1 00:00:00,110 --> 00:00:02,890 - Every film has to find its own unique way 2 00:00:02,890 --> 00:00:04,990 of pushing the boundaries and the language, 3 00:00:04,990 --> 00:00:07,210 either the visual language, the emotional language, 4 00:00:07,210 --> 00:00:09,367 the psychological language of cinema 5 00:00:09,367 --> 00:00:12,683 and of films and of art in that way. 6 00:00:16,286 --> 00:00:17,135 - I'm in love. 7 00:00:17,135 --> 00:00:19,475 - Aren't you a bit young to be in love? 8 00:00:19,475 --> 00:00:20,308 - No. 9 00:00:20,308 --> 00:00:21,470 - Oh, well okay. 10 00:00:21,470 --> 00:00:23,600 - It feels great to be part of the holiday 11 00:00:23,600 --> 00:00:24,840 tradition of Love Actually. 12 00:00:24,840 --> 00:00:29,840 You know it's, every year from about 13 00:00:30,150 --> 00:00:32,010 as we're coming into December, 14 00:00:32,010 --> 00:00:36,210 so maybe about mid December til just 15 00:00:36,210 --> 00:00:40,273 after Valentine's Day is now kind of Love Actually season. 16 00:00:41,205 --> 00:00:43,007 - Did you do this? 17 00:00:43,007 --> 00:00:43,840 - Uh, no. 18 00:00:49,353 --> 00:00:51,250 - [Chiwetel] I think I just always feel like 19 00:00:51,250 --> 00:00:54,740 that wedding and that opening sequence, 20 00:00:54,740 --> 00:00:56,893 that sort of opening number in the church, 21 00:00:58,165 --> 00:01:00,463 every time I see it and every time I revisit that time, 22 00:01:02,680 --> 00:01:05,560 it was such an incredible, emotional, 23 00:01:05,560 --> 00:01:07,800 fun and happy experience 24 00:01:07,800 --> 00:01:09,401 so it's always been fun and I'm always 25 00:01:09,401 --> 00:01:12,670 thrilled and excited that people love the movie so much. 26 00:01:12,670 --> 00:01:15,280 - Please God tell me I have not inspired 27 00:01:15,280 --> 00:01:16,800 something burgundy. 28 00:01:16,800 --> 00:01:17,820 - They're comfy. 29 00:01:17,820 --> 00:01:20,250 - Sex shouldn't be comfy. 30 00:01:20,250 --> 00:01:22,120 - Thank God I thought it was just me. 31 00:01:22,120 --> 00:01:23,570 - [Chiwetel] Well I think Lola, the character 32 00:01:23,570 --> 00:01:25,330 that I played in Kinky Boots, 33 00:01:25,330 --> 00:01:28,180 who was just one of the funnest 34 00:01:28,180 --> 00:01:30,560 and most interesting and most dynamic 35 00:01:30,560 --> 00:01:31,960 people that I've ever played. 36 00:01:31,960 --> 00:01:34,120 I think that whole story and the whole 37 00:01:34,120 --> 00:01:36,830 film was kind of ahead of its time in many ways. 38 00:01:36,830 --> 00:01:38,737 And it had an impact at that time 39 00:01:38,737 --> 00:01:41,410 and in that moment but also there was a kind 40 00:01:41,410 --> 00:01:44,880 of deep and emotional residence to that character 41 00:01:44,880 --> 00:01:47,840 and in a way, it was talking about kind of 42 00:01:47,840 --> 00:01:50,483 pretty serious issues in a really fun way. 43 00:01:54,750 --> 00:01:56,903 - Now you know what's at stake. 44 00:01:56,903 --> 00:02:01,010 - [Chiwetel] Alfonso Cuaron and Emmanuel Lubezki 45 00:02:01,010 --> 00:02:03,060 also known as Chivo who was the cinematographer 46 00:02:03,060 --> 00:02:06,720 on that film were incredible to watch together 47 00:02:06,720 --> 00:02:08,320 and what they were trying to achieve 48 00:02:08,320 --> 00:02:11,000 and what they were pushing for cinematically 49 00:02:11,000 --> 00:02:13,280 on Children of Men had never been attempted before 50 00:02:13,280 --> 00:02:16,520 and was so vast, so huge, so ambitious. 51 00:02:16,520 --> 00:02:20,650 It's why he's such an extraordinary, talented, 52 00:02:20,650 --> 00:02:23,440 innovative, imaginative filmmaker. 53 00:02:23,440 --> 00:02:27,180 He was wonderful to watch and to be on the set of. 54 00:02:27,180 --> 00:02:28,850 - Watch the flags. 55 00:02:28,850 --> 00:02:30,010 - [Chiwetel] There were moments in 56 00:02:30,010 --> 00:02:32,030 Children of Men that I felt that 57 00:02:32,030 --> 00:02:33,690 what they'd been able to achieve in 58 00:02:33,690 --> 00:02:38,070 a matter of days with that huge battle sequence 59 00:02:38,070 --> 00:02:40,660 that happens at the end of the film, 60 00:02:40,660 --> 00:02:43,030 which kind of has hidden edit points 61 00:02:43,030 --> 00:02:46,130 but is really feels like it's one continuous moment 62 00:02:46,130 --> 00:02:47,850 through all of these different scenarios 63 00:02:47,850 --> 00:02:50,920 and landscapes with all of this action going on. 64 00:02:50,920 --> 00:02:52,850 And being in the middle of that and seeing 65 00:02:52,850 --> 00:02:55,010 that happen and seeing how efficient 66 00:02:55,010 --> 00:02:57,200 some of that kind of working condition was 67 00:02:57,200 --> 00:03:00,500 and how much Alfonso was able to achieve in a day 68 00:03:00,500 --> 00:03:03,440 with Emmanuel Lubezki, it was a real lesson 69 00:03:03,440 --> 00:03:07,080 in how you can effectively and efficiently push 70 00:03:07,080 --> 00:03:08,623 the limits of cinema. 