russia confirms ukraine damaged one of its warships in the black sea. overnight, ukrainian forces say they destroyed 32 out of 46 drones launched by russia. eight months on since the war began in sudan, fighting in the country has caused one of the world's largest displacement of people. the bbc talks to a family trapped for months in the crossfire. the actor lee sun—kyun, from the oscar—winning film parasite, is found dead in a car in central seoul. police say they received a report of a note left at his home. now on bbc news, talking movies: martin scorsese special. # si e fatto tardi anche stasera

# in pist�*ormai nessuno balla...# hello from new york, and welcome to our talking movies martin scorsese special. i'm here in lower manhattan, in the neighbourhood of little italy. in the 19505 and �*60s, it was home to martin scorsese, who is, without any doubt, one of america's most celebrated film—makers. my name's tom... a0 years or so ago, prior to my move to live in new york, i was already a big scorsese fan. the director had made his mark with his defining films of the 19705 like mean streets... i'm gonna pay him next week. i'm gonna pay... ..taxi driver... you talking to me? ..and the soon—to—be released raging bull... there's no—one else around wants to fight me. they're all afraid. ..all three starring robert de niro. the collaboration with de niro persists to the present day, but he's also worked closely with leonardo dicaprio on many memorable movies... she is a prim—looking stargazer.

gangs of new york... i'd check my pockets if i was you. cos i do believe she lifted your timepiece. ..and the aviator. we don't care about - money here, mr hughes. well, that's because you have it. the departed... think about it, hot shot. ..which brought scorsese his first best director oscar, and the wolf of wall street. i want you to deal with your problems by becoming rich. in all, he's made more than 45 features, often crime films, and won numerous accolades. it's a very impressive body of work. his films have been influenced by his italian—american background and by his catholicism. he nearly always features macho, posturing men, and sometimes extreme violence. what i like about martin scorsese as a film—maker is that his films are about something. they have moral weight. also, he's incredibly skilled as a director. he has his hallmark use of rapid editing at times, use of slow motion and freeze frames

and ingenious use of contemporary soundtracks. when people first heard that you were making this film, they were surprised because they thought it was very different in terms of subject matter from your previous work. do you think it is a break in trend or are there commonalities between this film and your previous films? after writing the script, some friends of ours who read it said it's similar in theme. i did sit down to interview martin scorsese 30 years ago when he made the age of innocence. is there someone else? someone else? between you and me? what i've always liked about scorsese, in a way, is that he's an outsider. he's never really been part of the hollywood studio system. he's always made brilliant cinema, usually on his own terms. now, martin scorsese, at the age of 80, has made killers of the flower moon — his very first western... whose land is this? my land. ..a crime saga featuring once again his two favoured actors,

dicaprio and de niro. the war hero has arrived. you've made a good choice coming back here. 0ne critic has described it as "a landmark motion picture achievement". i don't disagree. evil surrounds my heart. at its heart, killers of the flower moon, inspired bya book, is about love and deceit. why did you come here? but perhaps more than anything else, it's about naked greed. money flows freely here now. i do love that money, sir. it's based on the true story of the orchestrated so—called reign of terror of the 1920s in oklahoma, in which more than 60 native americans were killed so that white men could get their hands on the oil that lay beneath their land. there are many, so many hungry wolves. 0il had made the 0sage nation extremely wealthy. when this money started coming, we should have known it came - with something else.

i have met you on my red carpets... yes. ..and junkets over the years. yes, i've seen you over the years, too. 0k. i hope in a good way. yes. well, martin scorsese, a very big, warm welcome to talking movies. thank you. i saw your film killers of the flower moon and ifound it very, very powerful. why did you want to make it? well, i was really drawn to the story, in the sense that, uh, one of my favourite genres is the western. we'd all be much better off if there wasn't a single gun left in this valley. a gun is as good or bad as the man using it. back in the �*aos and �*50s, i grew up watching westerns. growing up as an urban kid in the lower east side, living in tenements and not allowed to go near animals or run and play because...and do sports, because i had asthma... come back! ..the western opened up vistas for me in black and white,

