Interstellar, Inception, Tenet, et plus récemment Oppenheimer : vous l'avez deviné, le grand Christopher Nolan est dans le Vidéo Club, et il n'est pas tout seul ! Cillian Murphy, aka Thomas Shelby, le gangster le plus connu de Birmingham, l'accompagne
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00:00 Christian, American Psycho.
00:01 - Oh, yeah. - Fabulous.
00:02 Oh, wow.
00:03 Keep it in the family.
00:04 Oh, man.
00:05 Do you know this one?
00:06 No, I do not.
00:07 "There Will Be Blood."
00:08 Excellent film.
00:09 Heat, absolute classic.
00:11 Amazing film.
00:12 Huge influence on Dunkirk, actually.
00:14 Very influential on the Joker.
00:16 It's a pretty magical piece of film score, actually.
00:19 Problem with Chris is he's seen every film that was ever made.
00:21 Not every film.
00:22 What an amazing place.
00:24 (dramatic music)
00:27 You are the man who gave them the power to destroy themselves.
00:41 Welcome.
00:43 Welcome to one of the last two video stories in Paris.
00:45 Chris, you have a reputation of being like a defender
00:48 of the physicality of movies, of shooting on film and everything.
00:52 Do you have the same relationship with the physical edition of films?
00:56 Oh, yeah, very much.
00:58 I think the home video versions of my films,
01:01 the definitive versions, are the Blu-ray and the 4K versions
01:04 because there's much less compression.
01:07 There's very specific authoring.
01:09 We control the color of the picture, the brightness, all these things.
01:13 When you stream a film, it's like broadcasting a film.
01:16 We don't have much control over how it goes out.
01:18 And also, you know, being able to hold it in your hand
01:22 and see the artwork and the posters, it's got the names,
01:25 it's a real thing.
01:26 Starting this way.
01:27 Ah.
01:28 There Will Be Blood.
01:30 There Will Be Blood.
01:31 Excellent film.
01:32 (woman screaming)
01:34 I think Paul's best.
01:36 Yeah, I mean, I do love Punch Drunk Love as well.
01:39 But for me, it would be between those two.
01:41 So Ruth de Jong, our designer in Oppenheimer,
01:44 was an art director on it, working for Jack Fisk.
01:47 And a lot of stories, but a lot of knowledge
01:50 from how they created the period, you know, on a budget.
01:53 Unbelievable performance.
01:54 Fabulous performance.
01:55 Unbelievable.
01:56 Amadeus.
01:57 Ah, Mozart.
01:59 Wonderful story of rivalry.
02:02 Big influence on this film.
02:03 Yeah, so you told me to re-watch that movie in preparation for this.
02:07 Yeah, because the kind of Salieri-Mozart dynamic
02:11 is very similar to Strauss-Oppenheimer dynamic.
02:15 It's a complicated relationship.
02:17 Yeah.
02:18 And we have two strands to the movie.
02:20 One very much from Oppenheimer's point of view,
02:22 which is the color sequence,
02:23 and then the black and white stuff is Robert Downey Jr.,
02:26 Louis Strauss's point of view.
02:27 And they have a complicated relationship.
02:29 So, very good movie.
02:31 Yeah, F. Roy Abraham.
02:32 Yeah, incredible performance.
02:33 Amazing in White Lotus also.
02:35 Ah.
02:36 White Lotus season two.
02:37 Very good.
02:38 Excellent makeup.
02:39 Excellent old age makeup as well.
02:41 That's right.
02:42 Really incredible.
02:43 Yeah.
02:44 The lenses with the bloodshot eyes and everything.
02:47 Very cool.
02:48 Ah.
02:49 Christian, American Psycho.
02:50 Oh, yeah.
02:51 Fabulous.
02:52 Doctor Strangelove.
02:55 Did you thought about that movie when you're writing and working on Oppenheimer?
03:03 I really sort of tried to avoid anything that was too specific.
03:09 I'm a big fan of Strangelove,
03:10 but I stopped watching it for a couple of years while we were making the film because it's too daunting.
03:16 But certainly the GAC sequence, you know, with everybody around the room talking about the fate of the world.
03:22 It was hard to not think about that.
03:25 But I'm glad you didn't mention it.
03:28 Yeah, I didn't.
03:29 No fighting in the war room.
03:30 Exactly.
03:31 No fighting in the war room.
03:32 And this one also, Charity Fire.
03:34 Great rivalry story.
03:36 Yes.
03:37 Herod Little's pick, too. Rivals under the same flag.
03:40 A chance to get even.
03:42 I can't wait.
