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