John Cassavetes, Martin Scorsese, Jude Law discussed on BBC Newsday

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Antonio Quick talking to Jude Law. My guests on today's art. So, uh, Egyptian filmmaker 18 Armin and film critic and author Guy Lodge. So 18. If you could speak to one of your film heroes about a scene, Who would it be? And what would the scene be? One of them is John Cassavetes because I loved his work, and it's very inspiring for me. I'm not thinking about the particular scene this I'm really very curious about the way he was making his films and at the same time it was all with his wife, his mother his family in there. They were making films in such an intimate way. And I'm really very, very curious. How did this work in the everyday making of the film when you're doing it with your wife, and I'm very curious about this guy? Who would you choose and why? It's kind of obvious name as a hero, but Both for his work and for what he does for cinema. In general. It's got to be Martin Scorsese for me because he's such a champion of the entire art form. I would love to ask him. About countries most underrated film his musical New York, New York, which really got kind of panned at the time, and I think is a is a kind of secret masterpiece. Um And particularly the kind of final very expensive, lavish old school Hollywood number in it, which was called happy Endings. And, you know it's Liza Minnelli kind of at full blast for like 15 minutes, and they poured millions and millions into it. And then the studio hates tooth and cut it from the initial edit of the film, and it was later restored. And I just Love to talk to him about that scene in particular how he felt about how gutted he was when it was kind of panned hand and when then, when he got to kind of restore it to the way he wants it. Oh, that's such a great suggestion as well for people to go and revisit that movie or see for the first time. I suppose I do have lots and lots of stories of what I would like to do. But one day, Sir Ben Kingsley, whose real name is Krishna Vangie, he's of Indian heritage. We were very, very close friends at one point in life like you go in and out of each other's lives, and he invited me to the premiere of a movie called Sexy Beast, which we knew nothing about. And I was sitting next to Krish as we called him, too, Sir Ben Kingsley. Watching this scene, which is such a famous scene now where the worst profanity comes from his mouth. And I remember sitting there going. How can this began? Andy? How can this be the man who played Gandhi? And then of course, the other thing is, you know when your friends with somebody who's just done something remarkable. You do feel too cool to ask them about it. You feel like you can't you feel like that's their work life, So it's a double edged sword. There isn't it well with the arts out on the BBC World Service. Sona. Jabba is one of the biggest names in Gambian music. She was born into agree Odds family, and she's the first female within this traditional form of storytelling to become a core a virtuoso. Her music combines her rich cultural heritage with an accessible, modern style that relates to Gambia in the world today. She spoke to caress Matthews about how her passion for music grew from an early age. I was born into a family that specialized in this tradition, grow your family. These families, um, date back hundreds of years. Um, uh, The genealogy can be traced back to the time of synthetic cater, which is around the 13th century, And since that time, this tradition has been maintained. Within those same families, So there is, I wouldn't say an expectation. But of course, so many people who are born into the family do continue the tradition as a female. Um, it's it's if you're going to go into the tradition, you will be in as a vocalist. That's that's that's more of the norm. For myself, obviously coming into the tradition, and I was taught from very young by my elder brother, who was a student of my father. So this is one of the reasons why I started to become very interested in the core from a really young age, but I really kind of made a conscious decision that I wanted to take it professionally as my career in my teenage years, and that's the time I went to study with my my dad. Pretty intensively and and from there that path started to unfold. I was driven mostly by my dedication to the instrument and the fact that he really was the only instrument that communicated to me on that level. So I wasn't at that point. I was willing to take the challenges as they came. And were there challenges or did it open up quite naturally? Because it's it felt right to have a female professional in this area. Um, yeah, of course. The challenges are there. Um, I think because of the fact that this was a path that was that was mine. That was quite early on as a child. You're very adaptable. Um, so you don't go through so many mental conflict that I would have done. If I was older, however, you'd make those changes automatically and For me as a young person studying which was very normal within the green family. You learn from your family and at the age that I started studying was very normal. However, I personally couldn't go through the usual channels. That or my other relatives could go through as males because of the novelty because of the fact it was not. It's not seen before. I didn't feel comfortable to be in the same environment that the rest of my family would be able to be in. So studying was more of a private occupation for me. I didn't I I see it. As you know, The day that I came out and expose myself as a kora player was a decision. It wasn't natural. It was a decision. And that didn't happen till much. Later. In my twenties, those years throughout my teenage I was it was private. It was only my dad. That really knew what I was trying to do, and supported me through that. And my very, very immediate family. But not beyond that. He must have been astonishing when you decided, you know, I'm ready. I'm going to Yeah. Yes, it was. It was. It was a really important time for me. And I did it again with the support of my dad and my immediate uncles, and they arranged performance in the Gambia. That was the first time that I that I went publicly in in the country with alongside my My male relatives as a as an instrumentalist. Did the jaws hit the floor? What was the reaction? It was a big surprise. I think, of course by then people knew that, okay, She's pushed you and they knew her. That is teaching her. But there wasn't an understanding. Okay, It's you know, to what level can she play? But it was great in sense that you know the family was was really proud that, you know. Okay. Wow. This is something.

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