course.
0:21:25 > 0:21:29Last night, Danny met Riham, a local director
0:21:29 > 0:21:34who he hopes will help him create and cast The Alternativity.
0:21:34 > 0:21:36I'm very, very excited about the ideas.
0:21:36 > 0:21:38I have the connections,
0:21:38 > 0:21:42I have the ability to, like, connect with different...
0:21:42 > 0:21:44..people for this project.
0:21:45 > 0:21:47And it's going to be a challenge,
0:21:47 > 0:21:50because, yeah, it's a big thing, and you're not here, and...
0:21:50 > 0:21:52Yeah, but I'm up for it.
0:21:52 > 0:21:54- Wonderful.- I had a good thought about it but I'm up for it.
0:21:54 > 0:21:56- Oh, wonderful. - I'm up for the challenge.
0:21:56 > 0:21:58- Wonderful, wonderful. - Yeah, yeah, yeah.
0:22:05 > 0:22:08Bethlehem has the largest Christian population
0:22:08 > 0:22:11in the occupied Palestinian territories -
0:22:11 > 0:22:15but the nativity isn't just a Christian story,
0:22:15 > 0:22:19and Danny's nativity needs to be relevant to all.
0:22:19 > 0:22:22So, he's visiting the mainly Muslim city of Hebron.
0:22:23 > 0:22:25Peace talks in the mid-'90s
0:22:25 > 0:22:29carved the West Bank up into areas A, B and C,
0:22:29 > 0:22:35under Palestinian, combined and Israeli control respectively -
0:22:35 > 0:22:37but Hebron is especially contested,
0:22:37 > 0:22:40with Jewish settlers occupying specific streets,
0:22:40 > 0:22:43and sometimes even specific houses.
0:22:44 > 0:22:48Here, the heavily defended settlers come and go as they please.
0:22:49 > 0:22:52But Danny's guides, Fadi, a Christian,
0:22:52 > 0:22:54and Said, a Muslim,
0:22:54 > 0:22:55are both Palestinians...
0:22:55 > 0:22:59- Yeah, I've got a passport. - And this is my passport.
0:22:59 > 0:23:03..and neither of them are allowed into the parts of Hebron
0:23:03 > 0:23:04claimed by the settlers.
0:23:04 > 0:23:05OK.
0:23:05 > 0:23:07- Thank you.- Bye-bye. - Thanks, now.- See you.
0:23:13 > 0:23:15It's like a ghost town, isn't it?
0:23:15 > 0:23:16It's like a western, isn't it?
0:23:16 > 0:23:18It's like a showdown or something.
0:23:18 > 0:23:20It's crazy to think like that,
0:23:20 > 0:23:22but it makes you feel like that, doesn't it?
0:23:22 > 0:23:27Danny, what does this do for the kind of...project in hand?
0:23:27 > 0:23:31Well, it's kind of... It's sad, really, I suppose.
0:23:31 > 0:23:34I mean, I do understand his thinking with the hotel
0:23:34 > 0:23:41is to emphasise...the human story of a divided community, a divided line.
0:23:44 > 0:23:46Art does reach, you know, beyond.
0:23:46 > 0:23:48You don't want to be hopelessly romantic about it,
0:23:48 > 0:23:52but it's one of the things that can transcend politics, you know?
0:23:56 > 0:23:58So, that's extraordinary
0:23:58 > 0:24:01to see a man out walking peacefully on the Sabbath with his wife,
0:24:01 > 0:24:02and his child in a buggy,
0:24:02 > 0:24:06and he's got an AK-47 or whatever the machine gun is.
0:24:06 > 0:24:08It's a machine gun, on his...
0:24:08 > 0:24:09So, his...
0:24:11 > 0:24:15..statement that he's making about what he expects to find,
0:24:15 > 0:24:18to protect his family, which is a natural instinct,
0:24:18 > 0:24:21is terrifying, really. Um...
0:24:23 > 0:24:25..and the Star of David on the doorways
0:24:25 > 0:24:29which are declaring that, obviously, the...
0:24:32 > 0:24:34..that, in these circumstances,
0:24:34 > 0:24:37declaring that this is, this will become,
0:24:37 > 0:24:41um, a settlement home, is shockingly reminiscent
0:24:41 > 0:24:45of something we all...of one of the worst horrors of the world.
