who i suspect there are quite a few who won't. d0 i suspect there are quite a few who won't. ,, ~ i suspect there are quite a few who won't. m ~ t, _, t, won't. do you think that come what ma after won't. do you think that come what may after this _ won't. do you think that come what may after this week _ won't. do you think that come what may after this week that _ won't. do you think that come what may after this week that there - won't. do you think that come what may after this week that there willl may after this week that there will be a conservative government able to stay imposed, as it were up to the next general election? it’s stay imposed, as it were up to the next general election?— next general election? it's in the national interest _ next general election? it's in the national interest that _ next general election? it's in the national interest that we - next general election? it's in the national interest that we have i next general election? it's in the national interest that we have a l national interest that we have a government that is managing to keep control of things, that is get a grip. i hope that that would happen. i would remark that in opposing liz truss, and she needed to be removed, people have started to talk about liz truss and kwasi kwarteng as if they were the problem for the british economy and their many budget was what caused everything to go wrong. that many budget was a terrible mistake and it brought on a lot of things that might have come rather later on but the underlying problem is that we're living beyond our means. we're needing to borrow more that we want and we're going to have to cut spending. i would've

thought that whether it's boris johnson or rishi sunak keir starmer, whoever is prime minister of the next few years is just going to run straight into an economic storm and it's going to be very difficult indeed. , , ., it's going to be very difficult indeed. , , . , ., indeed. yes, plain sailing is not the phrase _ indeed. yes, plain sailing is not the phrase you _ indeed. yes, plain sailing is not the phrase you would _ indeed. yes, plain sailing is not the phrase you would be - indeed. yes, plain sailing is not. the phrase you would be picking. matthew, thank you very much indeed. thank you for being with us. time to get a look at the weather. hello lots going on blue skies and sunshine for much in scotland and bands of heavy, tandoori rain, all tied in with this area of low pressure, which continues to press its weight north and east rates of the evening and overnight. two areas of rain on the some of the first of the area of rain pushing its way northward through the day, starting to lose the thunder on this with what we've got more heavy, thundery showers pushing up from the south. those will continue to spiral around this area of low pressure as we head through the evening and overnight, working their way eastward across england and wales with up that band

of rain moves through scotland will we could see clara spells behind and also beyond showers for the cell. in order a breeze for claro lulac channel islands and gus potentially reaching 55 mph another mild night of attentive 13 cells is the overnight low. it's a smile for the week of head both by day and by night, frost free. spells of rain in the week ahead but also drier and sunnier slots. the week ahead but also drier and sunnierslots. some the week ahead but also drier and sunnier slots. some could escape with dry days you for that monday is a day of sunshine and showers for the early showers clearing away from eastern coast to leave some sunshine but further showers will be pushing in from the west on a fairly brisk breeze. a bit hit and miss out not everyone will see them. they will be some good smells of sunshine and in the sunshine it will feel mild if not warm with temperatures typically between 13 and 17 celsius with a little bit cooler for the northern isles. those showers could come together as we had through monday evening, particularly across western scotland put up a few more frequent showers running across northern

england as well. as we head into tuesdayit england as well. as we head into tuesday it is a slightly quieter speu tuesday it is a slightly quieter spell from eddie i had of barn asks atlantic system approaching for the southwest as we head to the second half of tuesday. for most we will start tuesday mainly dry with sunshine, once we lose the mist and fog, could be missed in northern scotland. the cloud was start to gather cross sell england and wales ahead of this band of rain moving in through the afternoon. cloudier skies across northern ireland with rain later in the day for that where we've got the sunshine particularly for the ease you are temperatures getting up to 19, and maybe even 20 c. the sort of temperatures we will be seen across east anglia and south east england week ahead stare mild but for all of us we will see further spells of rain. goodbye.

this is bbc world news. the headlines. the next british prime minster could be anointed as early as monday afternoon if no other candidate achieves the support of 100 mp5.

