class lower middle class and indeed upper middle class people. and even the occasional post in my move is because i'm not really only concerned in a narrow way to tell stories about so called working class. i want to explore those issues of class. chiefly, actually, in a moment, i don't know if you've seen squid game really popular on netflix, the director one going here saying he should have negotiated a royalty deal with netflix rather than a deal which doesn't have royalties given they made 3 quarters of a 1000000000. i think people around the world knowing the amount of awards, you have one for your work, let alone your actors are going to be shocked that you ever have struggle to finance your films as i got easier now or is it more? no, actually it's got i actually got out of a moment. i'm having a real battle trying to find any packing at all. and so those people around

the world who might have been shocked to hear what happened in the past will be double shocked. there was probably in the present. is it, is it not so much a lack of her so much about film funders, thinking they want their return or investment or a lack of comprehension of your work? well, i don't think it's a lack of comprehension of the work. actually, what it took to some considerable extent is, is that as you may know, i don't work conventionally. i don't to present a script because there isn't one. and i don't say what the film is going to be about because we embark on a journey on maturity of making the film to discover what the film is. and with the exception of my 3 historical topsy turvy, mr. turner and peter lou, where i was able to say it's about this, but that's all i did is simply make that one line state. and all of my films have been made on the basis of backers saying, well, we don't know what it's about,

what we trust you and go off and make a thrill. what i do with my, all my collaborators, both sides of the camera, is to do what painters and novelists and poets, and sculptors and musicians do, which is to create work and allow it to emerge from the investigation. that is the execution of the work. and so it's not so much to answer your question. it's not so much lack of compression about what my films are, because whatever else they are, they're not easy turret or obscure. it's more that people are cautious about putting money into things. they don't know what they're going to get and also not having some control over it, not interfering with it. not to him having their fingers all over it. peter big live, now that the most successful netflix film of all time or series of all time is centered on the issue of capitalism and class means it's

a good time. for filmmakers who look at contradictions and a class, a class, you're talking to the wrong person. you should be talking to netflix, not to me. they've turned me down as much as i do. famously, you tell the story of how some fund is, ask you to abandon your whole model of a theatrical company style of recruitment with into, into your films and try and get celebrities. or you might want to remind us about the idea of the, the absurdity of it and what you think. because some people might say, orson wells couldn't get, he spent his entire life abandoning projects that he wants to get on. we had all of a stone on here talking about how he had to abandon the my lai massacre film, which arguably would have been so important to a project. so, i mean, isn't this the tale of woe, by all great directors? well, it's certainly the tale of woe for many of us. i mean, i know you've had my friend and com. right,

and colleague ken loach on your program. now kenneth smart, he makes very low budget. phil and her does exactly what he wants. i tend to because it takes me time in a way they production values of more complex than perhaps his kind of films which are wonderful. and it becomes more difficult. but you know, you're right. it is the problem with movies. is there not paintings? and then or novels, they are complicated things, cost money involve a lot of stuff, you know. i mean the going to do you use room at the top. i know is mentioned in the my glee or my grade book, but then you say your use your knowledge or what it is to be young. and which one from society mentioning salinger's books and, and james deem films very important, be american idea alienated youth the somewhere in the background of your

films? no, certainly, i mean, you know, i was, i suppose, pretty much the age of it's hero. when catcher in the rye was published more or less maybe slightly on a year or 2 younger. but look, here's the thing we who were born in the war and i was born in 1943. what teenagers and the interest is that terribly repressive. squeaky clean world, which only later did we understand was the way it was because our folks had been to helen back in world war 2. and then of course we all literally let our hair down at $900.00. 6. not world was a world where we were aware of american culture, of course, apart from anything else, i watched movies, absolutely as much as anyone would like,

as much as you could afford throughout my childhood and teenage years. but i never saw in the whole of that time and i saw the film all the time. i never saw a film that wasn't in english. everything i saw was either hollywood movie or a british. and so for made the massive explosion apart from other cultural things in terms of movies was when i, when i came to london in 1960, to study acting. and, and of course i discovered well cinema. and it was a, it was a massive, massive explosion course. yeah, i mean there, but again and felina, he comes up with your name in many descriptions of things. i mean, the, i watch high hopes the the other day. and they looked like a film a going to be made yesterday. we've had was obviously since world war 2 that have arranged all around the world,