03:44 Yeah, really one of the first to use that dynamic really beautifully where, I don't know if you remember it, but the two runners.
03:50 Yeah.
03:51 Rivals who kind of don't meet that much.
03:53 And then, you know, eventually the stories come together.
03:56 Unbelievable score.
03:57 Fantastic score by Vangelis.
03:59 Oh, that was a hidden gem.
04:06 You know this one?
04:07 I do, yeah.
04:08 Fantastic.
04:09 I wish the reports are Staff Williams responsible for Stephen's death.
04:14 We screened a print of it.
04:15 Hoyter van Hoytema, who's our director of photography at Oppenheimer, and myself, we screened a beautiful 35mm print from the Academy.
04:22 I would love to see that.
04:23 So look at the black and white cinematography.
04:25 Not just cinematography.
04:27 I think Hoyter was also very struck by the way they moved the camera.
04:30 It was pre-steady cam.
04:31 So everything's the dolly.
04:32 You know how we were doing everything on the jib on the dolly?
04:34 No toys on this one.
04:35 No toys.
04:36 And that was our point of reference.
04:37 This sort of, you know, trying to get bigger movements and trying to kind of tame the camera to intimacy, even though you're kind of shooting it off this big machine.
04:46 So that's Sidney Lemaitre.
04:48 Sidney Lemaitre, yeah.
04:49 What year is that?
04:50 Is that '65?
04:51 '65.
04:52 I didn't see him.
04:53 He then had his British period where he went up in the UK and did these very British films.
04:57 Like The Offence.
04:58 Do you know The Offence?
04:59 Yeah.
05:00 Incredible.
05:01 That's Sean Connery.
05:02 You've never seen that?
05:03 I don't know.
05:04 That's his best performance.
05:06 Oh, wow.
05:07 Oh, my God.
05:10 A level of craft from Sean Connery that you won't have seen anywhere else.
05:15 The problem with Chris is he's seen every film he's ever made.
05:18 Not every film.
05:19 But that movie is absolutely stunning.
05:22 Absolutely stunning.
05:24 Very depressing.
05:25 Is it?
05:26 Yeah, it makes The Hill look like a comedy.
05:28 Heat, absolute classic.
05:30 Yes.
05:31 I spend all my time chasing guys like you around the block.
05:34 That's my life.
05:38 Doesn't get much better than that.
05:39 No, I've been talking about this one for years.
05:41 Yes.
05:42 I kept ripping it off.
05:43 Big influence on The Dark Knight.
05:45 Best shootout sequence.
05:46 Incredible shootout.
05:50 Oh, Scarecrow, one of my all-time favorite films ever.
05:55 Hackman and Pacino.
05:56 Hackman and Pacino, both of them kind of--
05:58 I think Pacino had just done Godfather.
06:02 And I think Hackman had just done French Connection.
06:05 Right.
06:06 So they were both at the top of their careers.
06:08 And they shot it all in sequence all the way across America.
06:11 It's absolutely beautifully shot.
06:13 I rented this movie by accident in a movie store when I was looking for a scary movie.
06:19 But that was the thing with the video shop.
06:21 You'd come in and you'd just find something.
06:24 There's no real equivalent.
06:26 You sit there with your remote at home, thumbnails coming up.
06:29 It's not the same as coming in and being inspired.
06:33 This one we screened a print of this, JFK.
06:37 Put a third team down here in this building here on a low floor.
06:42 Kennedy gets a kill zone there.
06:43 It's a Turkey shoot.
06:45 We screened it in prep because the thing about JFK is my memory of it.
06:48 I hadn't seen it since it came out.
06:50 It's dialogue.
06:51 It's suspense about people dealing with very, very serious things.
06:55 But a lot of it through the dialogue.
06:57 And yet it feels like an action film.
06:59 Yeah, totally.
07:00 Watching it again, it was incredibly powerful.
07:02 I like to think that our film was a little more historically accurate.
07:06 No comment.
07:07 Oh, Ken Loach.
07:08 We missed Ken.
07:09 There you go.
07:11 Was he second Palme d'Or?
07:13 Yes.
07:14 One of the greatest living filmmakers.
07:17 There's four candles, right?
07:19 Mind you don't burn yourself.
07:21 I won't burn myself.
07:22 Don't worry about that.
07:23 Working with him changed my approach to screen acting.
07:27 How was he to work with?
07:28 Absolutely amazing.
07:30 I am not a dreamer.
07:31 I am a realist, Teddy.
07:33 Again, everything shot chronologically.
07:35 Really?
07:36 There is no script.
07:37 You don't ever see the finished script until the end.
