we will have the headlines and all the main story is for you at the top of the hour, straight after this programme. right now, it'sio:1i5. traffic and weather together every ten minutes on the fives. another very hot day across southern california as offshore winds continue to pump in more of the hot, dry conditions.

# everybody comes to hollywood. los angeles, widely regarded as the movie capital of the world, millions of dreamers have flocked here over the decades searching for hollywood. people can go to hollywood boulevard, to the walk of fame or go on a studio tour. but many leave town disappointed that they haven't found a focal point in hollywood. this imposing new complex on the corner of wilshire boulevard and fairfax avenue may change all that when it opens its doors next week. hello from los angeles, i'm tom brooke, and welcome to our preview of the long awaited academy museum, billed as the largest institution in the us, devoted to exploring the art and science of movies and movie making. the museum's sight consists of a converted old department store from 1939, connected to an adventurous, brand—new

futuristic structure, which has been designed to provide america's film capital with something it's never had before — a cathedral for movies. we hope that the academy museum becomes the centre—place for people coming to los angeles looking for a sense of movie magic, looking to learn about cinema, looking to get connected to the academy. right now, the academy is mainly the oscars, which people see once a year globally. this is a home for the work of the academy and for the history of cinema. and we hope that tourists turn to us for that. it's baffling that los angeles has not had a movie museum of this scale in all of this time. in fact, the founders of the academy talked about a museum in 1929. so we've been waiting for this. and now that it's come atjust the right moment, it will be, as one of our governors said, "a beacon for our industry." and i think for the city of los angeles, it will be

an incredible destination because it's really a beautiful public space as well. and then for movie lovers around the world, i mean, there's nothing like it. the museum is big — 50,000 square feet of exhibition space, along with two plush auditoriums, an educational studio, a restaurant and much more. it's a museum celebrating cinema at its history. right now, at a time in the world where the entertainment industry is in a sort of sea change, where the landscape is changing, a place where you can focus on what's the historical beginnings of all of that — film, relatively young medium, you know — right through to now, i think never more necessary. it's an endeavor that film professionals see as having a major impact on redefining the academy, the umbrella organization that oversees the oscars, the museum and other entities.

i love that people will begin to think about the academy for more than just the oscars. a lot of people think that's all they do, but they have a really important role to play in terms of the preservation of film culture as well. and they're in a city that is one of the great capitals of film culture. and what what i hope they will do, and i've seen it in some of the programming already, is that they'll go well beyond the current hollywood hits and the oscar winners and that sort of thing, and really dig deeper into international cinema, into independent cinema. and i think it'll give people an opportunity to literally walk through a wider range of film culture. when the museum, which has been in the works since 2011, welcomes in the public next week, after many delays, the opening night film will be a real hollywood classic — the wizard of oz, released in 1939. it's the widely—loved story known the world over of a young girl called dorothy, played byjudy garland in the magical land of oz. # somewhere over the rainbow...

the wizard of oz is a film many people love. notjust love, it's a film that people feel a personal connection to. so many of us watched it growing up on television at home with our families. it was an annual event in my family. so it's a film that people really have a kind of emotional connection to. and that's one reason why we wanted to premiere our museum with that film. i'm melting! there's a gallery devoted to the wizard of oz that walks you through all of the arts, crafts, sciences, professionals that worked on that film. it's a great way to deconstruct how a movie is made through the lens of one film. of course, we own the ruby slippers — or one pair of the ruby slippers — that's sitting in the center of the room. so it's an iconic movie. it stands the test of time. and one part of our campus,

the former may company department store, opened in 1939, which is the year that the wizard of oz was released. the museum is also paying tribute to top film—maker spike lee, who brought world cinema such classics as do the right thing. it will be a special inaugural installation. then there is an exhibit devoted to the japanese animation master, hayao miyazaki, as well as a section highlighting the work of celebrated spanish film—maker pedro almodovar. there's all kinds of memorabilia on display, including this sled rosebud from the classic citizen kane and bruce the shark from the moviejaws. it's also a museum exploring the science of filmmaking. throughout our galleries, especially in stories of cinema, you will learn about visual effects, cinematography.