0:24:47 > 0:24:49So... That's a bit mind-blowing, really.
0:24:55 > 0:24:57Not all of Hebron has been settled.
0:24:58 > 0:25:01In the main Muslim part of the city,
0:25:01 > 0:25:03Fadi is taking Danny to meet some local women
0:25:03 > 0:25:06who might be able to help him.
0:25:06 > 0:25:07Hey, hello, I'm Danny.
0:25:07 > 0:25:09- I'm Ula.- Nice to meet you.
0:25:09 > 0:25:12- Nice to meet you.- Hey!
0:25:12 > 0:25:14Beautiful theatre. Nice to see a theatre.
0:25:14 > 0:25:16- And what's your name?- Hey.- Diana.
0:25:16 > 0:25:18Diana, I'm Danny. Hi, nice to meet you.
0:25:18 > 0:25:23There are some women in the community of Hebron,
0:25:23 > 0:25:27they don't like to be shown on a stage or on a TV -
0:25:27 > 0:25:29for example, Ula.
0:25:29 > 0:25:32She doesn't like to be shown, because of her background.
0:25:32 > 0:25:35- Yes.- So, they found out that she can get the chance
0:25:35 > 0:25:37through the puppets.
0:25:37 > 0:25:39- Through puppeteering. - So, she's not showing herself,
0:25:39 > 0:25:40she will show the puppet.
0:25:48 > 0:25:50SHE SPEAKS IN OWN LANGUAGE
0:25:52 > 0:25:54SHE LAUGHS
0:25:59 > 0:26:01THEY CHANT AND STAMP
0:26:06 > 0:26:08Wow. Can we see your donkey?
0:26:08 > 0:26:10HE TRANSLATES
0:26:10 > 0:26:12SHE BRAYS
0:26:20 > 0:26:22In this little town of Bethlehem,
0:26:22 > 0:26:27the line between the past and present isn't always clear.
0:26:27 > 0:26:30Banksy's ideas are full of modern references,
0:26:30 > 0:26:35but Danny still has to decide how he will stage The Alternativity.
0:26:37 > 0:26:40I was going to show you the storyboards that Banksy had sent.
0:26:41 > 0:26:43- Ah.- These are the original storyboards.
0:26:46 > 0:26:49That's, er, the coolest storyboard ever.
0:26:49 > 0:26:50It's quite nice, isn't it?
0:26:50 > 0:26:51I know, I was very impressed by it.
0:26:51 > 0:26:55That's more, also, like bringing the now and the past.
0:26:55 > 0:26:57He is inclined to inspire us towards that.
0:26:57 > 0:27:02- Yes.- Whether that's appropriate or not is a very interesting question.
0:27:02 > 0:27:07Images like that, which are highly suggestive and subversive,
0:27:07 > 0:27:09in a way, you know, very ironic,
0:27:09 > 0:27:12my instinct is, if you put that on to children,
0:27:12 > 0:27:16if you use children, then you inject them with adult irony.
0:27:16 > 0:27:19It's like humour, giving them humour that they don't understand...
0:27:19 > 0:27:21- Yeah.- ..and makes adults laugh. - Totally.
0:27:21 > 0:27:24I'm not... You know, there's something horrible about that.
0:27:24 > 0:27:28You have a duty to protect their own development,
0:27:28 > 0:27:33rather than force-feed it or exploit it, you know?
0:27:33 > 0:27:36You can contextualise it in different ways.
0:27:36 > 0:27:38The painting that's on the wall behind them
0:27:38 > 0:27:39when they enter the car park
0:27:39 > 0:27:41would give a completely different context.
0:27:41 > 0:27:44You know, if it's Hillary and Donald Trump,
0:27:44 > 0:27:46as it is at the moment,
0:27:46 > 0:27:49that gives you, visually, gives you a completely different contexts.
0:27:49 > 0:27:52Or if it is a Banksy that paints over it,
0:27:52 > 0:27:53that's one of his pictures of the children
0:27:53 > 0:27:56- spinning around the watchtower in Gaza...- Yeah, yeah.
0:27:56 > 0:27:57..it gives a completely different...
