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Top Ten Movies with... Lindsay Williams

Lindsay Williams is a knowledgeable and well-respected financial broadcaster, who started as a freelancer for the then new FHM and then moved onto broadcasting business on Radio 702, Classic FM and a lengthy stint as senior anchor on Summit TV.

He currently broadcasts Fine Business Radio for Fine Music Radio and CNBC Africa and according to his Twitter bio is all about football and fish, broadcasting and beer, wine and whining, writing and wronging.

Spling was lucky enough to get his Top Ten Movies interview. Listen to the podcast of the interview, or read on, for an insightful, entertaining and funny chat about all things movies with the one and only, Lindsay Williams.

I can't watch movies without...

- I'll tell you what I would rather do, I can't watch movies with is the easier thing to do. I can't watch movies with anyone else, I can't watch movies in a cinema anymore unless it's Monday morning or usually the 9:15 or 9:30 show and I have to sit right next to the fire exit because I'm a claustrophobe and I don't like the idea of a fire gutting the cinema. I cannot sit in as you would call a movie house I would call it a cinema with people masticating popcorn and their phones going off.

I think the cinemas of the future because of what's happening now and buying films online and watching them at home I think that there will be a niche for a cinema club for example, you're still getting the mainstream movies but you have to be a member, you have to be vetted, you can have drinks and the seats will be slightly bigger but if there is anyone stepping out of line they get kicked out of the club that's my vision for the future cinema.

In the old days when I first started going to the cinemas as a kid to there would be because of the that they had to change the reel they would be a half-time break and then the usherette would come round selling cigarettes and choc ices and things like that... very civilised, and you could all go off to the loo and stuff like that, but today it's all a bit cold and soulless I find.

Which famous people share your birthday?

- Galileo, far too brainy for me. I wouldn't go on a walking tour of the Drakensberg with him. Matt Groening - I was watching a Simpsons episode last night and how they've churned out 500-600 episodes and almost hundred percent consistently have a few laughs in them and also some clever stuff here what a genius the Simpsons probably one of the defining moments of cartoon history. Jane Seymour - sort of an English rose, sickly sweet. It wouldn't be the sort of person you sit down and say "goodness me she's good looking", I'd like her to come round for a glass of wine and watch one of her films with me. I think she comes from Bristol or something like that, from the west of England, but no not my favourite. (15 February)

"I'd love to to get Wall Street done by the Coen brothers..."

What is the first film you remember watching?

- The first film I remember watching... my brother took me to see That'll Be the Day with his girlfriend, a film with David Essex who was a pop singer from the 1970s and it had an R-rating... there was a little bit of drugs and a hint of sex... that sort of thing.

I also went to watch The Sting with my mother at Staines Cinema. Staines is famous for Ali G. I suppose my first memory would be Saturday morning pictures at that very same ABC cinema in Staines where kids under the age of 10 would go there you'd queue for about I suppose two and six or something like a shilling you would go and watch cartoons and westerns for 2 or 3 hours. It was a massive part of your week, you would look forward to getting on the bus and going to see Saturday morning pictures as we called it.

What's the worst movie you've ever seen?

- Worst film I've ever seen and I have to say it was a very recent one, it was called Noah. It was the worst film I've ever seen it went on and on and on and it was a sort of a sci-fi biblical epic. Russell Crowe was terrible, the whole thing, I had to watch because it was so bad.

There are also a lot of Owen Wilson films you just can't watch. Midnight in Paris was quite good. The one thing I like about Woody Allen is that not matter what character he has in his films whether it's Scarlett Johansson or Owen Wilson they take over his persona, they all become paranoid and if you close your eyes you think you're watching Woody Allen. The reason I said Owen Wilson is because he's made some shockers recently.

Which movies have made you tearful?

- E.T. stands out, when he says goodbye, when the little boy says goodbye to E.T. and he goes off into the universe, I'm sorry I can't watch it, it's a tearful thing.

There's a film in my top 10, I have to lie down for about 3 or 4 hours afterwards and bathe my temples in eau de cologne and put cucumber on my eyes because they're so swollen from crying... it's called Manon des sources.

Who is the most famous movie star you've ever met?