inequality is higher than when you made some of your films are back in the late eighties. i mean, also we now have, am the word socialism used by us politicians. and before scarce darma came in, we had a socialist leader, a labor body. do you find that her? your work is now. this is the time for all the stuff you who are doing before is even more. and i think you have to unpack coin to sack. well, a lot of a lot of those foreign films, famously, i presume you're referring to the new well vog her feel. now you want to be able to see and you know, many associated with the communist party, obviously with john and got her. you, you followed and are associated with socialist fil films that attack thatcher. thatcher is in particular. do you find that now? is it even better time for films like that to attack a privatization and the effects on the poor? if i'm honest, i am, this is the question was no answer. i think you see,

here's the thing. um i, if i understand the spirit of the question, you're asking for somewhere in the premise. but what i do is make socialist films or i make films that are in some way propagandist. now i don't, i don't, i, i've never made a film without a simple direct clear message. my films are implicitly political on the whole. i would say you could describe my political with a small pay my last film to live up pretty much in $1819.00 is the only film that is plainly about politics are such but my films are political in the sense that they are all concern with how we live

how we treat each other, how we survive the economics that underpin how we live, etc, etc, etc. but they are nasa girls with simple messages and i defy anybody to declare a simple single singular message, any of my films. and so, in the complex and i leave you at the end of which you will all market, if not all, which much to think about to do face to reflect on. because my primary job is not to make propaganda. it's to put on the screen people and i'm real pre dimensional way with all the complexities and contradictions with all of us, embodying as any good film would, would be arguably, would be we would say that, i think, you know, i mean, it's interesting if you have a very interesting tendency which i,

i respect to as we talk about my but to keep it, we'll have a need to refer it back to all what, all the other film. i mean, what you just said is true for some gods, but that all films, great films, which are very simple and direct in terms of what they are about what the message is. i how not to make those kinds of yeah, i mean, i don't know with using our zoos, talk your story about age and i know that's a, that's a frequent element of your film work. the importance of age. and of course, a big debate here with that old social care. now probably on the agenda. no one is going to say that is a long way or the other about age. as part of the retrospective of my films, b, f, i, in london. i was also asked, choose, offered us another films, not by me, that i in some way or other regardance and inspirational influence. and one of them

is in detail can story. i'm a growl was a great player, inspired by our zooms films on it in the early phones of carousel domestic but particularly also. ready and yeah, i mean, the great thing about those films not least stuck out storage, is that it deals implicitly when they, if you like the politics of how we live. but it's no way. is it a pamphlet or a piece of propaganda? my glee, i'll stop you there more from the oscar nominated palm to a winning likely after this. ah, new york, it's really what america is about. ah

. when our mayor took office, he was elected because of his campaign on our city, being a tale of 2 cities, the haves and i have not. and those who have not are usually the ones who weren't being buried on hard i. the city is always wanted to forget about hold island. city is wanted to forget about the people who are buried there. wanted to forget about the fact that there is a potters field that there was a place where difficult stories are hidden. the fact that we're using inmates to maintain this active burial site, where 1000000 souls are buried, where so much of new york city history is buried is documents of the inequality that exists in the city for centuries. ah, welcome to max hazard, financial survival guide,

looking forward to your best video. yeah, this is what happens, dimensions and brittany does this happen? you watch kaiser report? ah, welcome back. i'm still here with the oscar nominated palm to a winning director mike lee. i wanted to ask you about the delux then because around the world people are not going to necessarily know about that mask a. why is it that i was even talk about to be massacre? i think you've said in the past you were talking about the air, was it thought the, the air brushing off to be to massacre of history that inspired you to make them feel? well actually it's a complex matter. this position, if they ever, i mean it was very, very well, widely known about in some quarters. but whichever way you look at it is and was an

important event because it was about the franchise. i mean, 2 percent of the population had the vote and they were all on the mail land at the time. and the real point is not what patient must current sell merely the p to lu masika in 1819 itself. but what it actually means for us in terms of democracy now, i mean, you yourself been saying 2 minutes ago talking about the relevance of things now, when we started to prepare it in 2014, after we've made mr. turner from a painter. in no time we our preparation preceded, we found ourselves saying this is becoming increasingly relevant to increasingly a pressure. and indeed, i mean, you know,

we know the things that have happened in the world since 20142015 continued to do so. it's about democracy about having their voice. i think people are going to, we're sorry, the sad to know them. i mean, i don't know where the butcher lou cheese nova genta had any cuts, because he had to really find money and they actually remove all episodes. i understand you wanted to maybe have an element of the engine easy volcano explosion that change at the time the blanket mark you had to raise whole sections for be 2. yes, i didn't. i don't think that's the same thing. what's not in peter lou because we didn't have the money because peter lou, if anyone seen the phone more interested, it contains one slight of hand cheat, which is that it starts with a bottle of waterloo in 1815. and it ends with the peculiar muscular and 1819. now