and in technicolor, etc. miller! it was a fantasy land. what we could do is, do, three...two, one... but martin scorsese didn'tjust want to make a western. he also wanted to tell a story of historic injustice towards native americans. and ultimately, he didn't want it to be a white saviour story. more than a0 roles in his film are played by 0sage actors. he had long known of their suffering. down in new york's little italy, round mulberry street - in lower manhattan, silence is the first rule of survival. i his little italy upbringing helped him understand the story. there was a great deal of street crime, organised crime, etc. pretty good area, pretty decent people, but there were a lot of people doing some bad things. and so, i know that thinking, and i found it was the same thinking in this story. now, you could take it from robbing somebody�*s store, mugging somebody, let's say, or take it to the point of wiping

out an indigenous nation. there's a very little step that one could take. and so i wanted to immerse myself in that world. well, look, i'm going to lay this out kind of, and then we're going to move it according to the drone. if you look at the history in hollywood and how it's portrayed native americans, do you really believe there's a lot of catching up to do? and in a way, i mean, your film does represent an effort to notjust tell this story from the white person's point of view. hollywood started working with the native americans, you know, thomas ince, demille — they made these silent films. john ford. they had real native americans acting in them. in one case, a film i like very much, directed by thomas ince, a two—reeler called the last of the line, in which sessue hayakawa plays the native american. they were still shifting and shuffling because he was a very big star at the time. right around the late �*20s and �*305, it changed and that became the box office stars portraying native americans. to talk of peace is not hard.

to live it is very hard. there were attempts really by some really interesting film—makers, delmer daves, mainly, and i think the key one was broken arrow, to understand the native american, the indigenous. and i think broken arrow was the first film i saw in beautiful technicolor actual rituals and cultural elements of the native american that was not necessarily warlike. there was devil's doorway, by anthony mann. you're trying to say it's feeling for me. then i don't believe you. drumbeat by elmer daves. i came to talk peace. but you talk about killing. apache with burt lancaster... i'm the last real apache left in all this world. ..by robert aldrich. so these were all attempts to understand the native american. however, all the native americans are played byjeff chandler, burt lancaster, charles bronson, that sort of thing, in order to get the box office. that wasn't the case with your film? no, not at all. no. i said, no matter what happens,

no matter what approach i take, we have to make sure it's ok with all these guys. we have to go in there. i have to know who they are. and that's what happened. this chief geoff standing bear, we became good friends and we started going back and forth to oklahoma. and i became very, very friendly with many of the people there. many of them are in the film now. ijust love money. i love it as much as i love my wife. it is a period film, in that it was set in oklahoma in the 19205, but in many ways, it's about greedy white men doing terrible things to another race. do you think that has contemporary relevance in america today? that hasn't changed in america. it hasn't changed around the world. i mean, you're saying white, but there are others who do that too, in different parts of the world. in terms of america, the struggle is always there. the struggle is always there. the opportunity to make a change is there, too.

the only thing is, we have to know about it. we have to know about it. you can't hide it. you can't forbid people to read books or see films or see play5 or hear certain mu5ic. you have to know about it. let me ask you, if i may, about another matter which i know is very close to your heart, and that's film preservation. why is it so important to your mind that we do make an effort to preserve old films and restore them wherever possible? i guess first thing that comes to mind is like saying, why, why restore the vellum in bodleian library in oxford? i mean, why hold, why con5erve these books? you know, the knowledge in the books, the picture it gives us of who we are or who we were, the good things, the shameful things. the5e can't be swept under the rug. we have to know. we have to be... we have to acknowledge it. cinema has a lot of that, there's no doubt. but also, i've been, you know, for years,

i really do believe it is a great art form. in fact, scor5e5e has been a passionate advocate for film preservation and has founded 5everal organisations to that end. he has long been a fan of the celebrated british film—making partnership of michael powell and emmerich pressburger. both directors died more than 30 years ago. scor5e5e has sought to preserve their films. among, them the 19118 the red shoes... why do you want to dance? why do you want to live? ..with its themes of passion and obsession... you shall dance! the world shall follow. ..which had a huge impact on him. thelma schoonmaker, scor5e5e�*s long—time editor, was married to michael powell, co—director of the red shoes. she worked on the restoration. thelma worked laborious work on that. and digital really helped us on that, went back to the original negatives. but, you know, i saw the film when i was about eight years old, nine years old. the images were so palpable, as if it was like taking a paintbrush and just bru5hing

