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tv   Going Underground  RT  November 15, 2021 2:30am-3:01am EST

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i got easier now, or is it more different? actually? i actually got a moment. i'm having a real bustle trying to find any packing at all. so those people around the world who might be shocked to hear what happened in the past will be double shocked to hear what's in the present. is it, is it not so much a lack of her so much about film funders, thinking they want their return or investment, or a lack of comprehension of your work? well, i don't think it's a lack of comprehension of the work. actually what it to, to some considerable extent is, is that as you may know, i don't work conventionally. i don't to present a script because there isn't one. and i don't say what the film is going to be about because we embark on a journey on the journey of making the film to discover what the film is. and with the exception of my 3 historical topsy turvy, mr. turner and peter lew where i was able to say it's about this,
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but that's all i did is simply make that one line state. all of my films have been made on the basis of backers saying, well, we don't know what it's about, what we trust you and go off and make a thrill. what i do with my, all my collaborators, both sides of the camera, is to do what painters and novelists and poets, and sculptors and musicians do, which is to create work and allow it to emerge from the investigation. that is the execution of the work. and so it's not so much to answer your question. it's not so much like compression about what my films are, because whatever else they are, they're not is a terrific or obscure. it's more that people are cautious about putting money into things to the don't know what they're going to get and also not having some control over it,
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not interfering with it. not to him having their fingers all over it. either big live now that the most successful netflix film of all time or series of all time is centered on the issue of capitalism and class. means it's a good time. for filmmakers who look at contradictions and the class a class, you're talking to the wrong person. you should be talking to netflix today. they've turned me down. as a matter of fact, i do. famously, you tell the story of how some fund is, ask you to abandon your whole model of a theatrical company style for recruitment within the, into your films, and try and get celebrities. or you might want to remind us about the, the, the absurdity of it. and what you think, because some people might say, orson welles couldn't get, he spent his entire life abandoning projects that he wanted to get on. we had all of a stone on here talking about how he had to abandon the my lai massacre film, which arguably would have been so important a project. so, i mean,
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isn't this the tale of woe, by all great directors? well, it's certainly the tale of woe for many of us. i mean, i know you've had my friend and com. right. and colleague ken loach on your program now can is smart. he makes very low budget film and it does exactly what he wants. i tend to because it takes me time in a way they production values of more complex than perhaps his kind of films which are wonderful. it becomes more difficult. but you know, you're right. it is a, the problem is move is, is there not paintings and the novels they are complicated things, cost money involve a lot of stuff. you know. i mean, the going to do you use room at the top. i know is mentioned in the mikey or mike
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reba, but then you say your use your knowledge or what it is to be young. and which one from society mentioning salinger's books and james dean films. very important. the american idea alienated youth the somewhere in the background of your films? no, certainly. i mean, you know, i was, i suppose pretty much the age of it's hero. when catcher in the rye was published more or less maybe slightly on a year or 2 younger. but look, here's the thing we who were born in the war and i was born in 1943. what teenagers in the interest is that terribly repressive, squeaky clean world, which only later did we understand was the way it was because our folks have been to hell and back in world war 2. and then of course,
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we all literally let our hair down in 900. 60 not world was a world where we were aware of american culture, of course, apart from anything else, i watched movies, absolutely as much as anyone would like. as much as you could afford throughout my childhood and teenage years. but i never saw in the whole of that time and i saw the film all the time. i never saw a film that wasn't in english. everything i saw was either hollywood movie or british. and so for made the massive explosion apart from other cultural things in terms of movies was when i, when i came to london in 1960, to study acting. um, and of course i discovered well cinema. and it was a, it was a massive, massive explosion, of course. yeah, i mean there, but again then ferlini comes up with your name and many descriptions of things. i
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mean, i watch high hopes the the other day. and they looked like a film are going to be made yesterday. we've had wars, obviously since world war 2 that arranged all around the world inequality is higher than when you made some of your films are back in the late eighties. i mean, also we now have, am the word socialism used by us politicians. and before scarce, darma came in, we had a socialist leader, a labor body, or do you find the do your work is now. this is the time for all the stuff you were doing before. it's even more. and i think you have to unpack, or interest said, well, a lot of a lot of those foreign films, famously, i presume you're referring to the new well vog her feel now you want to be able to see. and her, you know, many associated with the communist party, obviously with john and got her. are you you followed and are associated with socialists fil films that attack thatcher. thatcher ism in particular. or do you