within the space of the channel, the audience does not so thinking 4 years ago and passed. and indeed, if we actually did log all the relevant things that happened in the world, including the, the great volcanic eruption and indonesia, which, which made meant that there was no summer anywhere in europe. and it affected everything, not least what people had to eat, including all events that happened between those 2 dates. the film would have lasted for about 9 weeks. it really isn't, doesn't come under the heading of the things we didn't happen cause we couldn't afford them. on the other hand, when we were about to make, we were setting about making for j. m. w turn at the great british ain't up. i said, we have to have a sequence in venice. we have to go to venice. turn a painted venice. it's an important part of his johnny. we have to see venice left

to experience that well, you've been to venice. everybody is listening who's been to venice knows the only doctor walk across san marco punch, buy a contract, and it cost you off your mortgage, basically, most expensive place in the world. my producers said look, either way, make the film. and we don't go to that. we don't make the film and we made the film and we didn't go to venice. and of course, once you get down to it, you know miss dennis moved because we tell the story and would see available other months on it's not really lost, but it's illustration of what you told me is where the word koren gene was 1st coined and actually it was and then teachers are the panoramic, i know as an ira, i mean i suppose it coming off there. i'm sure some of your fans would love to see films that you direct in foreign locations. when you mentioned ken loach earlier,

he did get to do nicaragua and the spanish civil war film. i mean, will you have future plans ever to because the style and the same company and provides ation and stuff in a different, more epic landscape of some kind. there are 2 things about this. one is that the important thing is that although my shows are very, very specific and that you know, cultural, melia, etc, etc. because i think all has to be specific. what my the actual, my films are about is not parochial, etc. and they universe all subjects. so i'm not really too bothered about making films around the world sake of the landscapes. i'm more concerned with being able to explore. busy and investigate, i'm present some people in relationships and how we live. and as i've already said, i wasn't saying they were brookhill. but say, i mean you have

a passionate belief in the un resolutions on palestine. you never wanted to do anything about the middle east, for instance. well, no, i have, i actually dealt with in the stage, play call 2000 years. national theater. up to now haven't dealt with it in a film, but who knows what i might do? yeah, filming probably always a, always a difficult or easy some people say it very difficult to get palestine films accepted by the oscars and funding and so on. you. well, that's not really relevant to what we're talking about. well, i mean, the most famous, certainly here in britain there were obviously is abigail's party. i haven't followed this, but i remember the criticisms made about this that somehow it was patronizing. very interesting how you took the criticism head on about whether your patronizing about working classes or explain that in a sense it's a double double trick and anyone who doesn't see that doesn't really understand

what abigail's party is about. well, i mean, the famous i thought it was the late playwright dennis potter, and he said it was one long slap. well, i mean, my main reaction to that in a nutshell is it's not about to play stage play, which we did on television, not actually. so it's not a play about them, it's a play of us not really sums up what i think about when he's in that we're showing people how they are. there was a film that flash is a play about aspiration and superficial values and all of that. but that's not to say that, i mean, if you want to say it's a lemon taishan of some kind of the same time is generally deemed by most people

to be extremely funding. you know, when i'm watching the retrospective, people are going to think a mobile phone or technology will change the plot points here in there because people know, having mobile phones. obviously that's a very, very good and interesting point. and i'm very aware of the last film i made was contemporary film. i was cold enough. yeah. we made it 12 years ago. but now i'm mobile is different than that, but i didn't really don't play any sense that i already made 2 phones, one setting the i never had a 190. it had been well, a fact you're absolutely right. i mean, i know i can't walk down the street without somebody bumping into mail. then i

started in a korean lunch time. things yesterday with my mom who both amused. there was a woman sitting that's an adjacent table simultaneously with her teenage son. there were small tenuously eating a large bose of noodle soup at the same time as plain chess from each other on my mobile. which i think really m. rob's the game of chess of its focus. and it certainly takes the focus of the bowl of noodles. they're going to be exciting elements of new film. so although you can't tell us about the next project i was actually, i wasn't meaning to go down that technological adeidra. i was going to say that's a, in the home sweet home, one of your films over there. postman, how do you think many of your characters in these fields recognize the levels of privatization that have happened since those dramas of occurred in terms of, i mean, there are scenes with trains and so on. everything,