0:27:57 > 0:28:00- That would be amazing. - It gives a completely different...
0:28:00 > 0:28:02I really don't like that, to be our background.
0:28:02 > 0:28:03- HE LAUGHS - There's enough of Trump.
0:28:03 > 0:28:05- There's enough of him anyway. - It's enough!
0:28:07 > 0:28:11Working for an invisible man is new to Danny,
0:28:11 > 0:28:14but I have been working with his mad, crazy ideas
0:28:14 > 0:28:16since almost 15 years,
0:28:16 > 0:28:18and I know how to make things happen.
0:28:21 > 0:28:23MUSIC: Silent Night
0:28:28 > 0:28:32"Dear Banksy..."
0:28:32 > 0:28:34It's clear that he's going to have to get involved.
0:28:34 > 0:28:36I don't think the evening can work
0:28:36 > 0:28:39without some contribution from him, really -
0:28:39 > 0:28:42and Riham was very keen that the entryway,
0:28:42 > 0:28:46which is so dominated at the moment by Hillary Clinton and Donald Trump,
0:28:46 > 0:28:48that should be a Banksy, really.
0:28:48 > 0:28:50How - practically, how that happens, I've no idea,
0:28:50 > 0:28:53but that's not, you know...
0:28:53 > 0:28:56We need his involvement.
0:29:17 > 0:29:19"Danny, thanks, good notes.
0:29:19 > 0:29:21"The play.
0:29:21 > 0:29:23"I don't see why we should make too much work for ourselves.
0:29:23 > 0:29:26"I think we should change the traditional nativity
0:29:26 > 0:29:30"as little as possible, whilst emphatically altering the message.
0:29:30 > 0:29:35"I will absolutely be involved as much as you and Riham need me to be,
0:29:35 > 0:29:37"and I'm very glad we have a not uncritical voice
0:29:37 > 0:29:39"working with us on this.
0:29:39 > 0:29:41"You are absolutely correct that children aren't paints,
0:29:41 > 0:29:44"they can't be used to create images beyond who they are.
0:29:44 > 0:29:47"Much as that sounds like it could be super manipulative and fun"!
0:29:51 > 0:29:54I wanted to double-check with you what might be possible here.
0:29:56 > 0:29:57This pylon.
0:29:57 > 0:30:00We wanted to attach a wire to it,
0:30:00 > 0:30:02as though we were jacking the electricity.
0:30:02 > 0:30:06And we would run the wire from here to the balcony.
0:30:06 > 0:30:10- Yeah.- And on that wire would be our Star of Bethlehem.
0:30:10 > 0:30:12- That's fine.- This would look like...
0:30:12 > 0:30:13Just to tie something on it?
0:30:13 > 0:30:15Yes, yes, yeah.
0:30:15 > 0:30:18- All that's OK?- It's OK, but in the end the Israeli army will decide.
0:30:18 > 0:30:22The captain could stand there and say, "Stop the party,
0:30:22 > 0:30:24"stop this gathering,
0:30:24 > 0:30:27"make people leave." And they will do it.
0:30:27 > 0:30:29Despite I'm the manager here,
0:30:29 > 0:30:36I don't imagine bringing my children to an event next to the wall, er,
0:30:36 > 0:30:40being watched by a military watchtower
0:30:40 > 0:30:42and, like that tower, like,
0:30:42 > 0:30:45snipers through that tower, and the other tower over there.
0:30:45 > 0:30:48Already locals are tired and bored
0:30:48 > 0:30:51of having this element in their life.
0:30:51 > 0:30:54And I don't want to bring my children to look at this wall.
0:30:54 > 0:30:56It's Christmas time so we don't want to see this wall.
0:31:04 > 0:31:08If we said we're going to have real snow,
0:31:08 > 0:31:11- would that bring people? - I think so.
0:31:11 > 0:31:12Yeah.
0:31:16 > 0:31:18I was quite, not shocked isn't the word,
0:31:18 > 0:31:23but quite surprised with the moment from Wisam today where he said
0:31:23 > 0:31:28that we'd be hard-pushed to get a local audience.
0:31:28 > 0:31:29He said nobody wants to come here.
