in terms of going for a job, in terms of your social life, and so on and so forth. it can feed into mental health disorders. as many as one in three people have considered suicide and self harm. how difficult or easy is it to diagnose? are there problems with diagnosis? in some cases, you're talking about diagnoses taking as long as four to six years. treatment is pretty patchy, as well. there are no nice guidelines for the treatment of tourette‘s. i was speaking this week to a specialist in birmingham,

and that specialist clinic for tourette‘s treats people as far as way as devon and yorkshire, which illustrates just how patchy that support is. the department of health, i should say, say that they are committed to treating people with neurological conditions like tourette‘s. you can hear more on radio five live this morning. now it's time for a look at the weather. let's cross over to the newsroom. it is cold, and probably getting colder through the coming days. a kick—out today, with this weather front. this is giving us more cloud gci’oss front. this is giving us more cloud across northern scotland. it is

clear this afternoon, pushing into northern england. some brighter skies particularly the south east and east midlands. temperature is still below average. overnight, it will fall away. initially, you may have seen that weather front overnight. more widespread frost tonight. monday night, we could see significant snow. i will tell you more in half—an—hour. hello, this is bbc news. the headlines. theresa may will brief ministers on talks with party leaders and senior mps as she tries to end the brexit deadlock police speak to the duke of edinburgh who was seen driving without a seat belt, 48 hours after being involved in a crash near sandringham.

president trump's latest offer to end the longest government shutdown in us history is rejected by democrats. police in northern ireland investigate a bomb explosion in a car in londonderry. no—one is thought to have been hurt in the blast. two people have been killed and 14 others hurt in a fire at the french ski resort of courchevel. now on bbc news, a special edition of talking movies marking two decades reporting on film, from new york, with tom brook. hello, and welcome to this special 20th anniversary edition of talking movies. i'm tom brook. yes, talking movies has been on the airfor 20 years,

busily covering the film world. you bet, baby. we're going there. i never miss a minute. i love talking movies, i do. i'm notjust saying this, i told you that before. he's everywhere. he's always in the most interesting places, and has greatjackets. thank you very much. he does — he has good macs. he's always standing on the street in new york at night time, in the lights. and that's dramatic, and it looks like in the world of the movies. all that and more in this edition of talking movies. # must be the season of the witch... in this 20th anniversary show, we're going to draw on our archive in our effort to look at key changes that have taken place in the film industry during the time that talking movies has been on the air. let's start by looking at the stature of the oscars, hollywood's biggest night of the year. i will put you on the spot here, tom. which one did you prefer?

well, in many ways i liked the social network. i thought it was a very, very good film. i have reported from the oscars red carpet for much of the time talking movies has been in existence. one year before talking movies took to the airwaves, titanic, a hugely popular movie, won the best picture prize. an impressive 55 million people in the us tuned in to watch the oscars telecast. last year, the oscars only managed to deliver an audience of 26 million. the academy awards are a diminished cultural phenomenon compared to what they were 20 years ago. for a few reasons. first of all, they don't tend to give oscars to the kind of movies people are seeing very much. you know, you don't see the big superhero movies, the big sequels, getting nominated, let alone winning. and if black panther gets nominated this year, it will be a big deal, because that so rarely happens. even so, black panther is a long shot to win, and understandably, people don't want to watch an oscars ceremony in which they haven't seen

that is not appealing to people. it was ok; yeah. , it was long — very long. a bit old—fashioned, really. but could the oscars ceremony be in a bigger audience? the oscars have tried to figure out ways to remedy how to make the ceremony shorter, more interesting, more appealing to young people, for as long as i remember watching them. but i'm not sure what changes would need to happen to kind of bring back a large audience that has already kind of departed. the host, right, is an eternal problem, and i think one that seems like it's never solvable, because you're trying to please all sorts of people. it's tremendous, you know, with seven nominations, including best picture. i'm elated by that — truly, genuinely thrilled. but the academy awards, despite all the challenges, still has a tremendous impact. getting a trophy is a real seal

of approval that is highly valued. the publicists wage elaborate campaigns to win oscars on behalf of the stars they represent. those campaigns, they're very important, because with the amount of content that's out there, anything that will really designate a point of difference is very important and valuable, financially as well as from an audience standpoint. the academy has been scrambling to remedy its problems. last year it announced a new category for achievement in popular film, with an eye towards boosting the ratings. but in the wake of a chorus of complaints, including a charge that it was pandering to mainstream audiences, that proposal was withdrawn. there were also difficulties in securing a host for this year's telecast. clearly the academy faces a lot of challenges. tom always asks the most uncomfortable questions. as you get older, do you feel that you're improving, as an actress and as a human being? i love that question.