so far, only rishi sunak, former finance minister, appears to have hit that mark. rishi sunak officiallyjoins the race to be the next conservative leader and british prime minister, with senior cabinet ministers declaring support. former prime minister boris johnson is reported to have asked fellow leadership hopeful penny mordaunt to drop out of the race and to back his campaign. she is said to have refused. she is still in the running despite sitting a distant third in declared mp nominations. she told the bbc she believes in cabinet—led politics. president zelensky has condemned claims by russia's defence minister that kyiv was preparing to use a so—called dirty bomb in a false flag operation, and then try to blame it on moscow. now on bbc news, talking movie

celebrates 100 years of the bbc by talking to some of the biggest names in the british film industries. hello from london, i'm tom brook. the bbc is 100 years old, and as part of the bbc 100 celebrations, talking movies is going to look at the contribution the corporation has made to the british film industry over the decades, through five top directors who have picked up their skills here at the bbc. i went to meet these filmmakers who've shaped modern cinema. the multi—award—winning ken loach, whose credits include the landmark movie, kes. mike leigh, known for his legendary use of improvisation in films that have brought him seven 0scar nominations. james marsh, who won an academy award for his celebrated documentary man on wire. mary harron, who made the modern american classic american psycho starring christian bale, and sally el hosaini, a rising star in british cinema, having just launched herfilm, the swimmers, a story of two syrian refugee sisters,

to considerable acclaim at the toronto and london film festivals. the bbc may have been around for 100 years, but almost 50 years ago, i came to portland place to a bbc appointments board, and i got an apprenticeship as a bbc news trainee. since then, over the years, i have witnessed numerous men and women, talented people at the bbc, who've moved on to greatness in the film industry. the bbc helped to train the man who is, without any doubt, an elder statesman of british cinema — 86—year—old ken loach. with more than 50 directing credits to his name, he has made such classics as kes, the wind that shakes the barley and i, daniel blake.

and he has won the top prize, the palme d'0r, at the cannes film festival twice. radio: this is the british| broadcasting corporation. i met ken loach in the bbc�*s council chamber in the heart of old broadcasting house in london. how did you come to actually work for the bbc? i was working... i had left university and became briefly an actor — not a good one. he chuckles. directed in the theatre, and then applied to the bbc as an assistant floor manager and got turned down. i applied as a director and got taken on, and did a course for six weeks, which was mainly about what forms you had to fill in to get the services you needed. we had half a day in total of what to do with your cameras, and that was the extent of the training. z cars theme music. and he got his first real taste of directing with z cars. nobody gives a damn for the law! the much—loved police drama series

that went on the air in 1962. i was doing z cars, a very popular series. didn't know what the hell i was doing, but i learned on thejob. i've made it clear all along, i won't tolerate violence. the bbc was, where i learned what i know of the craft, i learned everything. it was with the bbc�*s pioneering wednesday play tv drama series in the 19605 that ken loach really came into his own, with productions like up thejunction, in 1965, which told of a woman getting an illegal abortion. yeah, well, you see, i can't keep it. now, there's no need to explain, . how can you ever explain anything? it's the most bloody- difficult thing in the world. how much money have you got, love? - the wednesday plays often dealt with controversial or pressing social issues. don't you go up there no more. i don't want no kid of mine going down the drain. and they represented a completely new approach to tv drama. away from the studio to shooting on film,

cinema verite style. pop music. we cut stuff to music, we could makejump—cuts. the film that's helped us to receive some presence in the business after up thejunction was cathy come home. you don't care, you only pretend to care! a 16mm film about a young family that becomes homeless, and then the mother has her children taken away because she has nowhere to go. you are not having my kids! screaming. and it kind of raised a storm — questions in parliament and so on. i'm afraid our sympathies will be very much with ourselves. j smashing glass. isuppose, overall, our overall project from film to film was to give a presence and allow the voice of the working class to be heard. as a fervent socialist, ken loach has mixed feelings when it comes to the bbc

on its centenary. he sees it as the voice of the state, but this diehard left—winger cherishes what he learned in his more than 15 years at the corporation. and as someone who listens and watches the output — and complains about alleged bias — he remains a lifelong fan. the bbc has helped to define who we are, it's helped to define our identity. i feel very precious about it. i grew up with it. when we began, we said, "this is the national theatre for people, it's the national theatre of the air." another great british filmmaker, mike leigh, is known for bringing realism to the big screen through his unique improvisational approach to creating his screenplays. he has made some 1a feature films, including such titles as mr turner, secrets and lies, and vera drake. the bbc means a lot to him. it is, after all, the institution