0:31:29 > 0:31:33If you live here, you don't want to take your kids to the wall in the
0:31:33 > 0:31:36sight of watchtowers where there could be snipers.
0:31:36 > 0:31:40And who wants to put their children in circumstances like that?
0:31:41 > 0:31:44So that's a challenge, clearly.
0:31:47 > 0:31:50It's only one of the challenges Wisam has been given by Banksy.
0:31:52 > 0:31:55There is also a plan to mark the 100th anniversary of
0:31:55 > 0:31:59the Balfour Declaration, when, with the stroke of a pen,
0:31:59 > 0:32:01the British Government opened the door
0:32:01 > 0:32:04to the establishment of a Jewish homeland in Palestine.
0:32:06 > 0:32:09This is the origin of the modern conflict in the Middle East.
0:32:09 > 0:32:12Millions became refugees, thousands died,
0:32:12 > 0:32:15and hundreds of thousands suffered...
0:32:15 > 0:32:18because of this.
0:32:20 > 0:32:24To acknowledge Britain's role in fuelling a century of conflict,
0:32:24 > 0:32:28Banksy wants to drive his point home with a stunt to be unveiled at a
0:32:28 > 0:32:29children's street party.
0:32:31 > 0:32:35This sign will go on the reception desk on the 1st of November.
0:32:36 > 0:32:39The rejection sign, instead of reception.
0:32:43 > 0:32:47Danny has to go back to his day job as an internationally-renowned film
0:32:47 > 0:32:52director, leaving Riham in charge until he returns.
0:32:52 > 0:32:54But there is one missing element.
0:32:54 > 0:32:58Banksy asked Danny to make an Alternativity for everyone,
0:32:58 > 0:33:01and he has met Christians and Muslims here in the West Bank.
0:33:01 > 0:33:03Hey, Danny. What's up, man?
0:33:03 > 0:33:05- I've got to go.- Are you leaving now?
0:33:05 > 0:33:07- Yeah, thank you so much. - Your car outside?
0:33:07 > 0:33:10Yeah. Thank you so much for an amazing stay.
0:33:10 > 0:33:14Most Jewish settlers live in fortified settlements accessible by
0:33:14 > 0:33:16Israeli-only roads.
0:33:16 > 0:33:19There are virtually no Jewish people in Bethlehem.
0:33:20 > 0:33:23And Israeli citizens are warned
0:33:23 > 0:33:26that entering any part of the city is dangerous.
0:33:29 > 0:33:32It's very difficult, clearly,
0:33:32 > 0:33:34and certainly I think one of Banksy's purposes is to try
0:33:34 > 0:33:39and illuminate that, actually, although this is the same nation,
0:33:39 > 0:33:45the chances to interact are reduced so enormously by this wall
0:33:45 > 0:33:50and everything that comes with this wall, so that kind of division
0:33:50 > 0:33:53means that it's very,
0:33:53 > 0:33:55very difficult to get Israelis to come and visit, openly,
0:33:55 > 0:34:00and certainly, obviously, to speak on camera about it,
0:34:00 > 0:34:05so that's a big, big problem that we have.
0:34:20 > 0:34:22Let's cause a little bit of angst.
0:34:22 > 0:34:24Let's put Al Jazeera next to AP.
0:34:24 > 0:34:26- Let's put them there.- Yeah.
0:34:26 > 0:34:29- Let's have CNN next to AP.- Yeah.
0:34:29 > 0:34:31PPC is Palestinian...
0:34:32 > 0:34:35That should be a B. Broadcasting Company!
0:34:35 > 0:34:39I think we should keep it as a spelling mistake, cos it's funnier.
0:34:39 > 0:34:43The global news outlets will pick this up, A because it's Banksy,
0:34:43 > 0:34:45B because it's Palestine.
0:34:45 > 0:34:49People love stunts, they love big, brash stunts.
0:34:49 > 0:34:51They love it! Love it.
0:34:51 > 0:34:54Absolutely love it, because they're like, "Ooh, ooh,
0:34:54 > 0:34:55"you've got my ear now.
0:34:55 > 0:34:58"That's not normal, like Camilla ringing up and going, '"Hello,
0:34:58 > 0:35:00"'we've got an event on, la, la, la.'"