07:40 So you shoot the sequences as the character would experience them.
07:44 And real stuff happens in camera.
07:46 You know, when Shakespeare's Barley, a lot of the black and tans would come into scenes when we hadn't prepared.
07:52 So you react completely viscerally, honestly.
07:55 Does he use long lenses?
07:57 All long lenses on sticks.
07:59 I mean, his films always, they're the only films I've ever seen that feel like documentaries.
08:06 Where you could confuse it with documentary.
08:08 Completely.
08:09 And he uses a lot of non-professional actors.
08:11 Non-performances.
08:12 Right.
08:13 No marks, like a bit on your set.
08:15 He doesn't say cut or action.
08:18 He does?
08:19 He says, "Off you go."
08:20 Off you go?
08:21 Yeah.
08:22 Very good.
08:23 Oh, In the Name of the Father.
08:25 Second Daniel Day-Lewis performance.
08:27 What are you doing to me?
08:31 That was a huge film for me growing up.
08:34 And I think for people of my generation in Ireland.
08:37 So he done Mile of Foot with Sheridan as well?
08:40 That's right.
08:41 Just before that.
08:42 And I think this was '93 or something.
08:44 But it was huge in Ireland.
08:46 And I think it did really well over there.
08:48 Does he have any Irish roots?
08:50 Daniel?
08:51 Yeah.
08:52 I believe he does.
08:53 He lives in Ireland now.
08:54 I can't remember exactly.
08:55 But his dad is Cecil Day-Lewis.
08:57 Yeah.
08:58 He seems very English.
08:59 I believe there are some roots there.
09:01 Or maybe he's just an adopted Irishman.
09:03 But totally convincing.
09:04 Yeah, totally convincing.
09:05 Amazing actor.
09:06 Absolutely.
09:07 Mr. Hardy.
09:08 Yeah, Mr. Hardy.
09:09 What a transformation.
09:10 Yes.
09:11 One of our old co-conspirators.
09:13 Thin Red Line.
09:14 I blew my butt off.
09:17 I blew my butt off.
09:19 Fantastic war movie.
09:20 Absolutely poetic.
09:21 I don't know if you've ever seen that one on the big screen.
09:24 It's very beautiful.
09:25 No, I have not.
09:26 It's really remarkable.
09:27 Have you got a print of that?
09:29 I've borrowed a print of it before.
09:31 But no, there's a very good Blu-ray as well.
09:33 A Criterion Blu-ray.
09:34 But yeah, just a phenomenal movie with a score.
09:36 Hans did the score.
09:37 Oh, did he?
09:38 And there's a cue in there called "Journey to the Line"
09:41 that he refers to as the "Journey to the Line"
09:43 because he's the one who wrote it.
09:45 And he's the one who wrote it.
09:47 He refers to it as the "Forbidden Cue"
09:49 because whenever he's working on a film
09:52 and somebody tempts with it, it's impossible to replace
09:55 because it's this cue.
09:56 It's so powerful in and of itself
09:58 and it's so beautifully modulated with its time
10:00 and how it builds that, yeah,
10:03 it's a pretty magical piece of film score, actually.
10:06 Very, very influential.
10:07 You hear it ripped off all the time.
10:10 But it works at its best in that movie.
10:13 It's really incredible.
10:15 It is a poetic film, isn't it?
10:16 Yeah, really beautiful.
10:17 Maybe we can go to the French section.
10:19 Can we run this way?
10:20 Oh, let's.
10:22 Yeah, one of my favorites.
10:24 Whoa, whoa, whoa, whoa, whoa.
10:25 [speaking French]
10:31 I showed it to my kids recently, this movie.
10:33 And what did they think?
10:34 They were absolutely knocked out.
10:36 I think it's a masterpiece.
10:38 It hasn't aged.
10:40 It's still as relevant.
10:41 Incredibly shot.
10:43 And the black and white again.
10:44 Oh, I saw that when I was 95.
10:46 Yeah, then I was just--
10:47 I hadn't even become an actor then.
10:49 Oh, really?
10:50 Yeah, I was just kind of into films.
10:52 I remember I had a Lehend T-shirt and everything.
10:54 There was a special, like, special edition DVD box set that I had.
10:58 I was obsessed with it.
11:00 The score on that as well is amazing, amazing performances.
11:02 [music]
11:08 Yeah, Vincent Cassel, was it Vincent Cassel's first film?
11:11 Matthew Kassovitz directed, right?
11:13 Yeah, Saladipur, Wages of Fear.
11:15 [speaking French]
11:17 The winner will take the big truck and leave immediately.