- I met Claire Danes the other day just outside this studio and she completely ignored me. I asked her for an interview, she looked me up and down like I was chopped liver. I used to work on yachts in the south of France and there was a chap, George Hamilton, an American who has always got a tan and he rented the yacht that I was on, it was like a gin palace and it was at the time $20,000 a week, which is an enormous amount of money. He was quite famous, had a lot of hookers on the boat and really fancied himself.

What's your favourite movie line?

- My favourite movie line is "we've got no food, we got no jobs and our PETS' HEADS ARE FALLING OFF", which is from Dumb & Dumber with Jim Carrey when their budgie had just been whacked by some mafia bloke and he was lying in his cage with no head and they had both lost their jobs and it was just so beautifully delivered and was so bizarre that I still rent that film occasionally and watch it just for that line.

There was Casablanca, which is in my top 10 as well where Humphrey Bogart is talking to the Police Commissioner who asks him "what in heaven's name brought you to Casablanca?" and he said "My health, I came to Casablanca for the waters." and he said "The waters, what waters? We're in the desert." and he said "I was misinformed."

Who would you choose to play you in your biopic?

- The tallest, best-looking, most intelligent, vibrant person... they would be required to be quite tall. I would have to ask George Clooney to cut his honeymoon short and have a go at it, I mean I've got the grey hair, I mean I may not have the chiseled looks but the geezer could do a great representation of me.

If you could produce a movie, what would it be about?

- If the Coen brothers could do a film on financial services and rip financial services to shreds I would love to collaborate with them on that short of thing. I'd love to to get Wall Street done by the Coen brothers with Lindsay Williams as an Executive Producer, something like that, would be fantastic. They really could do a number on it... making financial services people look like the twits they are mainly... sometimes.

Finally, your top ten movies of all-time...

- One Flew Over the Cuckoo's Nest ...Jack Nicholson and a very young Danny DeVito and a couple of other people that have now joined our cinema consciousness. It was absolutely extraordinary: the acting, the direction, the photography, the story, the way that they exposed the treatment of mental illness in the 1960/70s. It's unbelievable, very sad as well right at the end when he was lobotomised.

- The Outlaw Josey Wales ...I've got to have a Western and it's got to be Clint Eastwood. It's either Pale Rider or The Outlaw Josie Wales. All his films are the same, there's someone who is under pressure, there's someone who has been done an injustice and he goes and sorts it out. Pale Rider I like, because the first word in the film was the word 'Lindsay'. It's the only film in the world that has that name in it and secondly, it was the first word. He comes up against those deputies with the long coats and he shoots them all and it's just fantastic, but I think I have to go with The Outlaw Josey Wales just because it was like a spaghetti Western and again he sorts everything out and rides off into the sunset, brilliant.

Goldfinger ...I've got to have a Bond film and Dr. No was fantastic because of Ursula Anders getting out of the sea with that extraordinary bikini and she really was a dish but I think I must go for Goldfinger and another great line "No Mr. Bond, I expect you to die." and it still had that '60s charm about it and also some lovely girls... it was just wonderful, beautifully acted, very simple and the whole thing was quite enigmatic.

An American Werewolf in London ...I don't normally like horror or sci-fi but I think An American Werewolf in London because of that scene where he turns into a werewolf the first time in her flat and you can see the spine coming out and it wasn't digitally mastered. This was a proper special effect, one of the top ten special effects ever, and of course the scene in the pub in Yorkshire where they send them out onto the moors and they get savaged by this werewolf.

The Party ...with Peter Sellers set against the 1960s where he accidentally gets invited to a party at a Hollywood studio despite the fact that he had blown up the whole set of the film-maker host, and a whole series of mishaps by Peter Sellers. I can remember that "birdie num-nums" scene and I was watching it the first time I lived in London. I rented this movie as a video in those days I sat down and watched it, I had to turn it off because I was rolling on the floor, my stomach was aching so much when he said "birdie num-nums".

Notting Hill ...Love, Actually or is it Notting Hill? Maybe it's Notting Hill with Julia Roberts. Love, Actually has got so many different stories and threads and it's got Rowan Atkinson in Selfridge's, wrapping up that present for the infidel who was married to Emma Thompson in the film. Brilliant, quite sad, quite funny but I think Notting Hill takes it, lots and lots of charm in there and despite the fact that Hugh Grant is such a fop... some people hate him, I think he's brilliant.