71 00:03:09,510 --> 00:03:13,160 - I will survive. I will not fall into despair. 72 00:03:13,160 --> 00:03:16,960 I will keep myself hardy til freedom is opportune. 73 00:03:16,960 --> 00:03:17,967 - [Chiwetel] If I'm looking at a project 74 00:03:17,967 --> 00:03:20,440 the first thing I think about is the best 75 00:03:20,440 --> 00:03:23,210 way to approach the project in terms of research 76 00:03:23,210 --> 00:03:24,840 so it's sort of meta thinking. 77 00:03:24,840 --> 00:03:26,300 Thinking about how you're going to start 78 00:03:26,300 --> 00:03:27,940 thinking about it in a way. 79 00:03:27,940 --> 00:03:30,270 It might be an accent or a voice and 80 00:03:30,270 --> 00:03:33,090 something else it might be the historical research. 81 00:03:33,090 --> 00:03:35,253 With 12 Years A Slave, it was everything. 82 00:03:36,160 --> 00:03:38,389 What I love about working with Steve McQueen 83 00:03:38,389 --> 00:03:42,610 and something that I hoped I could take with me 84 00:03:42,610 --> 00:03:45,430 into work as a director was that Steve McQueen 85 00:03:45,430 --> 00:03:48,660 is somebody who is really aware that every 86 00:03:48,660 --> 00:03:50,480 single person, every single actor, 87 00:03:50,480 --> 00:03:52,530 every single head of department sort of 88 00:03:52,530 --> 00:03:56,118 needs a unique way of being engaged with, 89 00:03:56,118 --> 00:03:58,350 that he's very sensitive to what every 90 00:03:58,350 --> 00:04:01,120 individual needs in order to kind of 91 00:04:01,120 --> 00:04:04,747 continue to enhance and push the capacity 92 00:04:04,747 --> 00:04:08,440 to understand and to develop their own 93 00:04:08,440 --> 00:04:10,840 work within the context of making the film. 94 00:04:10,840 --> 00:04:12,740 All within the same sort of language 95 00:04:12,740 --> 00:04:15,940 so everybody's making the same film in the end 96 00:04:15,940 --> 00:04:20,630 but he really enhances everybody's unique capacity 97 00:04:20,630 --> 00:04:22,910 and that I think is a real skill. 98 00:04:22,910 --> 00:04:24,590 There's different ways of understanding 99 00:04:24,590 --> 00:04:27,230 the different kind of poetry of filmmaking. 100 00:04:27,230 --> 00:04:29,337 And he's somebody who really gets that. 101 00:04:29,337 --> 00:04:31,887 - With electricity, we can plant in the dry season. 102 00:04:43,440 --> 00:04:45,220 - The Boy Who Harnessed The Wind is the story 103 00:04:45,220 --> 00:04:49,520 of William Kamkwamba from his own true life experience 104 00:04:49,520 --> 00:04:52,990 of what happened to him in 2001 to 2002 105 00:04:52,990 --> 00:04:55,710 when he was 13 years old in Malawi. 106 00:04:55,710 --> 00:04:59,700 I read the book in 2009 and completely 107 00:04:59,700 --> 00:05:02,020 fell in love with this story. 108 00:05:02,020 --> 00:05:04,840 The first day of shooting is this kind of 109 00:05:04,840 --> 00:05:06,880 major moment, especially the first day. 110 00:05:06,880 --> 00:05:09,010 I'm sure, I imagine the first day of shooting 111 00:05:09,010 --> 00:05:10,970 any film that you're directing but 112 00:05:10,970 --> 00:05:12,766 the first day of shooting your first film 113 00:05:12,766 --> 00:05:16,040 is always going to be pretty special, pretty unique. 114 00:05:16,040 --> 00:05:18,930 We'd done an incredible amount of preparation 115 00:05:18,930 --> 00:05:21,930 and I had sat with the film for the best part 116 00:05:21,930 --> 00:05:25,390 of 8, 9 years so I was really inside that material. 117 00:05:25,390 --> 00:05:29,000 So it was great to wake up that first morning 118 00:05:29,000 --> 00:05:31,660 and feel that sense of, that sort of 119 00:05:31,660 --> 00:05:33,820 morning of the Olympic finals and you feel 120 00:05:33,820 --> 00:05:35,470 a sense of calm instead of panic. 121 00:05:38,810 --> 00:05:41,700 I think that at the end of a process like this, 122 00:05:41,700 --> 00:05:46,280 that I had gone through years of writing the script, 123 00:05:46,280 --> 00:05:48,970 shooting the film and then into coming back to London 124 00:05:48,970 --> 00:05:53,170 with the footage and this editing process. 125 00:05:53,170 --> 00:05:55,440 Towards the end of this long process 126 00:05:55,440 --> 00:05:58,300 what I was really surprised by was that idea 127 00:05:58,300 --> 00:06:01,070 that I never felt that I was kind of, 128 00:06:01,070 --> 00:06:02,630 it was never finished, you know. 129 00:06:02,630 --> 00:06:04,970 I think somebody once said you don't really finish a film 130 00:06:04,970 --> 00:06:06,350 they just take it away from you. 131 00:06:06,350 --> 00:06:08,910 And I think that that's true. 132 00:06:08,910 --> 00:06:13,210 There's always more that you could give to it, 133 00:06:13,210 --> 00:06:14,733 even after 10 years.