helpful to us. well, the young woman earlier who said that the world is digital in the future is absolutely right. that's not to say everything is going to be through the phone. but children do see their phone as a crucial resource for their lives. if we can teach them wiser ways of using it in school, if we can teach them to make good judgments about when it is constructive, when it is educational and when it is time wasting, then we'll have done a great thing. it's not that schools have a lot of time to do this. i appreciate they would like parents to ta ke appreciate they would like parents to take more responsibility in that regard also. it's a collective responsibility i think and something children are thinking about, so let's engage them in that discussion because they want to learn in school. they want to have fun with their friends school. they want to have fun with theirfriends and school. they want to have fun with their friends and it's a matter of balance. food for thought.. thanks for joining balance. food for thought.. thanks forjoining us. now it's time for a look at the weather with nick miller.

hello. we have a widespread and hard frost on the way tonight, under mainly clear skies. there will still be a few sleet and snow showers around the north and north—west of scotland. those that affect eastern england will fade away. maybe the odd fog patch but most places will be clear, very cold, hard frost. could be —10, where you've got snow on the ground in southern england, and minus double figures too in parts of northern scotland. cloud increasing to the north—west. this is the weather system which tomorrow will bring some rain, preceded by some sleet and snow, mostly on the hills, over northern ireland, scotland, the north of england and north wales. south of that, increasing cloud, stays mostly dry. behind the weather system, brightening up in scotland, though. rain returns to northern ireland, especially going into the evening. the wind switching to a south—westerly direction, so it will become a bit less cold. the far west of wales and south—west of england may be as high as 10 degrees.

hello this is bbc news with rachel schofield. the headlines: nissan is expected to announce next week that it's cancelling plans to build its new model suv at its plant in sunderland. russia has suspended its participation in a key nuclear arms control agreement, after the united states announced yesterday that it would do the same. thousands of opposition supporters have taken to the streets across venezuela in a bid to force president nicolas maduro to stand down and agree to new elections. for the first time in years, venezuela's opposition feels optimistic. protesters here want to try to keep up their momentum to bring down the fall of a government they detest. here, the met office issues weather warnings for ice in many parts of england, as wintry conditions continue to disrupt the uk. now on bbc news, a special edition of talking movies, to mark

the programme s 20th birthday. tom brook talks to the acclaimed actor and director kenneth branagh. hello from new york, i'm tom brooks. for a special 20th anniversary edition of talking movies, i met top british actor and director, kenneth branagh, to discuss his latest film, all is true, and his a0 years in the film business. i greeted kenneth branagh, as he arrived at a new york event to mark the 20th anniversary of talking movies. this affable 58—year—old star was happy to mingle with the crowd, to pose for photographs. the audience was eager to find out what he had to say. applause. very good to see you. have a seat.

thank you. well, a very warm welcome to talking movies, on the occasion of our 20th anniversary. thank you and happy birthday! good. happy anniversary. we're enjoying it. good. i have been looking at your work. you have a very impressive body of work. there are 37 films that you have appeared in as an actor... crikey. ..some 18 feature films that you have directed. you've earned five oscar nominations and you have won four baftas. and yourfilm credits include a great array of films, from hamlet, murder on the orient express, thor — a very varied group of films. did you always think that you might have a career in the movies when you were a young boy? by no means — no means. i come from a working class belfast family. my parents were not remotely connected with show biz. i didn't know anything — anything — about how

you could even get anywhere near what was going on behind that screen. whether it was...we went to the pictures a lot as a family. i'm 58, so i started going to the pictures in the ‘60s, to things like chitty chitty bang bang and the sound of music, and a million years bc and those kinds of movies, with the family. the beatles films, i remember, made a big impact. my film education, if you like, was seeing often black—and—white movies on a saturday morning, or saturday afternoon, so that's where i knew about laurel and hardy and charlie chaplin and buster keaton, and saw lots of classic hollywood movies. to be anywhere near them professionally, was like — you might as well have been talking about going to venus. it wasn't until i started doing some school plays and then somebody said you could be an actor and i'd. . .what! how? what? what do you do? and there are things called drama schools — i didn't know anything about this. and then i started the process.