across the frame. but what really struck me with the characters in this heightened hyper world of art and ballet particularly. the whole thing comes down to at one point, she says, "i want to be a dancer." and he says, "well, why do you want to dance?" she says, "why do you want to live?" "why do you want to live?" art could be that way. and as a child, i thought of that all the time. can you live with that? if you could make art, good, bad or indifferent, can you live without it? what's the point of living without it? that's what you do. and so, ultimately, their lives are sacrificed for it. all of them, really. they're sacrificed by... the passion eats them up, just devour5 them, i should say. and the passion is up there on the screen, particularly in the ballet of the red shoes. 17, the whole movie stops for 17 minutes. these days, i mean, up to a certain point in time, you know, people then 5aw films where sequences would come on for 20 minutes in the dance sequence. but it started with red shoes, and it was ballet. it wasn't the american

in paris dance. music: i got rhythm that's later. and that was more modern dance. this is ballet. it's different. martin scorsese has long been a very authentic voice in the movie bu5iness. he generally speaks his mind. and four years ago, in an interview with empire magazine which has been oft—quoted, he was asked what he thought of marvel superhero films, and he was quite forthright. he said, to him, they resembled a theme park and they really weren't cinema. well, those remark5 caused quite a stir. not only if you're not comfortable with marvel films, the whole digital revolution and the ascendancy of streaming seems to have left him very uncomfortable. now the revolution is so strong, it's at the point at which sound was invented. i mean, in that sense, with streaming. what d'you hear that from? with cgi.

they're in it to make money. you make money by making picture5 people want to see. higher, further, faster. that's always been the case, hasn't it? that's always been the case. but now, the only ones they're making are franchises and things. and some of them may be very good, by the way. i'm just saying that that's not the only film, but that's what the studios are making. so what i'm saying is that the money there now is for the franchise, for the action film, and that's where it's going to stay. what is happening to me? and you don't seem to have a very high opinion of them. 0h, are you going back to what i said four years ago? yeah. just, you know, i've tried to. they're not for me, but i'm trying. as you get older, i'm trying to figure out where the hell to spend my time. i can't do it with them. i tried. i saw it. idid it. like, you know, i want to go, i want to find other things. you see what i'm saying? scor5e5e knows he and other film—makers are facing a changed landscape. he has to contend with a viewing

audience that's more than ever fragmented and politically polarised. also, in an age where there's greater scrutiny about who's represented on screen and how, scor5e5e moved with care to tell the story of the 05age murders. he was determined that killers of the flower moon would give due weight to the indigenous characters. it's supposed to be a suicide... and in fact, the soul of his new epic doesn't belong to the white men portrayed by robert de niro and leonardo dicaprio, but to a native american woman played by lily gladstone. you know, you got nice colour skin. what colour would you say that is? my colour. the film obviously has male protagonists in it, but do you think that the soul of your movie does belong to a woman in a way, lily gladstone? there's no doubt. lily gladstone really is the heart of it. that's what leo said to me on one point. we were trying to work this script for two to three years and we got hit with covid too, as everyone else did.

we didn't know if we were going to make the film, whether we were going to live or die. and if we were to proceed with the project the way it was constructed by david grann in the book in an extraordinary way, it would become like a police procedural. and i like watching those films, but i don't know if i can do them. and i tried to change and tried to make it and then, finally, leo dicaprio at one point, because he was going to play tom white... i was sent down from washington dc to see about these murders. ..and at one point, he came to me and said, where's the heart of the picture? i said, "her". he said, "what if i play ernest?" 0k... i said, "we've tried everything else." that's how you are. i don't know what you said, but it must've been indian for " handsome devil".