whether it be royal male, british rail, gas, water buses is now privatized. well, some wood, some wood, some wood wonder where the hell they were, and others would, would get it. i mean, that's all i can say. i mean, you don't think you don't think, i mean, i think you've been self critical about the caricature was all upper class people are yuppies or people say, and i and i hope you don't think that's just brecht in alienation. you're supposed to shock the audience when you talk about a certain classes versus other classes. oh yes, i mean that's exactly what it was. no question about that. and i mean, if you're talking about high hopes, i mean there are, in a way there are, there are 3 couples. and each of them is rendered it to put it as well crudely than it is of, in a sense, a different style. the central characters are the sort of heroes,

like absolutely real the people you're referring to, move in next door. that's a sort of edge of caricature, but that still real on the stuff they are with that even shop at just got to sit there all real. but there are, but i'm not educators that you're absolutely. now you mentioned it would certainly relate to resonate with principles of alienation. but it's any way of looking at people who would be greatly inspired and influenced by the great caricature and cartoonists. and you look at those, you definitely see the real world, but there's no way that i don't like to use the word exaggeration distills the essence of them. so that's what i'm concerned with do. and i'm very harsh edge against her power. clearly, when i know you know you,

you very keenly on to say, you know, it's a, you may be a political filmic, you know, the searches will make, but even, i mean, if you, if you look at your renoir, if you look at casa gav, receive all the great, hopefully who are these high communist actors? i know you are famous around the world in the western world for very championing and changing the lives of so many actors around the world. no one would have seen algebra. none of them ever did by karl marx's, a burial ground where he's buried in highgate, in north london. the reality is that these guy, i mean this, this couple of the guy picking up several character in the phil is see himself in socialist. and it seemed very natural to them to go not very far from why we have to live in kings cross to visit karl marx is a great, i guess i'm a true, that's just the natural thing for them to do. and of course, it has a symbolism as

a meaning. and of course, one of the things about that is that when i made the fall, i had not long before that. i spent a month by myself travelling through china, the people's republic of china, which is quite an experience which we could talk about on another occasion. so, and when i went to i get cemetery by way of thinking about the scene in the film. certainly on 2 occasions, there were gangs of tourists from the people's republic of china and hitting them getting the gray. so i thought let's have that in the film, so we actually got, oh, gang of real ones. and then they came and took part in the scene and they knew exactly what to do or say, you know what he visited. i guess i'm a teacher. i how much ca marks his grade, and, you know, sometimes the meaning of things are simply happens in due

course, rather than pay something that way consciously, propagating and certainly internationalize it. finally, just i have to ask you, given, i mean you can name maybe some of the actors who owe their careers to you all around the world that asshole names for someone i think some of think have chat shows in the u. s. i don't know. tell me, tell me why they call it all, help them in this funding exercise so that you will be making a i don't know, films about space travel. oh, interesting thing is, until you mentioned it never occurred to like what you're saying is go and go to my rick, james cordon. gary oldman will help you out with. yes, i don't think that's an appropriate line of thought to really, i mean, nice guys. and why would i, you know, i think they should spend their resources on rec, chosen with likely. thank you. i knew you, hey cathy,

bye and my glee a complete film season runs until the 30th of november to be f i in london, where you can also watch a newly folk, a remastered version of his film naked. that's it for this year. we'll be back on wednesday until then keep in touch with us, my role as social media and let us know if you think most of the cinema really reflects the lives of working people who are older, driven by dreamers shape or some of those with there's things we dare to ask

you and barrows read on so written, legal immigration, guess what makes catch the higher cards. also, washington is again increasing tensions within crane is the bike administration looking to score a foreign policy victory to deflect from crises for empowering ourselves to be more efficient quicker with our transactions. but with that comes a trade off every device as a potential entry point for security attack. any machine, it's an extension of traditional to find. the defenders have always been one step behind the attackers. apartment, when one comes option, or it's not a matter of, if it happens, it's a matter of when ah,

the shoes crowd of migrants move from their camp and burrows through the border to poland. the braces for possible breached with military reinforcements, backed by war to kind of police in the u. k. declare a taxi explosion outside a hospital in liverpool, on the sunday a terrorist incident. all men are arrested in connection with the blas which left one person dead and another injured ah. also his hour and he looked on radi sweep europe with australia coming the 1st nation to impose a shutdown only for the under vaccinated. the suit here, decision has devoted to public opinion. it's been getting an empty when hundreds of thousands of people are forced to be vaccinated. i don't even know how many people who is their jobs.