where he created some really impressive television films and plays in the 19705. for 50 years in his films, mike leigh, a seven—time 0scar nominee, has brought audiences stories of often ordinary lives, authentically told. growing up, how aware were you of the bbc in your home? 0h, totally! i mean, at first, most people didn't have a telly. going to a primary school in salford, every so often a kid would come in and say, "hey, we've got a telly!" so that was a big deal. of course, we know there was only the bbc, it was the only channel. initially, mike leigh faced rejection from the bbc. having worked in theatre, he was turned down twice for the bbc�*s trainee director course, but he ended up being invited by the corporation in 1973 to direct a production for its highly respected play for today strand. you see, father,

it's my husband. your husband? what about your husband? well? i don't love him. i made this first play for today of the whole series called hard labour, which starred liz smith as a cleaning lady in manchester. we filmed it up north, really in the area where i grew up in north salford. and in fact, i spent the next 12 years making various play for today films. 0h, shut up, lawrence! don't tell me to shut up! angela, coat! no, it's all right. i really think- i ought to be going. that 12 years of making films at the bbc was massively important. apart from the fact that one was able to do what i'm committed to do — was and still am — which is to make films about real people and real people's lives. when mike leigh was directing plays for today, he believes

it was a time with more openness for challenging drama. there are times i kind of feel a sense of, "oh, i'm not doing anything,". absolutely, but you objectively know that that's nonsense. yes, yes. he doesn't find the bbc so welcoming nowadays. there's now such a preoccupation with ratings and with... . . respectability and political correctness. and there is a certain kind of lack of adventurousness. it's difficult not to talk about this without sounding like a disgruntled or disappointed whinger, but that's because i'm a disgruntled and disappointed whinger. mike leigh's feature films are created by a unique process. improvise as though that person were really existing spontaneously. he doesn't start with a script. through exploration with his actors, and extensive rehearsal, a story emerges organically. what i think spoils it is her stating what's going to happen.

he really got to develop that approach at the bbc. well, by the time i'd worked at the bbc, i'd done quite a lot of work developing the way that i work. and the great thing about working at the bbc is i could carry on developing that with greater resources, and obviously with a much wider reach — reaching a much wider audience. so, yeah, i was able to do it and do so with great freedom and encouragement. i first met directorjames marsh when he was a young man, passing through the bbc new york office in the 1990s, when he was working on a number of stellar documentaries. he has since moved on to movie greatness and is now considered a world—class filmmaker. he won an oscar trophy for man on wire, a documentary on tightrope walker, philippe petit. 59—year—old 0scar winning filmmaker james marsh cut his teeth working

on numerous bbc productions, principally in the early 19905 on arena, the path—breaking bbc arts documentary series. he recalls being influenced by the bbc from an early age when his family bought its first television. i think the main impact on my career was watching play for today. such a tiny little picture, and tiny little people all boxed up together. and encountering alan clarke's work, for example. and cinema in britain at that time wasn't a particularly flourishing medium. this is the late �*70s, early �*80s, i guess, and beyond. and you could watch alan clarke's work and it was truly cinematic. i mean, obviously, scum was a very controversial project, but there are other films like christine, contact, penda's fen, the firm. these were great pieces of dramatic cinema that happened to be on your television. and how much did that experience

of watching that kind of bbc programming make you think that perhaps one day you might like to work for the corporation, or did that not enter your mind? i think, to answer the question honestly, it wasn't the bbc. i don't think many people grow up saying, "i want to—" maybe you did, tom, but i didn't. it was more the idea, "could you do this?" "could you make these things yourself?" james marsh came to the bbc as a researcher. he worked first on the nightly tv arts magazine the late show in 1988, before moving to arena where he found his bosses — his mentors — were open to all kinds of ideas. they had these nights where they would have the whole where they would have the whole night, and they would have a series of films and interesting of bits in between the films. and so, i said, "i'd like to make a film in latin." speaks latin. replies in latin. about the medieval history of animal trials. the animals were put on trial in some parts of medieval europe when they