i would not — i can't answer that question. that's an amazing question. i'm going to have it engraved and put on my fridge. over the years, talking movies has reported from around the world, and during that time the international market for hollywood films has grown dramatically. in 1999, the big hollywood studios got an estimated 30% of their revenue from tickets sold outside the united states. today that figure has risen to about 70%. emma jones looks at the increasing globalisation of hollywood. once, only tom cruise could bring asia to hollywood. definitely, you know, the japanese and the asian cultures are something that i've always wanted to know more about. great philosophies have come from there. his 2003 film the last samurai was partly made injapan, but with a western palmprint slapped all over it, alongside a western cast. many of our customs seem strange to you. in 2018, though,

hollywood goes to asia. nic cage attended the international film festival in macau in december, alongside stars from hong kong and china, in order to show his film mandy. china, and filmmaking in china, and really all over, is the new way. in 2016, mainland china relaxed its own rules on how many north american movies could be seen in its cinemas. its vast audiences helped the worldwide box office of 2018 into a record—breaking year. from avengers: infinity war, to blockbuster venom, to aquaman, each film's chinese release added profits for american studios. in a sign of the new global order, aquaman was released in china before the us. you can see why hollywood is salivating at the thought of the chinese market. everything about china is vast,

including its potential audience of 1.3 billion people. yet nothing should be taken completely for granted. it has taken hollywood until 2018 to put its backing behind something like crazy rich asians, the first hollywood studio film set in contemporary times to be led by an asian cast in five years. jon chu's feel—good, escapist rom—com performed well in america but bombed in china, with just $1 million in takings. it hasn't been released in india at all. perhaps talk of a worldwide film village is still premature. that kind of romantic comedy format is very frequent, is very common around asia, so i'm not sure it's ever going to work so well in the east. i think you have to be careful about the hybrid that tries to please everybody. you know, the great wall was a universal picture starring matt damon, directed by one of the great

chinese filmmakers. it didn't really perform terribly well in either china or the us. so chinese audiences are very suspicious of films that are trying to manipulate them in a certain way. over the last few years, talking movies has reported consistently from india, owner of the world's most productive film industry. but it still took until 2016 for a genuine worldwide hit in hindi, dangal, starring aamir khan, to appear. the danger of other cultures being hollywood—influenced just isn't there. padmaavat, a lavish story from india which talking movies reported on in 2017, made an impressive $40 million worldwide in one week. india and china recently signed a treaty to increase the possibility of more film coproductions between them, and the danger might

be more to hollywood, especially if studios persist in thinking that china's only demand is forformulaic action. i'm from the bbc, can i ask a couple of questions? sure. i see you in the mornings. ok, i hope it's not disturbing. in the early days of talking movies, 20 years ago, the film industry was basically ruled by white males, and on screen, white faces prevailed. over the years, especially recently, that has begun to change. there's more diversity, inclusivity and equality. i was wondering if you had any entertainment. one of the first films that talking movies covered was the romantic comedy forces of nature, starring sandra bullock and ben affleck. in an interview with sandra bullock, the issue of gender parity came up. should actresses get the same pay as actors? why shouldn't women get paid?

we're not in, you know, the stone age anymore. we've burned all the bras, we've gone through that. it's equality, and if the person does an equal amount of work and does just as well, then absolutely. you can break our hearts, but you cannot break our spirits. is it time that people of colour recognise how much power we have amassed? gender disparity and lack of diversity have often been covered in the show. with the rise of the #oscarssowhite and #metoo campaigns, these issues have gained more profile recently. i think there are baby steps towards greater diversity, but i think the conversation is happening, and is manifesting on the screen, slowly but surely. it's being vocalised much more, and i truly hope that it's moving more and more in that direction, that we're seeing people who should be playing these parts on screen, stories that should be told on screen. i'm very passionate about that. the lgbt community

also faces struggles. although there has been greater inclusivity over the last 20 years, a survey by one agency found that lgbt representation in films in the major studios in 2017 was the worst in six years. year of black panther, the mega—hit black superhero movie which put a cast of largely black actors in the high—profile roles. it's just a beautiful thing to see representation. i think that that's the most important thing — representation of all the different facets. the fact that i can look up and see myself as a superhero, or somebody who looks like me as a superhero, i think it does a remarkable thing for society as a whole. better representation is coming about partly because there is pressure to change, and because there is greater commitment at some studios towards embracing diversity. black panther was made by marvel studios.