11:20 The others will follow a half an hour later in this one.
11:23 It's a safety margin.
11:25 Amazing film.
11:26 Huge influence on Dunkirk, actually.
11:28 We screened a print of that for it.
11:31 But it's a very edgy movie.
11:33 It has a very dark ending.
11:35 I don't know if you know the film.
11:36 We screened it, and the whole crew was sitting behind me,
11:39 other than Hoyter was in front.
11:41 And I was sitting there with Emma.
11:43 We watched the whole film.
11:45 And I'd been watching a series of films to try and figure out,
11:47 okay, what could help us, what could tell us something?
11:50 And this was the one that has the process, the tension of detail.
11:54 And then, you know, you have the whole thing with the oil and all this stuff.
11:57 And I sort of got up at the end like, great, this is amazing.
12:00 You know, Hoyter had a big smile on his face.
12:02 And I turned around, and the whole crew was angry with me.
12:04 They were so upset about the ending of the film.
12:06 They were like, why have you shown that to us?
12:08 It's a pretty dark ending.
12:09 It's brilliant.
12:10 And what do you think of the Friedkin version?
12:13 Well, it's pretty incredible.
12:16 I mean, Friedkin's on record himself saying that he sort of overcooked the beginning a bit.
12:21 Because it's very-- those opening sequences are incredibly action-packed.
12:26 And it sort of begins with this kind of globe-trotting, sort of almost spy-type thing.
12:32 And there's a huge explosion, and this and that.
12:35 And then you have to settle in for the slow build.
12:38 And it destabilizes the rhythm.
12:40 But the stuff with that truck on the bridge is pretty remarkable.
12:46 Pretty remarkable film.
12:47 And the ending, also a different ending, but similarly divisive.
12:52 So an incredible score, though, on Friedkin's version.
12:57 Who did that?
12:58 Tender in Dream.
12:59 Oh, cool.
13:00 So yeah, it was one of the most influential kind of electronic scores of that era,
13:04 when they were really doing that.
13:06 [MUSIC PLAYING]
13:10 Oh, yeah, we also watched Foreign Correspondent, which-- that's French.
13:14 We watched that at the Dunkirk.
13:15 I think I can get a Dutch friend to talk if you come along yourself.
13:19 Sorry to drag you here like this, but I think it's the only way if you want to leave tomorrow.
13:24 I mean, it's a brilliant film.
13:26 It has all kinds of incredible in-camera effects.
13:30 Right.
13:31 There's this plane crash where you see from the cockpit, you see the water smash in through the windows.
13:37 [CRASHING WATER]
13:40 And he did it by-- he built a rear projection screen with paper and put these dump tanks behind.
13:47 So at the point on the film where the camera goes into the water, the dump tanks smash the screen invisibly and just drench the set.
13:56 I mean, the innovation-- we were looking for these in-camera-- as we did with Oppenheimer,
14:00 we were looking for these in-camera solutions.
14:02 You have to go back to films of this era to see that kind of innovation.
14:06 And this one, right?
14:07 Oh, yeah, Lawrence.
14:08 [LAUGHTER]
14:11 Amazing.
14:12 Well, just a touchstone of adventurous cinema, but I suppose biography, but it never feels like a biographical film.
14:18 It just feels like an incredible icon.
14:21 And the photography.
14:23 The photography is beyond-- the editing as well, though.
14:26 The cut from the match blowing out to the horizon, one of the most influential cuts of all time.
14:33 [CUTTING SOUND]
14:35 And it never gets old, even at-- what's the running time of the director's cut?
14:39 I think it's over four, but it never gets dull or old.
14:43 I watch it every few years, and it stays fresh.
14:47 That's Ryan's daughter, isn't it?
14:49 Oh, yeah.
14:50 One of your favorites, right?
14:51 Yeah, I have a print of that one.
14:52 I was given a print of that one.
14:53 I would like to see that.
14:54 Yeah, next time you're in LA, I'll put it up for you.
14:56 It's beautiful.
14:57 And John Huston, the man who would be king.
15:00 Yeah.
15:01 [MUSIC PLAYING]
15:03 With our dear friends, Sir Michael Caine, Sean Connery again.
15:06 Two of them together, the chemistry there, just fabulous.
15:10 And the adventurous spirit of that film.
15:12 And he's playing Posh in that movie.
15:14 No, he's sort of playing-- no, you're thinking of Zulu.
15:17 Oh, I am thinking of Zulu.
15:19 No, this is these two kind of--
15:21 I have seen it.
15:22 I get confused.
15:23 Yeah, these are the--
15:25 these couple of chances.