committed a crime. so if a pig savaged a baby, the pig would be arrested, put in jail and formally tried, with defence attorneys and prosecution. so, at the time, there was enormous amounts of freedom to experiment, because no—one was really watching in terms of the hierarchies of the bbc. james marsh made several acclaimed documentaries during his time with arena, many of which were shot in the united states. he recalls how working for the corporation gave him a lot of access. the other thing about the bbc which was very helpful, was that it had a great soft brand, particularly in america, elsewhere, too, i'm sure, but america is where i often worked. and it's where everybody would respond to "i'm from the bbc", for better orfor worse, and you would get people to talk to you when they wouldn't talk to anyone else. so, that opened doors for you and showed you you were working for a global organisation that had enormous respect in the world. but james marsh credits the bbc,

or at least his days at arena, with some of his major career triumphs. he won an oscar in 2009 for his documentary man on wire, on the french high—wire artist philippe petit and his daring tightrope walk between the twin towers of the world trade center. without the bbc, i would not have become a film—maker, that's for sure. i would not have made man on wire, which i guess is the film i'm best known for. it is full of arena—like ideas. its structure is very inventive, it's full of dramatisations that are kind of comic. without my work on arena, i would never have made that film the way it turned out. there should be an oxcar forarena, really! there should be an oscar forarena, really! mary harron is one of america's most gifted independent filmmakers. she is probably best known for directing american psycho, definitely a film that showed off her prodigious skills as a filmmaker. but it was also a picture which ignited many passions. ijust fell in love with new york

and got an apartment in st marks place for $200 a month. wow, what year was that? 1975. i went to visit mary harron at her home in northern manhattan. there's a little bit more if you want. 0k, yeah. i had come to see her to discuss her work at the bbc as a presenter and director on the late show 30 years ago. good evening. on that programme, she picked up directing skills that have led to a very successful filmmaking career. she is probably best known for american psycho. i simply am not there. a controversial and violent film... i have to kill a lot of people! ..that became a cultural landmark the world over. new card, what do you think? a satire on capitalist greed and masculinity released in 2000 starring christian bale. this confession has meant nothing. her time at the late show at the bbc was instrumental in preparing her for being a film director. it was my film school. i really learned everything

at the late show. tonight, we will be dissecting the extraordinary image which won this year's world press photography award. you were allowed to make a short film in any style you liked, there was no house style. there are no rules, go for it. this would be unthinkable in american television where it was all about a brand. but no, it wasn't, it was like, go and work something out. so i started doing things that became more and more experimental. she crafted late show documentaries as if they were full—blown features. walking down the hall, you feel like you are on a doomed ship. and it's sinking fast. there seemed to be a lot more production resources back then. but what she really cherished though was the eclectic editorial remit of the late show. you were allowed to take things seriously. i went and worked in american tv for a bit. there was much more consciousness of the need to entertain or, you know, what you have to do to keep an audience happy. so, there was, in a way,

you could go off and do something quite obscure which was great. the late show would have a whole discussion about some form of post—modernism, or noam chomsky, and then you would have some wacky gameshow. and they were doing everything, and that was their strength. i'm very fond of the stuff i did for the late show. the bbc still touches harron's life. in new york, she often listens to bbc world service radio. on its centenary, she worries a little about the future of an organisation which, as a director in the making, gave her so much. goodnight. i would hope that the bbc could continue to be funded by the licence. you can't have everything bashed around in the marketplace. experimentation and sort of incubating new ideas and new ways of making films has to have some kind of space to grow. otherwise, everyone just has to starve and try and do it on their own.