we are painfully aware of what we have not yet represented. i think we haven't represented the latin community, in general. i think that's something that we have to do better. i'm latin, i can tell you that i'm longing for that. the gay community has not been represented whatsoever. i'm gay, so i can tell you that i long for that. i think we haven't represented the asian community well. i think we've had some representation, but it's minimal, and we would like to represent that in a big way. mum, this is rachel chu. she just thinks you're some, like, unrefined banana... no, no, no — no! those are for your fingers. ..yellow on the outside and white on the inside. but the road to greater diversity ins‘t one smooth trajectory. crazy rich asians, the first studio film set in the present day to be led by an all asian cast in 25 years was lauded for bringing a story of chinese and chinese american people to the screen. but some critics argued that

crazy rich asians, in fact, perpetuated a stereotype. this is a film that doesn't represent the sort of myriad of experiences that asians have. if you look at the film, the film still looks at dark skinned asians as the servants, the ones that are displayed prominently upfront were light skinned east asians. rachel, these people aren'tjust rich, 0k, they're crazy rich. supporters of diversity note that it's notjust pressure to do the right thing that's fuelling this drive greater inclusivity. better representation on screen fills coffers, it sells at the box office. part of it has to do with capitalism, right. i mean, if this is generating bottom—line profits, then this is one, ah, you know, one undiscovered avenue that the film industry is able to tap into. i mean, it's making money. there's no doubt about that. but it doesn't mean that it's a critical engagement in diversity. but respected figures in film don't believe that greater diversity

in big hollywood films like black panther has only come about through a desire to make money. i think the tools to make films, the tools to create cinema have finally, after 80—90 years, reached the people who didn't grow up in the suburbs or who didn't grow up with a silver spoon. and now those people had been empowered to tell their stories. and so black panther‘s an extreme example. but i think something like moonlight or something even like blachklansman or get out, i think now there's just so many people who look like me who have the tools to create the stories they want to tell. and that is how diversity in its many forms is likely to gain a realfoothold in the industry. of film—makers rising up with the skills and the ability to tell a wide range of stories and get their narratives out to an audience. that's a real change from how it was in the film industry 20 years ago. you make me laugh. laughter. we're talking movies! ok, good.

that's good. yeah. this is brilliant. are you sure that was smiley enough? we've always covered stars on talking movies, but over the years we've been on the air the nature of stars has changed. they used to be a very potent component in the showbiz galaxy. but nowadays less so. fear not — the studios still want stars in theirfilms. definitely for the big studios, they still want names, they still want well—known people to be in them, even if they're not the lead in the film. but it is a fact that the power of stars is dwindling. when talking movies first went on the air, a—listers like tom cruise and julia roberts had enormous clout. they could guarantee a successful opening weekend box office for a film they starred in — however bad it might be. but that has all changed. the movie stars‘ power has been supplanted by the franchise's power. so it used to be that you went to see a film

because it was a julia roberts film or a will smith film or an adam sandler film or a tom cruise film, now you go because it's a marvel film or a jurassic world film or a transformers film. that's the way movies are branded today. that's what really appeals to consumers. they consider themselves loyal to a franchise and brand, rather than to a movie star. it's notjust competition from franchises that has undermined the powers of stars. it's also that they have lost some of their specialness, their mystique. the rise of tabloid journalism and social media have made their lives accessible to all, diluting their stardom. during the golden age of film and stardom, it was a much more controlled environment. and so, as a result, the information and the accessibility that was going out there was orchestrated. and it was really orchestrated. now you can only orchestrate it to a point. indeed, it is different from the days when hollywood was carefully controlling

the creation of larger than life movie stars. that was in the beginning, infancy of media. it was just new. elvis, marilyn monroe, jack kennedy, you know, television was new, and so you had individuals being elevated. now lots of people are being elevated. especially when it comes to the brave new worlds of youtube stardom and twitch stardom and all of these new places that people can come from and have enormous online followings, but also have other people with no idea who they are. i think that we're seeing celebrity sort of morph in ways that speak to the idea of internet stardom as this new thing. but, i don't know, i think that there's still a lot of value to a movie star. you know, there's something to being this larger than life figure on screen. i think it still carries a huge amount of weight for people. stars may have been brought down to size by changes

in the last 20 years, but by no means have they provide, proof that. stars" ' f ' ' m ,,, f through their performances in ways that can be potent and profound. what do you think really made you feel that you'd got it right? was it the way she talks, the wig, when did you realise, ok, i'm on track now? when the corgis started obeying me. laughter. you're kidding. i'm not kidding. two years before talking movies first went on the air, a small, little—known american company called netflix began to operate a rental service, where, for a fee,