you will learn about the core science and technology components of how movies are made. so it's really powerful to look at these physical pieces of equipment and to learn about the artists and the scientists who created both the science behind it and the physical apparatus to bring special effects and the science of moviemaking to the public. the academy museum was originally intended to be a largely uncritical celebration of the movie industry. then during its development came social upheaval, the me too movement, black lives matter and more recently, the pandemic. as a result, the remit of the academy museum has changed. the title for an early plan for the core exhibition at the museum was where dreams are made: ajourney inside the movies. now there's an agenda connected with more sobering realities. built on racist behaviour,

oppressive behaviour, sexist behaviour, homophobic behaviour. we don't want to erase our past. we want to create a safe space for discovery and discussion around these topics. so you will see, for instance, in the animation gallery, in addition to learning about the history of animation from the silent film era through stop—motion animation, digitalanimation, hand—drawn, you'll also learn about racist and sexist tropes that one finds in animated films, historically. there's a way to blend those conversations. nothing should feel marginalized. and so we were, when the me too movement happened, when george floyd was murdered last year, we were already working diligently to tell the more complex and, frankly, less proud moments of our history, our cinematic history. we also have a gallery, i should mention, in stories of cinema, our exhibition devoted to social impact in movie—making.

the gallery's entitled impact reflection. and we're opening with that gallery devoted to four movements — black lives matter, labour relations, climate change and me too. and in that space, that's dedicated to discussing how documentary and narrative films deal with those social impact areas. we talk about these issues all the time as a team. they infuse all the ways that we're thinking about partnering with organizations around los angeles and around the country. they're shaping the ways that we're thinking about our pedagogical approach to use media as a way that can level the playing field, that can really empower communities that have been marginalized to tell their own stories. so it's a way for us to think about the ongoing relevance of movies, to recognize that movies have always had political and cultural impact, sometimes in ways that had not been acknowledged by the film industry, sometimes really damaging

ways like castigating wholesale groups of people. we're acknowledging those histories and we're using this museum as a platform to think collectively about how can we change those practices going forward. some people might take the view, though, that you're advancing a progressive, activist agenda by way of what you're saying, and the role of the museum is really to reflect the status quo. well, i don't know that the museum world can in any longer take that point of view. i think that neutrality is a position. and what we're trying to do here is to recognise that you're always taking a position. and if we can use the museum as a platform for addressing social inequities of the past, we recognise those things as a collective. and we hope that people will see this as a space to have these conversations, to raise exactly the kind of question that you just raised. all of those questions are welcome here. the museum is very much a hollywood institution

in terms of its geographical location and its celebration of cinema, but that's only partially true. that's a big effort for it to be a global centre with the visitors it attracts and the cinema it showcases. somebody who might be watching you, say, in mumbai, which has its own bounteous film industry, might be thinking, well, this man isjust talking about a hollywood—centric institution. is that the case? not the case at all. we're an international film museum. one of our galleries is devoted to pedro almodovar, one to bruce lee, one to chivo lubezki. fellini is featured in our oscars gallery. when you're going to spike lee's gallery, you will learn about his influences. rossellini, de sica, melvin van peebles. so you'll see independent us movie—making, hollywood, us movie—making and international movie—making throughout our galleries.

we think of this as a global museum. i think this is another void in film history that we're going to be filling, which is to think not just about hollywood's centrality in world cinema, but really to take the concept of world cinema seriously. so our major exhibition on hayao miyazaki is the most extensive of its kind in north america _ and we're really going to think about the ways that he has developed work that is grounded injapanese culture, but global in its reach and its appeal. our collaboration with pedro almodovar is another example of looking at and working with an artist who speaks in cinematic language. so there are so many ways that people who are not familiar with the work of these filmmakers, not familiar with the work of other international filmmakers that are featured across our galleries, will make connections across these traditions. given that this is the academy museum, it follows that attention would be paid to the academy's most