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find that now? is it even better time films like that to attack her, her privatization and the effects on the poor? if i'm honest, i am. question was no answer. i think you see, here's the thing and i, if i understand the spirit of the question you're asking me. i'm somewhere in the, if the premise that what i do is make socialist films, all i make films that are in some way propagandist. now, i don't, i don't, i, i've never made a film without a simple direct clear message. my films are implicitly political on the whole, i would say you could describe my political with a small pay my last film peter little about peter muska in
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$1819.00 is the only film, but he's plainly about politics such but my films, all political, in the sense that they are all concerned with how we live, how we treat each other, how we survive. the economics underpin how we live separate factors. but they are natural to use any buggering to the class, the simple single singular message, any of my films. and so, in the complex and i leave you at the end of all my, if not all where much to think about to do face to reflect on. because my primary job is not to make propaganda. it's to put on the screen people and i'm real creed, dimensional way with all the complexities and contradictions with all of us,
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embodying as any good film would, would be arguably, would be, would say that i think it's, you know, i mean, it's interesting if you have a very interesting tendency which i, i respect to, as we talk about my, to keep her have a need to refer back to all what, all the other film. i mean, what you just said is true for some kinds of movies, but that also was great films which are very simple and direct in terms of what they are about, what the message is. i how not to make those kinds of yeah, i mean, i don't know with using our zoos, talk your story about age and i know that's it. that's a frequent element of your film work. the importance of age. and of course, a big debate here with that old social care. now only on the agenda. no one's going to say that is a long way or the other about age. as part of the retrospective of my films
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in london, i was also asked to choose off a dozen other films, not by me, that i in some way or other regarding that inspirational influence. one of them is in detail can story. i'm a guy was a great player inspired by also on the phone as well domestic but particularly also. ready yeah, i mean, the great thing about those films, not least story, is that the deals implicitly when they, if you like, politics of how we live. but it's no way. is it a pamphlet or piece of propaganda? likely, i'll stop you them more from the oscar nominated palm to a winning mike lee after this. ah
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ah, new york, it's really what america is about. when our mayor took our vase, he was elected because of his campaign on our city, being a tale of 2 cities, the haves and i have not. and those who have not are usually the ones who weren't being buried on holiday. the city is always wanted to forget about hold island. city is wanted to forget about the people who are buried there. it's wanted to forget about the fact that there is a potter's field that there was a place where difficult stories are hidden. the fact that we're using inmates to maintain this active burial site, where 1000000 souls are buried, where so much of new york city history is buried, is documents of the inequality that exist in the city. for centuries.
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harold is driven by drink, shaped by thinkers and those with in in theirs sinks. we dare to ask a ah, welcome back. i'm still here with the oscar nominated palm to
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a winning director mike lee. i wanted to ask you about the delux then because around the world people are not going to necessarily know about that mask. why is it that i don't think i was even talked about to be to massacre. i think you've said in the past, you would tell me about the air, was it thought the air brushing off to be to measure of history that inspired you to make them feel? well, actually it's a complex matter. this isn't there, but i mean it was very, very well widely known about in some quarters. but whichever way you look at it is and was an important. busy event because it was about the franchise, i mean 2 percent of the population had the vote and they were all along the mail land at the time. and the real point is not what patient must current sell merely the p to lu masika in 1819 itself. but what it actually means for us in terms of democracy now. i mean you yourself been saying
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few minutes ago talking about the relevance of things. now, when we started to prepare in 2014, after we've made mr. turner from atlanta, in no time, our preparation proceeded. we found ourselves saying this is becoming increasingly relevant, increasingly, it prescient. and indeed, i mean, you know, we know the things that have happened in the world since 2014, 2015 and continued to do so. it's about democracy about having their voice. i think people are going to be sorry, sad to know them. i mean, i did with a butcher, lou cheese nova chapter had any cuts because he had to really find money and they actually remove all episodes. i understand you wanted to maybe have an element of
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the engine easy volcano explosion that and the blanket mode you had to raise whole sections for be 2. yes i didn't. i don't think that's the same thing. what's not in peach. lou is because we didn't cover money because peter lou, if anyone seen the phone was interested, it contains one slight of hand cheat, which is that it starts with a bottle of waterloo in 1815. and it ends with the peculiar muscular and 1819. now, within the space of the audience does not says i thinking 4 years ago and passed. and indeed, if we actually did log all the relevant things that happened in the world, including the, the great volcanic eruption and indonesia, which, which made meant that there was no summer anywhere in europe. and it affected everything, not least what people had to eat, including all events that happened between those 2 dates. the film would have