they would ship film fans dvds of new movies in bright red envelopes. well, netflix has now grown into a humongous streaming giant, upending the film business. now let's move on to the digital revolution and the impact it's having on the film industry. in 1999, talking movies featured this report on a pioneering experiment that enabled computer users and a cinema audience to access a movie online. it was limited in scope. it is not where it will be five years from now. it is not to the quality of 35 millimetre right now. but, again, we'rejust getting going on this, we're just starting. this is sort of the beginning of television when it was this whole electronic cinema movement. netflix has expanded on that concept dramatically. there are now 130 million netflix subscribers and one in three internet users around the world make

use of it. while talking movies has been reporting on the film industry, netflix and its streaming competitors have fomented a mini revolution. there's no question that netflix has been the most disruptive force in hollywood over the last five years, simply because though it has been around longer than that, by developing all this original programming at a very fast rate, developing so many different deals with high—profile talent, with competitive contracts, they have outpaced the studios in terms of the kind of volume that they can put out into the world and that really kind of screws up the economics of hollywood that have been in place for so long. what the streaming services are doing by producing original content, films like roma, directed by alfonso cuaron, is offering up a lot of opportunities for film—makers looking for backing for their pictures. i think this is like a renaissance forfilm—makers and, you know, whether you're a writer, a film maker, a director, an actor, this isjust, like there is so much demand

for more and more content. so this is a wonderful time to be in the content game. while netflix may be optimistic in relation to the future, this is not the case at the big studios, where the ascendancy of the streaming services has been cause for anxiety. i've been covering hollywood for almost 15 years, i've never seen the top executives so uncertain, so anxious about the future. you know, we've really upended the way that people consume entertainment and, therefore, the way that a lot of artists create entertainment. and i think that the traditional studios, which are used to being on top, they're used to defining how movies and tv shows get made, how we consumers get them, now they don't have that power any more, the studios are very scared. they know that the future, at minimum, will be really different than what the past hundred years in hollywood have been like. in the worst—case scenario, the studios, as we know them, may evaporate. well, that's all from our

special 20th anniversary edition of talking movies. we hope you've enjoyed the show and enjoyed the last 20 years of talking movies. it's certainly been a privilege for me to be here for the past two decades to present the show. so, from me, tom brook, and the rest of the talking movies production crew here in new york, it's goodbye, as we leave you with more footage from the talking movies vault. # you can see all the stars as you walk down hollywood boulevard. 22 seme that weeseamuflma that # people who worked and suffered and struggled for fame. # rudolph vaterttirttt , looks very much alive. # and he looks up ladies‘

dresses as they. ..# hello. it was cold this morning. —6 in parts of east anglia. not all had those low—temperature in parts of east anglia. not all had those low—temperatu re is in parts of east anglia. not all had those low—temperature is but the cold weather is here to stay. this is how it is shaping up, cold and particularly with the wind, the risk of snow on monday night, wide spread frost persisting. high pressure today, but we have a weather front working its way in giving rain and hill snow in the north. there is sunshine in the south and east. through the day,

that weather system weakens, pushing away into northern england and north wales. we have showers already in west and wales. a largely dry picture here. some beautiful sunshine. but it is cold. temperatures are below average. they fall away overnight, particularly under starry skies. in the north, although it is clear and cold to start, we get high cloud which may obscure the skies in time for that lunar eclipse. this next area of low pressure is lunar eclipse. this next area of low pressure is more lunar eclipse. this next area of low pressure is more active than we have seen, pushing high pressure out of the way temporarily. giving significant snow eventually. we start cold and frosty, freezing fog, dry weather and some sunshine.

northern ireland and western scotland, turning wetter and windier in the afternoon, and really cold, the rain will turn to snow over the hills. cold air is dropping away. the snow will fall readily over the peak district, pennines, scottish mountains, even further south. peak district, pennines, scottish mountains, even furthersouth. it shouldn't settle. but we will keep an eye on that. and lots of snow showers afterwards. into tuesday, no sign of temperatures listing. those snow showers piling up. largely dry for wednesday and thursday. it is still cold, below par for the time of year. this is bbc news. the headlines at 11.00: theresa may will brief ministers on talks with party leaders and senior mps as she tries to end the brexit deadlock. police speak to the duke

of edinburgh who was seen driving without a seat belt 48 hours after being involved in a crash near sandringham. president trump's latest offer to end the longest government shutdown in us history is rejected by democrats. politicians from all sides in northern ireland condemn a car bomb attack in londonderry. police say they believe the vehicle was hijacked a short time before the explosion. two people have been killed and 1a others hurt in a fire at the french ski resort of courchevel. and coming up in dateline london correspondents working for international media organisations give us their take on the minister's historic parliamentary defeat this week.