what convinced you, though, that you could act? was there a moment when you were a schoolboy and you did a performance and you thought, "maybe i do have something here?" i never thought that. i don't know that i feel it now but i know it really, really makes me happy. so it was that thing of, you know when you sometimes — whatever it is, whether it is — running, dancing, i don't know, maths... audience chuckles. ..but when you find the thing — not for me, but for some people! audience laughs. but when you just are sort of simpatico with the thing itself, the activity and so when i... ..the idea of losing yourself in a character, or of researching a character, or of discovering the information behind a story, historical or fictional or whatever, that investigation, that kind of sherlock holmesary around the creation of something and then this thing, like now, the live event, the anything—could—happen kind of experience, and when what you planned, what you hoped for, what occurred in the moment between you and the atmosphere of that audience, sort of was at its most sort of beautiful

and found, it was electrifying to be part of. it does not happen every time but i knew when i felt it, or experienced it a little, that i wanted to pursue it a lot. you made your name, in many ways, by doing adaptations of shakespeare, henry v made a big impact at the time, and today you have a new film in which you play william shakespeare. it's called all is true. what actually happens in the film, how does it unfold? all is true is about the last three years in the life of william shakespeare. he retired to stratford after his theatre burnt down, the globe theatre burnt down during the first performance of his final play, henry viii, or alternative title all is true, and we take the approach that he sort of did in that and other plays, a shakespearean approach, if you like, he knew some facts about the life of henry viii, but otherwise he speculated wildly about what went on in the story

of that king's life. he did — he made stuff up. there are numerous facts, more facts than we sometimes think about the last three years in his life. he did retire to stratford. he went back to a family that he had left. he was still married to anne hathaway, who was eight years older than him. she's played in the film byjudi dench. and he has to come to terms with being an absentee husband and father. so why are you come home? no more stories left to write? susanna, i've lived so long in imaginary worlds, i think i've lost sight of what is real. it is reflective and it is meditative and it is ruminative, and it's about someone coming to the evening of their life, wondering, "well, what do i do and how do i process the time when i was away? what do my family think about me? what does this all mean and add up to?" it is a chance to look at how

what we think of as genius operates in the human realm. how do we discern what is actually true in the story, because there is a lot going on? it is called all is true but it is not all true, really, is it? well, it's fiction based largely on fact. everything you see has some actual factual solidity or the gap, the jump that we made was between... so, for instance, his only son died in 1596, he was ii—years—old, and we don't know what he died of, we don't know what the cause death was. but we do know that, at the time, plague ravaged stratford, as it did much of england, and fires ravaged stratford. and so the general impression was that he died of the plague. however, if you look at the parish records, back to fact, there were two child deaths in the summer of 1596 — very, very unusual — as opposed to the dozens and dozens

and dozens that died across many other months in those plague years. so, we raised the question mark of whether it was indeed plague that took him away, or whether there was anything else in the biography of the shakespeare family that could have meant it happened in some other way. so we speculate on that and this film tries to somehow tap into that kind of thing, with facts where we have them, and imaginative leaps where we can intuit them from the work of the man himself. you both act... applause. thank you, thank you, thank you. please, feel free to go see the film and disagree with me entirely. audience laughs. you both act and direct at the same time. how difficult is it to do that? does it take a particular skill to direct yourself? well, it's when the process becomes something that sort

of bleeds one into the other. it was not something... you asked earlier about sort of when you knew, and when it came to directing, i didn't ever never really knew nor could i legitimately, i thought, consider having a directing career. again, itjust seemed so far away, and so difficult to understand, but what i was driven by was the desire to tell stories and a love of the medium. and by the time i got to my first film, henry v, an amount of experience of watching other people. so what i used to do really from the first movie experience was just ask people all the time, always, always ask questions — why are you doing that? who's the person at the side? why are they doing that with...oh, that's the focus puller. and the marks and the tape is... generally starting to put

together why they did that, what was the dolly track. i kept asking questions and suddenly, before you know it, really, you are not deciding i'm going to be a director, but there's this story that had to be told and i did it this way and i guess i am in it as well but i am directing — there was no — itjust sort of happened that way, one bled into the other. with henry v, is there a specific sequence, something you directed which you feel particularly proud of? which you feel really worked well? the first read—through was sort of a magic moment where an actor who i revere — now gathered, gone to the great green room in the sky — paul scofield, read the first speech from the script and it was a kind of a magical, magical experience. thus comes the english with full power upon us, and more than carefully it us concerns to answer royally in our defences... i'm 27—years—old, schofield is a legend, and he walks... he's like a man, as if he's walked out of mount rushmore. he's carved.