important event, the annual oscar ceremony. a special section of this building has been devoted to looking at the history of the oscars, the good moments and the bad. emma jones reports. it's the world's most famous red carpet, most famous awards ceremony and still the only reward for films that the public really prize. the oscars still have the power to thrill. and this exhibition goes right back to the first ceremony in 1929 when a world war i silent movie called wings, starring clara bow, took the very first best picture award. there are plenty of oscar highs to celebrate, including in 2020, when parasite became the first non—english language film to win best picture, but also shameful lows to acknowledge, notably hattie mcdaniel�*s treatment when she became the first african—american to win an oscar, when she triumphed with gone with the wind

in1940. she was not allowed to sit with the rest of the cast, she sat in the back of the room. this was a moment where she was going to be celebrated, or was celebrated, but was not treated in an equitable way. we are the premiere organization devoted to celebrating excellence in the arts and sciences of movie—making, but we've not always gotten it right. and i think the world knows that. # terrible time in america. # you forget i'm in america. rita moreno's best supporting actress win in 1962 for her role as anita in west side story made her the first hispanic woman to receive an oscar, although few others have come after her. her oscar victory is marked in this exhibition too. at some point, you got to decide for yourself. moonlight�*s historic

win in 2017 is also shown as the first film with an all—black cast and first film with an lgbt protagonist to win best picture, even if at first la la land was announced as the winner. well, here's my first question. do you think it's a little dangerous handing out guns in a bank? then there's the controversial moments. michael moore never finished his speech after criticizing former presidents bush over the us—led invasion of iraq when he won best documentary for bowling for columbine in 2003. he eventually did finish his speech at the critic's choice documentary awards in 2018. "..to pick up a camera and fight the power, make your voice heard and stop this senseless war. thank you and goodnight." and that was the end of the speech. marlon brando sent a native american actress to decline his best actor award in 1973 for the godfather in order to protest the treatment of native americans in hollywood.

we want to show that the oscars' history is connected to social and political history, that it does not exist outside of the realms of real life. so that's not all that we have in that gallery, but those strike us as significant moments to remind ourselves that an awards show is not just about the awards, but the society in which they are awarded. what do you think of the oscars, looking back on both the good and the bad things that they've done? i think, you know, if they made this this museum five years - ago, it would have been a very different thing. . celebratory about the oscars. and this is a late period, bit of hand—wringing - and mea culpa hand—up from hollywood, ithink is very welcome. but they have to be very -

careful that they don't consign the oscars to a bit of history, putting it in a museum. - it sort of says, "well, - this is what we used to do," and that concerns me. it's still a living, _ breathing organism that can look forward and change. and putting it in a museum| and saying, "we made a lot of mistakes," does consign it to the bin _ nearly 25 years after titanic won 11 oscars, one of only three movies in oscar history to do so, the academy awards' biggest challenge seems to be their relevance. few modern movies rival titanic or lord of the rings: return of the king in being huge crowd pleasers as well as oscar winners. tv viewing figures of the ceremony in 2021 were at a record low atjust under ten million in the usa. but audiences are watching on social media. this viral photo from 2014 got two million likes and two million retweets. i don't think there's less of an impact of the oscars on our culture. there's more social media around the oscar weekend than all that goes into that

than any other spectacle. so the cultural impact of the oscars, i think, remains incredibly high. but by far, the biggest draw of the exhibition will probably be the ability to hold a golden statuette and have video footage to keep. don't forget to thank everyone. the academy museum is opening up at a very challenging time for the american film industry. box office takings are down significantly because of covid—19, and there is the sense that movies are perhaps less central to our lives than they have been in the past. some academy members see the museum as a trailblazer, rallying to support the film industry, especially cinema—going, which is in a very fragile state as a result of covid. you might say it's a fight for the life of the medium. and so you need trailblazers and people who have all

of the resources and glories of that medium at their disposal in order to either refresh people's minds, imaginations and hearts and souls about what's possible, orjust to sort of explain what the differences are. but i think we need it. i think we most certainly need it and we need to be reminded. that the museum is opening with a very challenging time for the film industry is without question. next week, it will open its doors and charge the public $25 for admission. the final cost of completing the museum is almost $500 million. it's gone over budget. will it fly? will it become a success? anything that opens the doors in the middle of a pandemic has has huge challenges. and the pandemic is one of the reasons and the changing of the modes in the way that we consume film is a whole new generation that really doesn't worship movie theaters the way that my generation did, that views films on their ipads or their iphones.

