cast idris elba as a digital shere khan, bill murray as a lovable baloo the bear, and christopher walkenng street put a smile on my face and a spring in my step with its tale of a teenager's pop—tastic adventures in the mysterious world of ‘80s dublin. meanwhile, over in france, the 69th cannes film festival offered yet more reasons for rejoicing as ken loach won his second palme d'or for the social realist drama i, daniel blake. having previously claimed the top prize with the wind that shakes the barley, ken loach, who turned 80 this year, won the judges over once again with his blistering tale of a newcastle joiner recovering from a heart attack or finds himself on the wrong end of a bureaucratic benefit system. superbly scripted by paul lafferty, with outstanding performances by davejohns and hayley squires, i, daniel blake is powerful and impassioned film—making. no wonder bothjohns and squires were honoured with trophies at the recent british independent film awards. what i gather now is the decision—maker, the decision—maker's gonna be sending you a letter through the post. you're

. >> reporter: with officer walken oakenf lexer d. >> can i see a license plate?ren't these on car? >> reporter: no response is response. he she hands walkenf deceleration a wire. the driver refuses any d.d., so the officer makes a radio call. >> ki get a second unit? >> reporter: the officer then takes a different approach. >> what's your last name, ma'am? >> reporter: she refers him to the multi-page sheet she handed him and asked that he call a sheriff's deputy to respond. >> i won't, because i'm here. can v you ever had a california i.d. card? >> reporter: she again asked him to read the paper. that she then didn't want the camera there, meaning me. >> he's allowed to film the public. >> reporter: she then questions the officer's right to pull her over. >> you i'm california highway patrol. you're in the state of california on blake highway. you're within anymy jurisdiction. >> reporter: at one point, she did have a valid vlts driver's license. that being said... >> you can't drive with sauce pended driver's license. >> reporter: so what is a sovereign citizen

once sawyes, i christopher walken interviewed and he said at the bottom of every cast list it should "the audience." because they are there. quantify.tle hard to you take them in in some way. their energy in their different responses in form that night's performance, and it's always different, because the audience is always different. charlie: if you are a good stage actor, should you be a good film actor? kenneth: i think it's easier to go from stage to film than film to stage. there are so many actors that are comfortable in front of a camera and can act in a quieter, smaller level. it is a little hard sometimes to control a whole performance throughout a two-hour play. your voice has to be louder. you have to be turned outward. you have to not feel false doing that. and then doing the same thing every night by keeping it fresh between yourself, the other actors, and the audience . charlie: how do they do that? kenneth: i don't know. they work very hard. charlie: you never thought about acting? kenneth: only for fun. i used to act in high school and i am in each of my films in a ve

kenneth: yes, i once saw christopher walken interviewed and he said at the bottom of every cast listshould say "the audience." because they are there. it's a little hard to quantify. you take them in in some way. their energy in their different responses in form that night's performance, and it's always different, because the audience is always different. charlie: if you are a good stage actor, should you be a good film actor? kenneth: i think it's easier to go from stage to film than film to stage. there are so many actors that are comfortable in front of a camera and can act in a quieter, smaller level. it is a little hard sometimes to control a whole performance throughout a two-hour play. your voice has to be louder. you have to be turned outward. you have to not feel false doing that. and then doing the same thing every night by keeping it fresh between yourself, the other actors, and the audience. charlie: how do they do that? kenneth: i don't know. they work very hard. charlie: you never thought about acting? kenneth: only for fun. i used to act in high school and i am in each

pouring baby food down his throat and tell a kid not his nose if you feed them and they are laying down walkenave been is aching get aspirational pneumonia of where it goes into their lungs than basically ebay get an infection or choke to death but there was a lot of problems like this. in fact, one of the of places where i actually could not condense all the awful stories i found into one chapter in that certain employees i think it made the point i have to move on. fees were real people for that word getting substandard care and it was hideous and then somebody said they are dying of aspirational pneumonia. if so we can teach them how to properly feed the residents of this doesn't have been. the judge said they are mentally retarded said they are probably not that healthy anyway. that is horrific. pdf it is not like a legend or go story but these are real people. but what stood out to me and there were unsettling experience is there is everything on the floor from the drop ceilings paint and mind and as i was walking around the eye socket of little pair of glasses and then they probably belo

. >> i once saw christopher walken interviewed and he said at the bottom of every cast list should say the audience because they are there. you don't want to play just too them but you would be false if you ignored the fact that there are 200, 500 people in the room. >> it is hard to quantity fie, you take them in in some way and their energy and different responses forms that night's performance and its' always different because the audience is always different. >> rose: if you are a good stage actor, should you be a good film actor? >> i think it is easier to go from stage to fim than film to stage. i don't think that used to be the case when film was newer am but i think now that there have so many actors that get comfortable in front of a camera, and are minimal, and quiet and can interact on a small level, it is a little hard sometimes to control a whole performance throughout a two hour play. your voice has to be louder, you have to be turned outward, you have to not feel false doing that. and there is dock the same thing every night but keeping it fresh. >> how do they do that?