they laugh the real insidious and sinister nature is the love relationship. i work with my uncle. you're scared of him. because that's the ultimate trust and betrayal. does he really intend to kill her? i don't know. i think he's purely a weakling. you're going to make trouble, make it big. how much more his uncle could have forced him to pursue it. we decided to go ahead, make him ernest, work with lily and create this relationship based on what we could put together from family members who were still alive, who ernest wa5. but she is the one. and as ellen lewi5 just showed me her in certain women. kelly reichardt film. ijust knew if i didn'tl start driving, i wasn't going to see you again. i didn't want that. and i saw that face and i saw what was going on with her eyes, and i said, "that's the one here." she's really interesting. 0ne zoom call. because of covid, we still couldn't fly around. and immediately, i understood the intelligence and the heart that she had and the activism

of her, but also, the understanding of the love story. you don't operate in a vacuum. you are a director in contemporary america. this country is more polarised politically than ever. do you feel that film can be a unifying force at all? i'm not sure. i hope it can. it still is a form of communication. the problem, and i may be wrong on this, but the problem i see, it's fragmented, that films are made fora certain group, another group, another group. indies are indie5, films made for different gender, different sexuality, etc. well, they should be films all together, you know? yes, you can find certain things you like in the specific categories, but one shouldn't... what it i5 is that if those films are made for a good price and they bring back a certain amount of money, fine. it's almost like a token situation i'm concerned about. yes, what are they complaining about? tho5e pictures are made. well, no, we want them bigger. we want more audiences to see them. the kid doesn't look like a gang5ter yet. he has to look... his shoes have got to be shined. right.

i think he should wear a shirt and tie. chri5ty, i want you to be here. martin scorsese has at times been a directorfor hire, but he's fought to make movies on his own terms and it's usually paid off, at least, in terms of artistic integrity. killers of the flower moon became a big—budget undertaking. it was bankrolled by apple 0riginal film5 to the tune of $200 million. one of the things i found really rewarding about killers of the flower moon is that there was evidence of a single artistic vision, your vision coming through, hopefully not interfered with on screen, you know, i also found that this year perhaps with barbie and greta gerwig'5 vision, or christopher nolan and 0ppenheimer. i mean, how hard is it to make that kind of a film nowadays, where your vision doe5 prevail? the key there is the support from the financing. in the case of apple, for example, once i gave them the idea of how we wanted to approach the story and what we wanted to do, they were open to me

exploring every aspect. i kept changing it as we went along, and i kept adding more and more of the rituals and the cultural aspects of the 05age. i never felt that there were people looking over my shoulder. you could say, well, it's because of who you are. yeah, but i'm 80 years old now. all right. so now, i was able to make a picture with nobody looking over my shoulder, in a sense. if they were, they were very quiet. so that they were always supporting to get what i wanted, you know, on screen. let me ask you, you mentioned getting older. i mean, actually, i'm only ten years behind you. i'm 70. oh, my... i remember you when you had no weight in the moustache. 0k, well, yeah, that's true. look at this. yeah, you look pretty good, let me tell you. but how does getting older affect the kinds of storytelling that you want to do as a film—maker? are there films that you feel you've got to do before it's too late? i know. and the funny thing is,

i have a few i really want to do. i hope i can make it. it comes down to what's in the frame, where to place that camera, and where to spend whatever time is left to your life telling a story. is it worth the time? well, that's all from little italy and our talking movies martin scorsese special. we're going to leave you with one of my favourite moments of new york martin scorsese cinema. it comes from the 1990 film goodfellas, and it's a highly orchestrated three—minute tracking shot that begins outside the old new york copacabana nightclub. it really is wondrou5 cinema. i'll see you later. thanks. what are you doing? you're leaving your car? he watches the car for me. let me just finish now by telling you that, you know, i remember your work or film—maker's work by kind of moments. and there's a great moment in goodfellas when ray liotta takes lorraine bracco into the copacabana. and it's a tracking shot. it's an incredible shot.

was that... i kind of cry when i watch that. was that hard to orchestrate? well, yes. however, we used the real copa. we used the real lobby and back area and through the kitchen. we would go in in rehearsal and say, i need this here, i need this here, i need this here. and i had the main actors. i had ray and lorraine and even the real maitre d' of the copa who, as soon as he sees him, slips him money, gets him the table. you pan over and the table comes by. when i used to go to the copa, that's what it was. you know, we always thought we had great ringside seats to see the show. and just before the show started, three or four tables would fly in the air. right in front of you, big wise guys would come and sit in front of you. they laugh you couldn't see a thing and you couldn't say anything. so, they did a beautifuljob. well, it was a really magical moment. look, martin scorsese, thank you so much for doing this interview. i really appreciate it.