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lasted for about 9 weeks. it really isn't, doesn't come under the heading of the things we didn't happen cause we couldn't afford them. on the other hand, when we were about to make, we were talking about making for j. m w, turn it right aim tough. i said, we have to have a sequence in venice. we have to go to venice, turn a painted, vanish. it's an important part of his work and his journey. we have to see venice after experience. well, you've been to venice. everybody listening who's been to venice knows the only doctor walk across san marco punch class coughing, and it cost you off your mortgage, basically, most expensive place in the world. my producers said look, either way, make the film. and we don't go to that. we don't make the film and we made the film and we didn't go to venice. and of course, once you get down to it, you know miss venice moved because we tell the story and you would
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see available elements on it's not really lost, but it's illustration of what you told me is where the wood koren gene was 1st coined and actually it was empty, empty because of the panoramic. i know as an ironman, i mean, i suppose it coming off there. i'm sure some of your fans would love to see films that you direct in foreign locations. when you mentioned ken loach earlier, he did get to do nicaragua and the spanish civil war film. i mean, will you have future plans ever too, because the style and the same company and provides ation and stuff in a different, more epic landscape of some kind. there are 2 things about this. one is that the important thing is that although my shows are very, very specific and that you know, cultural, melia, etc, etc. because i think all has to be specific in my, out the actual,
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my films are about is not parochial. it's yet the universe all subjects. i'm not really too bothered about making films around the world sake of the landscapes. i'm more concerned with being able to explore. busy and investigate, i'm present some people in relationships and how we live. and as i've already said, i wasn't saying they were brookhill. i would say, i mean you have a passionate belief in the un resolutions on palestine. you never wanted to do anything about the middle east, for instance. well, no, i have, i actually dealt with in a stage plank or 2000 years at the national theater. up to now haven't dealt with it in a film, but who knows what i might do? yeah, filming probably always a, always a difficult or easy. some people say it very difficult to get palestine films
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accepted by the oscars and funding and so on. you. well, that's not really relevant to what we're talking about. well, i mean, the most famous, certainly here in britain, there obviously is abigail's policy. i haven't followed this, but i remember the criticisms made about this, that somehow it was patronizing. very interesting how you took the criticism head on about whether your patronizing about working causes to explain that in a sense it's a double double trick and anyone who doesn't see that doesn't really understand what abigail's policy is about. well, i mean, the famous i thought it was the late playwright dennis potter, and he simply said it was one long slap. well, i mean, my main reaction to that in a nutshell is it's not about to play stage play, which we did on television,
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not actually. so it's not to play out. then it's a play of us that really sums up what i think about when he's in that we're showing people how they are, there was a film that flash is a play about aspiration and superficial values and all of that. but that's not the snare that's, i mean, if you want to say it's a lemon. taishan of some kind of the same time is generally deemed by most people to be extremely funding. you know, when i'm watching the retrospective, people are going to think a mobile phone or technology will change the plot points here in there because people know, having mobile phones. obviously that's a very, very good and interesting point. and i'm being very aware of the last film i made, the contemporary film i made was called another. yeah,
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we made it 12 years ago. but now i'm mobile is different than that, but i didn't really don't play any sense that i already made 2 phones. one setting the i never had a 190. it had been. well, absolutely. but so in fact you're absolutely right. i mean, i know i can't walk down the street without somebody bumping into mail. then i started in a korean lunch time place yesterday with my mom who both amused. there was a woman sitting that's an adjacent table simultaneously with her teenage son. there were small tenuously eating a large boat of noodle soup at the same time as plain chess from each other on my mobile. which i think really m. rob's a game of chess of its focus and it certainly takes the focus of the bowl of
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noodles. they're going to be exciting elements of new film. so i, although you can't tell us about the next project i was actually, i wasn't meaning to go down that technological adeidra. i was going to say that's a, in their home sweet home, one of your films over there. postman. how do you think many of your characters in these fields recognize the levels of privatization that have happened since those dramas of occurred in terms of, i mean, there are scenes with trains and so on. everything, whether it be royal male, british rail, gas, water buses is now privatized. well, some wood, some wood, some wood wonder where the hell a were, and others would, would get it. i mean, that's all i can say. i mean, you don't think you don't think. i mean, i think you been self critical about the caricature was all upper class people are yuppies or people say, and i and i hope you don't think that's just brecht in alienation. you're supposed