but how great if you can have an institution that supports you? sally el hosaini epitomises the new face of filmmaking in britain. her latest feature, the refugee drama the swimmers, won the prestigious opening—night slot at the toronto international film festival. and her first feature, my brother the devil, won a trove of awards. for her, the bbc has always been a very important institution, and it touched her life from a very early age. as a filmmaker, sally el hosaini is enjoying considerable success. at the toronto and zurich film festivals, her new feature film the swimmers, an inspirational portrait of real—life syrian refugee sisters, was the high—profile opening night attraction. but it was programming created in this building, bush house in london, that once housed the bbc world service radio, that really nurtured sally el hosaini when she was

growing up in egypt. i feel incredibly nostalgic and sentimental about the bbc, because what it does is amazing, really. as a child growing up in cairo, the bbc is the soundtrack to my childhood. we had this old radio that my dad bought as a student at liverpool university and brought back to egypt, and it took a while to heat up, once you turned it on, but then it would stay on most of the day. radio: the bbc world service... crosstalk. and so i remember being connected to music, news, culture, political discussion — all through the radio. and this is an era where it was pre—internet, so that was my source of staying connected with the uk and western values while living in egypt. sally el hosaini ended up working on bbc programmes as a researcher, script editor and script consultant 20 years ago. she feels she picked up skills

at the bbc which she put to good use in her first feature film, the 2012 picture my brother the devil. a lot of stories i am attracted to have those real roots, even the swimmers, which i havejust made, is based on a true story of the mardini sisters, who were syrian refugees who ended up at the rio olympics. so, in a lot of ways, the bbc was the place that i. ..learnt those skills, those skills in terms of striving for authenticity, integrity. although in her feature films, sally el hosaini has told stories of characters of arab ancestry, she's also proud of her welsh heritage, and she is pleased the bbc broadcasts in the welsh language. speaks welsh. it's wonderful that the bbc are so committed to continuing their output in welsh. it's so important that they represent the whole uk,

and that's a very sensitive topic in wales, you know, maintaining the language is through output, it's on the bbc. so, that's something admirable. speaks welsh. it's so important in terms of our culture and heritage and maintaining the diversity of what it means to be british. in some ways, the bbc has been around for 100 years, it's an institution like the nhs. it's something i think british people should be proud of, a huge export around the world. the way that it faces the world, the way the world can approach the uk through the bbc. so, ijust hope it holds onto its identity for the next 100 years, and it keeps going, and that it can continue to be publicly funded and not privatised, so that it can retain its core values, which...are very important.

well, that brings this special bbc 100 edition of talking movies to a close. we hope you have enjoyed the programme. please remember you can always reach us online, and you can find us on twitter. so from me, tom brook, and the rest of the talking movies production team here in london, it's goodbye, as we leave you with this musical tribute to the bbc from the pop duo sparks. # now that i own the bbc # what am i supposed to do with this thing? # now that i own the bbc # what am i supposed to make of this thing? # all this power, all this glory # all these djs and all these lorries # what was i thinking? # what could i have been thinking? # hey, rupert murdoch, help me out # i'm flying blind, i'm flying blind # you know the way

to lay things out # for the refined and unrefined # now that i own the bbc...# hello. we've got two areas to look out for overnight. the first is the main band of rain we've had working northwards today. much of the thundery element now diminishing from this as it pushes into scotland and starts to clear. but some heavy and starts to clear. but some heavy and thundery showers pushing up from the south, and they will continue to work their way north and eastward through england and wales through this evening and overnight. that band of rain weakening, could see if you clear spells and the gusty winds. 55 mph, but another mild night. 10—13 celsius. seeing some

showers pushing in from the west, somewhat hit and miss. not everyone will see them and some will stay dry with the best of the sunshine, feeling mild if not warm in the sunshine. 15—18 c. it stays mild both by day and by night.

this is bbc news with the latest headlines for viewers in the uk and around the world. the uk this week gets a new prime minister — the formerfinance minister rishi sunakjoins penny mordaunt in officially declaring he will run. he's leads the pack with the most mps backing him publicly. the question now — does former prime minister borisjohnson have enough supporters to stand? the people who are doing the numbers for boris is campaign tell me that they have the numbers. so the hundred that is necessary. so the hundred that is necessary. xijinping has become the most powerful leader in china in decades, after being given a third term as leader of the communist party. we're on the front line in ukraine as president zelensky�*s troops continue to take back territory from russia.