0:35:06 > 0:35:09I have a message for you from Banksy
0:35:09 > 0:35:11and everyone at the Walled Off Hotel.
0:35:11 > 0:35:17Now we hope you will join us in clapping as Her Royal Highness
0:35:17 > 0:35:24will unveil a special message from us to you, the Palestinian people.
0:35:24 > 0:35:29NATIONAL ANTHEM PLAYS DISTORTEDLY
0:35:34 > 0:35:36Yay!
0:35:43 > 0:35:47Free, free Palestine! Free, free Palestine!
0:35:47 > 0:35:51Free, free Palestine! Free, free Palestine!
0:35:51 > 0:35:55Free, free Palestine! Free, free Palestine!
0:35:55 > 0:35:59Free, free Palestine! Free, free Palestine!
0:35:59 > 0:36:02Not quite what we anticipated.
0:36:02 > 0:36:04No.
0:36:04 > 0:36:05No, it's not.
0:36:05 > 0:36:07But, you know, it is what it is.
0:36:34 > 0:36:38Free, free Palestine! Free, free Palestine!
0:36:38 > 0:36:41Free, free Palestine! Free, free Palestine!
0:36:43 > 0:36:48A sorry, an apology of sorts from Her Majesty,
0:36:48 > 0:36:50the Queen.
0:37:29 > 0:37:34As a Palestinian, we are only put in one image to the outside world.
0:37:34 > 0:37:38You know, we have to be political, or we have to be the victim.
0:37:38 > 0:37:41I am always, as an artist, trying to challenge that,
0:37:41 > 0:37:45try to show something else to the world.
0:37:45 > 0:37:49With all respect to Banksy, all respect to Danny as well,
0:37:49 > 0:37:52I have my own reasons to be part of this project.
0:38:07 > 0:38:10First day, first introductory day, let's say,
0:38:10 > 0:38:15to give a sense of what is the play, to get into the characters.
0:38:35 > 0:38:39They have a lot of imagination - oh, my God!
0:38:39 > 0:38:42SINGING
0:39:02 > 0:39:04Tell me about Alisa?
0:39:04 > 0:39:06Alisa?
0:39:25 > 0:39:28She had that beautiful, such a beautiful voice.
0:39:28 > 0:39:30She's very tall, though, isn't she?
0:39:30 > 0:39:33But maybe that's good, having a very tall Mary!
0:39:39 > 0:39:41THEY SING
0:39:47 > 0:39:49OK, OK... Listen...
0:40:21 > 0:40:26I wondered about whether, during the show,
0:40:26 > 0:40:28whether there was a running gag of
0:40:28 > 0:40:31somebody trying to create snow.
0:40:39 > 0:40:43I bought boards of foam, and I put them in the blender.
0:40:43 > 0:40:46Don't know what they call this material in English.
0:40:46 > 0:40:48Like, they use this
0:40:48 > 0:40:50to pack
0:40:50 > 0:40:53TVs and washing machines with.
0:41:01 > 0:41:04And then I brought snow machine.
0:41:04 > 0:41:08But... I mean, this is a very small one,
0:41:08 > 0:41:11so I want to try it from here as well.
0:41:16 > 0:41:18OK. Let's go downstairs and look at it.
0:41:37 > 0:41:41The Alternativity is shaping up to be a Christmas spectacle.
0:41:42 > 0:41:46But for the parents, the wall is not an ideal location.
0:41:50 > 0:41:54Some of them don't even tell their kids there is a wall.
0:41:54 > 0:41:57They are worried, you know...
0:41:57 > 0:42:01they're at the location.
0:42:01 > 0:42:03Because it is, like,
0:42:03 > 0:42:05near the checkpoint.
0:42:06 > 0:42:08And it's...
0:42:08 > 0:42:10You never know what might happen.
0:42:56 > 0:42:59Sophia, her father got arrested two days ago.
0:42:59 > 0:43:01I don't know if she will continue with us.
0:43:01 > 0:43:03I have to check, actually.
0:43:06 > 0:43:09Over a million Palestinians live in camps,
0:43:09 > 0:43:14which they were settled in when their lands were occupied after 1948.