15:26 Yes, they have.
15:27 The British army who decide to go and be kings.
15:31 Yeah.
15:32 Oh, there we go.
15:33 Citizen Caine.
15:34 Welcome, Mr. Caine.
15:37 Welcome.
15:38 I mean, I think any time dealing with Oppenheimer,
15:42 we're asked about why we have a non-chorological structure.
15:46 You go back to Citizen Caine, you're like,
15:48 that's how you try to get a feeling of a person's life
15:53 in a couple hours.
15:54 And it's fiction, but pretty closely based on William Randolph
15:58 Hearst.
15:59 And the innovation of filmmaking technique--
16:02 today I was talking about how films after this,
16:04 when television came along, they got very linear.
16:07 The adventurousness and the radical nature of the structure
16:10 is still as radical as it was the day it was made.
16:14 It's phenomenal, and incredible cinematography by Greg Toland.
16:18 Oh, and this.
16:19 This you won't have seen.
16:21 This is one of the greats.
16:22 This is Greed.
16:23 I've not seen that.
16:24 Eric von Stroheim.
16:25 [MUSIC PLAYING]
16:29 It's a lost masterpiece.
16:31 They don't have his version of it.
16:34 And there are all kinds of legends and rumors
16:36 about how long his version was.
16:39 There's a pretty good reconstruction
16:41 that one of the TV stations did where they used stills
16:44 to try and build the lost scenes.
16:47 But it's an incredible film with one of the most amazing endings
16:52 of all time.
16:53 OK.
16:54 I won't spoil for you, but yeah, really remarkable filmmaker.
16:58 And destroyed his career.
17:01 Really?
17:02 Yeah, and then he crops up many years later
17:04 in Billy Wilder's Sunset Boulevard,
17:06 playing a sort of version of himself.
17:08 Oh, wow.
17:09 Yeah.
17:10 Oh, wow.
17:11 Keep it in the family.
17:12 [MUSIC PLAYING]
17:16 Fantastic.
17:21 Excellent.
17:22 Did you see that?
17:23 That is excellent, yes.
17:24 Brilliant.
17:25 Really excellent.
17:26 There, very brilliant, brilliant film.
17:32 Yeah, terribly depressing.
17:34 Yes, definitely communicates the dangers of radioactivity.
17:37 For sure.
17:38 Definitely excellent score, too.
17:40 Yeah.
17:41 Really brilliant.
17:42 Dr. Mabuse.
17:46 AC.
17:47 There you go, cooling off.
17:49 Do you know this one?
17:50 No, I do not.
17:51 Dr. Mabuse, Fritz Lang.
17:52 [MUSIC PLAYING]
17:55 One of the great silent serials.
17:57 So it's, you know, they do episodes every week.
18:01 OK.
18:02 But it's about a master criminal.
18:03 Wonderful, wonderful stuff.
18:05 Very influential on The Joker.
18:07 [APPLAUSE]
18:08 I made Jonah watch it when he was writing the script.
18:10 Idea of the master criminal in the city,
18:12 and, you know, has this whole sort of operation going on.
18:15 It's really brilliant.
18:17 I'm a big Lang fan.
18:19 OK, I'll put that on the list as well.
18:21 And yeah, you must have seen this one.
18:23 I have not seen this one.
18:24 Merry Christmas, Mr. Lawrence.
18:25 Oh, yes, I did.
18:26 Different title.
18:27 It's a French title.
18:28 It's a French title, yes, of course.
18:29 [MUSIC PLAYING]
18:30 Merry Christmas, Lawrence.
18:32 With Tom Conti.
18:33 With Tom Conti.
18:34 Who was in--
18:35 Bringing it home, right, at the end.
18:36 Who was in Oppenheimer, performing a similar function.
18:39 Yeah, I mean, just that tiny little voice crack at the end
18:43 where he just--
18:44 all the emotion comes flooding in.
18:46 And Mr. Bowie.
18:47 Yeah, of course.
18:48 Who you've worked with, obviously.
18:49 I am proud to be able to say I have worked with.
18:52 And yeah, one of the boasts of my career, doing prestige with him.
18:56 Really fun.
18:57 What an amazing place.
18:58 So many great movies.
18:59 How long has it been here?
19:00 40 years.
19:01 Wow.
19:02 Well, thank you very much.
19:03 Thank you.
19:04 Thanks.
19:05 [MUSIC PLAYING]
19:06 [INAUDIBLE]
19:07 Me old pal, Tom.
19:08 Tom, I haven't seen it.
19:10 Sorry.
19:11 [LAUGHTER]