the face is just magnificent. one of the greatest performances in movie history in the man for all seasons. i'm 27—years—old and found it very hard to speak in front of him because i was so in awe of him. and i knew i had to be of some use to him, and i knew he took it seriously — he took the gig, it was a big deal for him to take the gig — and we were rehearsing and we were talking about the character king charles vi of france, and he was struggling with the character. i thought, i don't know what to say and then i dared to say the following, as he asked me about what's he is feeling at his point? isaid, "well, i'm not sure, sir, but, if it is of any use, it is said that charles — who suffered at some point during his life from mental illness — at one point believed that he was made of glass." he said, "that's enough." and suddenly, this performance was transformed and that's all he needed. so for him, whatever that did, it did the thing. you saw it, in the chair, he suddenly moved, and this kind

of burden that the character felt, this remoteness that the character felt, this sadness, you suddenly started to see his body move and the performance was so beautiful from that point onwards and he was very, very grateful for this titbit which had suited him. and, princes, look you strongly arm to meet him. he is bred out of that bloody strain, that haunted us in our familiar paths. witness our too—much—memorable shame, when cressy battle fatally was struck. so, i was proud of that and i was proud of the battle sequence in the movie, which was much inspired by orson welles' chimes at midnight. but all's not done. yet keep the french the field! cheering. you have worked with a lot

of very illustrious actors, and i wondered what your views were on actors. i mean, you work with ian mckellen and judi dench in all is true, you have worked with kate winslet and emma thompson, and i came across an interesting quote, i hope it's from you, i looked it up online... well, it must be true then! audience laughs. it is about actors, and you say "actors are like kids — when they're good they're very, very good; when they're bad, they're very naughty." who did you have in mind when you were saying that? i think that was a confessional remark there, i think. i think there's... there's a certain kind of bravery required for acting, that some people find bogus, you know, because they assume actors just love getting up and showing off and having attention

and all the rest of it, because that's what they see actors lucky enough to work experiencing, perhaps. but i think the exposure, the emotional exposure that can come with it, means that people can be sort of raw and vulnerable, and i think that, and insecure and frightened sometimes, like everybody else in life can be — but because they're in heightened, extreme versions of that, and being asked to reveal that kind of thing in front of the camera or on stage, i think it can mean that with that capacity can sometimes go a kind of... a dangerous, sometimes dangerous as self—involvement, and other times incredible generosity. you are very accomplished as an actor, but do you suffer from angst over the work that you do? are you up all night learning your lines sometimes? i try to leave the work at the office, as it were,

and try and walk the dog, and have some air blow around the experience, but sometimes there's a sort of bleed... i did a show for hbo called conspiracy, where i played heydrich, who's one of the executors of the final solution, they had zyklon b — and i remember stanley tucci, who played eichmann, had this chilling line — as he talks about as though he were just at a planning meeting for some sort of marketing campaign, he says, "we found this quite useful place in upper silesia, it's called auschwitz," and he goes through the details, and he said, "i think we can get up to speed, i think we can do, we think 11,000 an hour..." he talks like that. that piece, which was reconstructed from accounts of the meeting itself, was so all pervasive that that was... ..that was the job where i was sort

of unmanned by the connection with the dark material. in that case, i so struggled to find, in the case of heydrich, if one was encountering a man without a soul. and in trying to get near that, i found it... ..it threw me, to be so close to, was removing my faith in, as it were, the essential goodness of human beings. that was horrible. completely different subject, one of the things i've noticed is that you make very different kinds of films. you make arthouse films like say, all is true or hamlet, and then you make the big commercial blockbusters, like thor, which made $450 million around the world, a film like cinderella did really well, as well. why not stick to just one kind of film?

i think from that same kid who was with the family in belfast, i felt there was a... my instinct was always that there need not be a distinction between what you might call high and low art. i come from a very class ridden country, and i don't care for art reinforcing those kinds of barriers. that's not to say that you dilute complex art to try and make it populist, nor that you try and make pretentious commercial work — but that you approach them all seriously, in as much as you would like to make a great, popular comedy the best it possibly it can be, or a so—called highfalutin shakespeare play or mozart opera the best that it can be in its different way. has your personal vision ever been compromised when you've made a big budget film? well...

audience laughs. you have got to be careful about the vision thing, you know? audience laughs. it isjust... if someone writes a cheque for 120 squillion dollars, and these big movies, they do cost a lot of money. i was in one of the harry potter films and i remember going onto the set and got given the crew list, which was an interesting document, to see how many names. they were something like 1500 names on the crew for harry potter, it was the biggest collection of folk i've ever been involved with in the movie business. that's a lot of money, that's a lot of people. in theory, that's probably 1500 smart people, 1500 creative people. in all their varying ways, large and small, there will be some kind of contribution. and you'll want to, if you're clever enough, you'll want to include that as you guide the thing, as you steer the ship.