0:43:15 > 0:43:17It's been alleged that Sophia's father leads the
0:43:17 > 0:43:20Popular Front for the Liberation of Palestine,
0:43:20 > 0:43:23in the Dheisheh camp where her family lives.
0:44:10 > 0:44:14Danny is in London, but everything is under control.
0:44:14 > 0:44:15The snow is sorted.
0:44:15 > 0:44:18Riham is making sure that everything is coming together.
0:44:18 > 0:44:23Finding a donkey, it's not a problem to find a donkey in Bethlehem.
0:44:23 > 0:44:24They're scared.
0:44:25 > 0:44:27He's a big, fat donkey.
0:44:29 > 0:44:31Careful. Don't stand behind the donkey, OK?
0:44:34 > 0:44:37We have to go and see the other donkey.
0:44:39 > 0:44:42I think he has a wound here in the face.
0:45:03 > 0:45:04He's a mule.
0:45:09 > 0:45:12Yeah - none of them will work, actually.
0:45:20 > 0:45:23The angels, they are like, a gang.
0:45:23 > 0:45:25I thought it would be really nice if they had,
0:45:25 > 0:45:28like, telephones and they are texting.
0:45:28 > 0:45:31So it's coming up, it's coming up. It's all details.
0:47:21 > 0:47:23And just to get really surreal,
0:47:23 > 0:47:27this is apparently what's happening right now, which is...
0:47:27 > 0:47:30This is me, talking to you.
0:47:30 > 0:47:34- The donkey. Is that going to happen?- Yeah, of course. Yeah, yeah.
0:47:34 > 0:47:37We still need to cast him, you know!
0:47:37 > 0:47:40Yeah. I've been trying to find the right donkey,
0:47:40 > 0:47:44but it seems that we need a very specific one.
0:47:44 > 0:47:48There will be lots of people, and a lot of music and lights,
0:47:48 > 0:47:50and snow,
0:47:50 > 0:47:53so you don't know what will be the reaction of the donkey,
0:47:53 > 0:47:57cos I don't think any of these donkeys have such thing before.
0:48:00 > 0:48:02There are donkeys. Let me...
0:48:02 > 0:48:03HOOTS HORN
0:48:03 > 0:48:04I'm going to...
0:48:05 > 0:48:07Let's stop the truck.
0:48:07 > 0:48:09HOOTS HORN
0:49:12 > 0:49:16The children are visiting the hotel for the first time.
0:49:17 > 0:49:19- Ooh!- Oooh!
0:49:22 > 0:49:26For some of them, it is also the first time they've been so close to
0:49:26 > 0:49:27the wall.
0:49:47 > 0:49:49Is it hot?
0:49:49 > 0:49:52No. It's freezing!
0:50:17 > 0:50:19It's definitely not snowing.
0:50:19 > 0:50:23Yet. But it doesn't stop Bethlehem, and the Walled Off,
0:50:23 > 0:50:25getting everything set for Christmas.
0:50:52 > 0:50:54Ooh! Thank you.
0:50:59 > 0:51:03Here we are. Here we are at the Walled Off.
0:51:04 > 0:51:06Oh, my God, it's beautiful!
0:51:06 > 0:51:08Oh, it's beautiful!
0:51:08 > 0:51:09Oh, wow!
0:51:09 > 0:51:11Oh, it's like a rock movie!
0:51:16 > 0:51:19Yeah, I'm coming, I'm coming... Oh, yeah, the donkey!
0:51:19 > 0:51:22Oh, amazing, it's a beautiful white one!
0:51:25 > 0:51:27- Beep!- Beep!
0:51:27 > 0:51:29Hello!
0:51:29 > 0:51:31How nice to see you.
0:51:31 > 0:51:33Hey! Looks amazing.
0:51:33 > 0:51:35- I know!- I mean, it's like...
0:51:35 > 0:51:37- Whoa!- What is this?!
0:51:37 > 0:51:39It's kind of quite groovy.
0:51:39 > 0:51:41It's quite groovy.
0:51:54 > 0:51:57We're doing great! We'll have a great show.
0:51:58 > 0:52:00- Now we do a run.- Great.
0:52:00 > 0:52:02With the choir and everything.
0:52:02 > 0:52:03OK, great.