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to shock the audience when you talk about a certain classes versus other classes. oh yes, i mean that's exactly what it was. no question about that. and i mean, if you're talking about high hopes, i mean there are, in a way there are, there are 3 couples. and each of them is rendered. if to put it as well crudely than it is of, in a sense, a different style. the central characters are the sort of heroes, like absolutely real the people you're referring to who move in next door, a caricature, but they're still on the stuff they are with that even shop at just got it. they're all real, but there are, but i'm not educators that you're absolutely not. you mentioned it would certainly relate to resonate with practice principles of
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a nation. but it's any way of looking at people who would be greatly inspired and influenced by a great caricature and cartoonists. and you look at those, you definitely see the real world, but there's no way that i don't like to use. the word exaggeration distills the essence of them. so that's what i'm concerned with and, and i'm very harsh edge against her power. clearly, when i know you were you very keenly the on to say, you know, it's, it's a, maybe a political so make, you know, the searches will make, but even, i mean, if you, if you look at your renoir, if you look at casa gav, receive all the great hopefully who it is hired communist actors. i know you are famous around the world in the western world for very championing and changing the lives of so many actors around the world. no one would have seen algebra. none of them ever did by karl marx's, a burial ground where he's buried in highgate,
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in north london. the reality is that these guy, i mean this was couple and the guy picking up several character in the phil is see himself in socialist. and it seemed very natural to them to go not very far from why we have to live in kings cross to visit karl marx is a great, i guess i'm a true, that's just the natural thing for them to do. and of course, it has the symbolism as a meaning. and of course, one of the things about that is that when i made the fall, i had not long before that. i spent a month by myself travelling through china, the people's republic of china, which is quite an experience which we could talk about on another occasion. so and when i went to i get cemetery by way of thinking about the scene in the film.
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certainly on 2 occasions there were. busy gangs of tourists from the people's republic of china and hitting them getting the gray. so i thought, let's have that in the film. so we actually got our gang of real ones, and then they came to punch in the scene and they knew exactly what to do cuz they know what he visited. i guess i'm a teacher, i how much ca marks his grade and you know, sometimes the meaning of things simply happens in due course, rather than that, that is something that we consciously propagating and certainly internationalize is it. finally, just i have to ask you, given, i mean you can name maybe some of the actors who owe their careers to you all around the world. arousal names for someone, i think some of think have chat shows in the u. s. i don't know. just tell me, tell me why they call it all,
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help them in this funding exercise so that you will be making a i don't know, films about space travel. oh, interesting thing is, until you mentioned it never occurred to like what you're saying is go and go to my rick, james cordon. gary oldman will help you out with. yes, i don't think that's it. appropriate line of thought really. i mean, nice guys. why would i, you know, i think i should spend the resources on rec, chosen likely. thank you. thank you. you take care bye and my glee, a complete film season runs until the 30th of november to be f i in london, where you can also watch a newly folk, a remastered version of his film naked. that's it for this year. we'll be back on wednesday. we'll then keep in touch with us my role as social media and let us know if you think most of the cinema really reflects the lives of working people. ah.
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so what we've got to do is identify the threats that we have. it's crazy even foundation. let it be an arms race who is on a very dramatic development only personally and getting to resist. i don't see how that strategy will be successful, very difficult. time. time to sit down and talk a water around the try, a seal island that's in contention between canada and the united states. northern gulf and made it suddenly become optimal for lobster. our populations years exploded. one of the most valuable fisheries that ever existed. suddenly you had me and canadian fishermen in these waters. at the same time jousting for position and attention are high, violence is bound to happen. this is the last land border dispute between canada
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and the united states. it could be magnified to the part where there could be costs that would be significant to co countries ordered as groups don't go away, they discussed are some things going to happen. we're empowering ourselves to be more efficient or quicker with our transactions. but with that comes a trade off, every device is a potential entry point for security attack any machine as an extension of traditional time. the defenders have always been one step behind the attacker's permit of when one comes option in your saying, it's not a matter of if it happens, it's a matter of went with
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awe and he locked out rallies a sweeping europe. as austria becomes the 1st nation to impose a shot down only for the unvaccinated, amid a covert surge, but the decision has to certainly split public opinion when hundreds of thousands of people are forced to be vaccinated, i don't even know how many people lose their jobs to be honest, i think it's a step in the right direction. in germany, we are moving in about the same direction. pohden demands auction from its nato allies to resolve a migrant serge on the bed of russ border. while european powers point the finger at russia. president putin says it's a problem of europe, so in making sure in europe they themselves create the conditions for.


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