sometimes those contributions can be clashing, and sometimes they can be noisy, and sometimes they can be not always expressed in ways that give you pleasure. so, ithink, you have to acknowledge that... all is true is very low—budget, very short schedule, but was full of people, like ian mckellen, likejudi dench and numerous other actors and technicians and artists who worked on it, and they all had something to say. on the big films, people in big positions have big things to say, and you've got to not get too worked up, you've got to listen and not think you're giving something up. you do have to park your ego at the door sometimes. and you find that way to bend with the wind, and if there's a better idea, you want to hear it. my experience is it's better to have the better idea than we've got to have my idea. you learn to try and be a bit smart like that. i mentioned at the beginning

of our conversation that you had earned five oscar nominations. will you not feel complete, as an actor and director, until you actually win an oscar trophy? he laughs. i think i have had so many blessings, so many blessings and prizes — and the big prize, it sounds like a cliched answer, but the big prize is an audience. it always is. i discovered a long time ago, you've got to mark your own scorecard. we're so lucky that we're in an industry, partly for commercial reasons, but partly for genuine reasons of artistic and creative appreciation, that we have this incredible focus on the work that we do. my brother used to say to me, he's a wonderful fellow who worked in all sorts of different areas of business, and he said people would ask him, "are you jealous of your brother?" he said, "no", but he said, "what i do sometimes think would be nice is that you're in a business

where you come on at the end of a play and people applaud you, and you have all these awards that fly around and everything, and there's all that attention, and a lot of other people in other areas of life don't have that attention." if we get the attention of an audience, that's the prize you want, that really the prize you want. and then, maybe, and it is true of a film like all is true — whatever, should you care to see it, you may think about it, and what the world may think about it, for me, the film is a very personal film. it was kind of a miracle to get it made, and it's a film of such creative importance to me, that i am so thrilled just to have made it, and to be... ..and the making of it and the re—engagement with shakespeare and the attempt to tell this story as we do, produced such profound creative satisfaction, that that is definitely prize enough.

well, look, we have to stop. thank you so much for the interview, you were very generous in your comments. thank you. thank you, audience. thank you, thank you. cheering and applause. do you want to be a writer, and speak to others and for others? speak first for yourself. search within. consider the contents of your own soul. your humanity. and if you are honest with yourself, then whatever you write, all is true. hello. after friday because matt's no drama, a much calmer and sunny day across much of the uk today.

plenty of blue sky but under clear skies, temperatures are dropping away skies, temperatures are dropping r skies, temperatures are dropping away very quickly right now. coldest overnight where there is snow on the ground. a few more wintry showers, rain, sleet and snow towards the north and north—west of scotland. those affecting north anglia will fade away. maybe the odd patch of fog, if few icy patches around as well, where you have had showers or snow has been melting. the main story is how cold it will be. a widespread, hard for us. snow on the ground in southern england, it could be —10 minus double figures in parts of northern scotland as well. we start with sunshine for many of us we start with sunshine for many of us for sunday but you can see weather france coming in from the west. as we go on through the day, that will bring cloud. rain preceded by some sleet and snow, mostly on hills, across northern ireland scotland, northern england and into north wales. south of that, cloud will increase. parts of east anglia and the south—east will hold on the lion's share of sunshine. scotland

brightens up with a few showers around into the afternoon. northern ireland, cloud returns laterfrom the south. temperatures a little less cold. in the south—west it could reach 10 degrees, as the wind turns to a south—westerly fist of a milder direction by going into monday morning, more wet weather pushing across the uk with the strengthening wind and the potential, the likelihood of more snow into the penance, the high ground north of the central belt, where here the highest ground could be up to 15 centimetres of new snow. prolonged snowfall coming here, lasting through much of monday. it gradually pulls away eastwards. elsewhere on monday, once you have got rid of any rain, it breaks up with some sunny spells around in temperatures for monday are a little bit higher. there is going to be a gap between weather systems for monday night. a ridge of high pressure pumping the isobars. clear skies, brust going into tuesday morning. the weather systems are

gathering in the atlantic. they will come in as the week goes on. so it will be unsettled in the week ahead. if you take one thing from this chart, look at the temperatures, turning much milder. this is bbc world news today. i'm lucy grey. our top stories. russia reacts to the us suspending a key nuclear treaty — by pulling out of the deal as well. translation: our american partners have announced they are suspending their participation in the deal, and we are also suspending our participation. thousands take to the streets in venezuela — as the self—proclaimed presidentjuan guaido calls for the biggest mass protest in the country's history. protesters want to keep up their momentum, to bring down the fall of a government they detest. tear gas and violence on the streets of paris — as the yellow vest protestors are out for a twelfth weekend.