0:52:03 > 0:52:05THEY SING JINGLE BELLS
0:52:08 > 0:52:10Well done! Well done.
0:52:12 > 0:52:14# Jingle bells jingle bells
0:52:14 > 0:52:16# Jingle all the way
0:52:16 > 0:52:18# Oh what fun it is to ride
0:52:18 > 0:52:20# On a one-horse open sleigh
0:52:20 > 0:52:21# Hey!
0:52:21 > 0:52:23# Jingle bells jingle bells... #
0:52:26 > 0:52:28Where have you found him?!
0:52:31 > 0:52:32He's amazing.
0:52:34 > 0:52:37- This is beautiful. - Yeah, yeah, yeah.
0:52:37 > 0:52:40She won't laugh, will she?
0:52:40 > 0:52:43Keep coming...
0:52:43 > 0:52:44Don't laugh.
0:52:44 > 0:52:47This is incredibly beautiful, don't laugh.
0:52:47 > 0:52:49Come on, boy. Come on.
0:52:53 > 0:52:55Very beautiful.
0:52:55 > 0:52:56Very, very beautiful.
0:52:56 > 0:52:59I'm serious. I'm serious.
0:53:00 > 0:53:02Blackout.
0:53:04 > 0:53:09On the beginning I did not think that Banksy was going to come again to Bethlehem.
0:53:12 > 0:53:19But I was kind of surprised when I got a call telling me that he is
0:53:19 > 0:53:23coming to do something, but never explained to me what he wanted to do.
0:53:51 > 0:53:54HE LAUGHS
0:54:03 > 0:54:07With everything almost in place, there is only one tiny,
0:54:07 > 0:54:08last-minute hitch.
0:54:09 > 0:54:13We sent pictures to Banksy this morning,
0:54:13 > 0:54:16and he did not like the stage, because it looks very modern
0:54:16 > 0:54:18and this is not his style,
0:54:18 > 0:54:21so we are painting this cardboard and we're going to stick on
0:54:21 > 0:54:24the wall, we're going to ask the kids also to do some work with them.
0:54:24 > 0:54:25And I'm expecting this, actually.
0:54:25 > 0:54:28Always, like, last moment. Always crazy.
0:54:39 > 0:54:41I've worked with kids a few times, and it's like,
0:54:41 > 0:54:43one of the interesting things is you've got to be very,
0:54:43 > 0:54:47very careful with them, respectful of their innocence, in a way,
0:54:47 > 0:54:49and I hope we respected that.
0:54:56 > 0:54:59We were warned that you might not get many Palestinians coming either,
0:54:59 > 0:55:02because... They don't really want to be near this wall.
0:55:02 > 0:55:05They want to be as far away from this wall as they can get.
0:55:10 > 0:55:14Sophia's father is still detained in prison.
0:55:22 > 0:55:27The act of culture is an enormously bonding experience that people grow
0:55:27 > 0:55:28through. When you look at the wall,
0:55:28 > 0:55:32you think how are they ever going to be able to do that together
0:55:32 > 0:55:34across that wall, really? And you hope they achieve that.
0:56:45 > 0:56:47It was great, it was really good.
0:56:47 > 0:56:49I'm speechless, actually.
0:56:49 > 0:56:53It was a real joyous thing, I think.
0:56:53 > 0:56:56It felt like a very intimate show as well.
0:56:56 > 0:56:59I'll never forget that sight of them covered in snow.
0:56:59 > 0:57:02- Oh, they were... It was just... - They were just like this.- Yeah!
0:57:02 > 0:57:03It was so...
0:57:03 > 0:57:05- Looking at everything. - That was so cool.
0:57:05 > 0:57:08- It was really nice.- When Alisa starts to sing...
0:57:08 > 0:57:10- Yeah, my God.- It's just like...
0:57:10 > 0:57:12- It's beautiful, that, isn't it? - I wanted to cry.
0:57:24 > 0:57:26That's what I wanted in this show.
0:57:26 > 0:57:30For all of us to feel like, proud and to have this feeling that we are...
0:57:30 > 0:57:34we are doing this even despite of this situation.
0:57:36 > 0:57:41# Hallelujah! #
0:57:41 > 0:57:45We have this amazing energy and soul, and talent and art.