there's no question that there's going to be a big audience for this museum. but will that same audience be there a generation from now? people are really questioning the two—hour format of a movie because they're getting used to seeing long—form television, which, in many ways, is more vital at this moment in time. what people are talking about are shows like the crown or succession or pax or you name it, there's more conversation. i think it's at the centre of the culture now, not the individualfilm. you know, i think with any project of this size and scale, there are going to be unanticipated challenges, which frankly present themselves as opportunities. and this project

started in 2011. it was an idea, a continuation of other iterations of the academy museum. and i think ten years is not a long time to take an idea, find it a home, raise the money to build it, design and construct the campus, curate over 50,000 square feet of exhibition space, program our theaters. we have months of programming lined up. so we're really proud that we were able to do that in the midst of a global pandemic, in the midst of shifting movie—going appetites and ways of watching movies. i think a museum like the academy museum can adapt to those changes and constantly remind people why movies and the stories of cinema are so important to all of us. this is something we all engage in. we see ourselves reflected in movies. we learn about other cultures and ourselves.

# everybody�*s a dreamer. # and everybody�*s a star. well, that brings our preview of the academy museum to a close. we hope you've enjoyed the show. please remember, you can always online. at bbc.com/talking movies. and you can find us on facebook and twitter. so from me, tom brook and the rest of the team here in los angeles, it's goodbye as we wish the new academy museum all the best with a movie—loving public.

hello. last week we had the equinox, the astronomical start to autumn. this week, the weather is catching up. last week and through the weekend we saw above average temperatures. but this week, back to average figures and it's going to be looking a lot more unsettled. through the weekend we sat in a southerly air stream, warm air being pulled up from the continent literally overnight though into monday, we flip round to an atlantic air stream and a westerly or north—westerly breeze and a very different feel and look to proceedings. monday will start wet across the eastern side of the uk. the rain pulling away into the north sea by around midday leaves many long spells of sunshine to get through the afternoon, but the westerly breeze will add to that cooler feel. sunday we saw temperatures in the low 20s across northern scotland and we are lucky to get the low teens in some

areas on monday afternoon. the westerly breeze continues to feed showers into western exposures overnight monday, on into the early hours of tuesday. some of them getting driven quite a way eastwards, particularly across central scotland. a cooler night as well, nothing especially chilly temperatures typically in single figures. and then for tuesday, low—pressure to the north of the uk swinging through bands rain and showers. a blustery day, i think the heaviest of the rain not getting into eastern england until perhaps after dark but some pretty wet weather to contend with across the south—west, wales and northern england. northern ireland and western scotland, a mixture of sunshine showers. temperatures, mid teens typically across the uk. so nothing like the figures we have seen in recent days. more wet weather to come across the eastern side of the uk into tuesday night and then by wednesday, things just slow down briefly and it looks like we will see

a little ridge of high pressure. some showers still getting in on the north—westerly breeze to the likes of western scotland. but actually, quite a lot of sunshine around on wednesday. but despite that, the coolest day i think of the week ahead, highs ofjust14 or 15 degrees. then for the end of the week, the ridge gives up the ghost and the low pressure is back running the show. plentiful showers and strong, blustery winds.

in germany the centre—left are slightly ahead. as concerns continue of the country's fuel supplies the government considers asking the army to step in. the church collapses after being engulfed in a river of lava. the volcanic eruption goes on. and a huge win for the united states in golf�*s ryder cup as they regain sport's ultimate team prize.