thank you. good to see you again. hello there. well, boxing day was a pretty decent day up and down the country, with regards to the weather. a lot more sunshine around, lighter winds too, albeit on the chilly side. behind me, a weather watcher photograph shows the blue skies overhead in kinross. things could look very different, though, on wednesday across perth and kinross, as storm gerrit moves in. that's going to bring widespread wind and gales, heavy rain and significant snow over the hills of scotland. now, you can see storm gerrit moving in on wednesday. lots of isobars on the charts, hence the gales, and active weather fronts bringing widespread heavy rain. but we do have some concerns at the snowfall amounts across the hills of scotland, only 200 metres and above, so modest hills could see around 10 to 15 centimetres. more than that in a few other places, when you factor in the wind, because of drifting and blizzards. elsewhere, very windy, sporadic rain spreading

northwards and eastwards. perhaps brightening up a little bit later in the day out west, certainly across northern ireland. but the winds really a feature wherever you are, but certainly around coasts, the english channel. severe gales likely across north—east scotland and the northern isles later in the day. so across much of scotland, single—figure values, it will feel cold. double—figure values, though, further south. so that's wednesday's storm gerrit. storm gerrit moves away, but it's likely low pressure holds on to bring us another blustery day on thursday. in fact, we could see gales again, certainly around some irish sea coasts. plenty of showers rattling in from the west. some of them, heavy. a bit of sunshine in—between. but again, some wintriness over the hills of scotland, where we see temperatures in single digits. 0therwise, just about double digits further south. so both wednesday and thursday — that storm gerrit — and thursday, we're likely to see some travel disruption from the mixture of rain, snow and gales. we've got a plethora of yellow warnings in force. head online or check out

the bbc weather app to see all the details for those. friday, then, still low pressure nearby, some subtle changes. i don't think things will be quite as windy on friday, but still another blustery day to come, with bands of showers in places, some sunshine too. some colder air moving southwards, so a chillier day on friday, with these showers. a wintry element to them over northern hills, certainly. just about double figures towards the south and south—east. i think for most, we're looking at 5 to 8 or 9 degrees. factor in the wind, it'll feel colder than that. now, as we head into the weekend, the run—up to new year's, then, another area of low pressure likely to move in for saturday and it bumps into the cold air, and then we could see another spell of disruptive snowfall across northern hills, certainly, but maybe even down to lower levels, and a wet and a windy day to come. so, again, saturday is looking pretty wild at this point and temperatures in single digits pretty much across the board. now, beyond there, as we head towards the new year period and into the early part of january, although we'll see some brief ridges of high pressure at times, low pressure systems threaten

to bring more spells of wet and windy weather, with the risk of some wintriness, as i think we will stay on the colder side of the jet. and you can see that here, on the air mass charts, generally in the blue colours there. at times, may try to see some milder air nudge into southern areas, but i think the colder air will tend to win out for the outlook period. certainly a colder feel to things with the run—up to new year and beyond, into the early part of january, across northern areas, with some wintriness to some of the showers. but you can see from the icons here that it's going to tend to remain unsettled for all areas. take care.

live from london. this is bbc news. gaza's health ministry reports 241 deaths within 2a hours, as israel warns the war "will last many more months." palestinian president mahmoud abbas condemns the war, in his first tv interview since the conflict began. translation: what's happening in the palestinian territories - is far beyond a disaster and far more than a genocide. the palestinians have never seen anything like this. russia confirms ukraine damaged one of its warships in the black sea.

eight months on since the war began in sudan, the bbc talks to a family trapped for months in the crossfire. the actor lee sun—kyun from the oscar winning film parasite is found dead in central seoul. police received a report of a note left at his home. hello. i'm lucy hockings. the israeli military is expanding its offensive in gaza, with troops pushing into the centre of the territory. gaza's hamas—run health ministry says at least 241 people have been killed in the past 2a hours. in his first interview since the war began, he will be familiar with this shot of israel looking into gaza. there have been _ of israel looking into gaza. there have been loud _ of israel looking into gaza. there have been loud explosions - of israel looking into gaza. there have been loud explosions heard| of israel looking into gaza. there have been loud explosions heard in the early hours

have been loud explosions heard in the early hours of have been loud explosions heard in the early hours of wednesday. have been loud explosions heard in the early hours of wednesday. we know there have