The King's Speech ...I could see nothing wrong with that film, historical, beautifully shot, fantastic actors with Colin Firth, amazing, just a brilliant English film.

Blood Simple ...No Country for Old Men, I like that very much of course Fargo, The Big Lebowski but I want to go back to the roots and Blood Simple that scene where the chap's hand gets stabbed and stuck to the window sill and the pain on his face on the screen and the whole story and the way it was shot. It's very raw, not as sophisticated as the new stuff, but I love Blood Simple.

Jean du Florette/Manon des sources ...this is probably my top film, but it's two films that come from a book called Water of the Hills by a Frenchman, who invented cinema in Europe called Marcel Pagnol. They go together, so I'm going to have to have this as one, Jean du Florette and Manon des sources. Jean du Florette was populated by Gerard Deparidieu, Yves Montand and Daniel Auteuil and it's set in a provincial village and I've spent a lot of my life in Provence. I lived there for a couple of years so it rang true to me and it's about village life, petty jealousies and nastiness... whether your chickpeas are bigger than mine and how many apples you've got in your shed and all that sort of thing, so it's fascinating.

Jean du Florette was followed by Manon des sources without telling too much because you have to go and rent both these films is the saddest moment in cinematographic history and the acting at the end, the last 15 minutes... as I say, you have to lie down or up to 3 hours afterwards. Beautiful French countryside, it's got subtitles and afterwards actually Daniel Auteuil who acts in both of them became obsessed with Marcel Pagnol and he made all his lesser known books because he's French as well and comes from that area and it is a personal topic.

Casablanca ...not because I want to be mainstream, but simply because of Humphrey Bogart and Ingrid Bergman and all the bit players, again a perfect film. The King's Speech and this one I think are two perfect films.

Crimes and Misdemeanours ...I have to mention it as my 11th, because of when Mia Farrow rejects Woody Allen for Alan Elder at the end. They show his face, and you know he's quite a lugubrious looking geezer anyways, and his face just drops and you've never seen such a sad face in all your life, brilliant film.

Top Ten Movies with... is a people series on SPL!NG, featuring a host of celebrities ranging from up-and-coming to established personalities from all industries including, but not limited to: Internet, Radio, TV, Film, Music, Art and Entrepreneurs. It's a chance to discover who they are, find out where they're at and to get a fun inside look at their taste in movies.

Jérôme Salle on 'City of Violence'

Jerome Salle - Writer/Director of City of Violence aka ZuluJérôme Salle is the writer/director behind City of Violence (aka Zulu), a gritty crime drama thriller about two detectives, co-starring Orlando Bloom and Forest Whitaker. The story is set in Cape Town, South Africa and based on the award-winning novel, Zulu, by Caryl Ferey. Spling sat down with Jérôme at the Mount Nelson hotel to discuss his latest film, which closed the Cannes film festival and is currently on circuit in South Africa.

How did you get involved in this project?

I first got involved by reading the novel. When I closed the book I thought to myself: this is a great novel, a great story, but I'm not going to do it because it's a South African story. So my first answer was no. So the producer called me and said why don't you fly to Cape Town and spend 2 or 3 weeks there.

That was my very first time. I spent three weeks meeting people and then changed my mind, because I had the feeling that being a foreigner could be a positive thing. When I talked to a black person, there were no ghosts around me because I didn't feel guilty and that makes a big difference. So I thought perhaps I can do it, but it would have to be as truly South African as possible, so that was the challenge.

What really attracted you to Caryl Ferey's book?

The balance between a strong, entertaining story and its universal themes of revenge and forgiveness. Everyone knows what it's like to have a feeling of revenge, perhaps here more than anywhere in the world. That's why I thought it was a strong story. I never would have done a movie with a specific South African story because it makes no sense for me.

It probably helped coming here as a foreign director that you were able to see it from an international audience's perspective…

I think that helped me a lot, I was talking to a friend about how he thinks it's normal to feel guilty. We had a long conversation about that, but now I understand what he means because if you watched your grandparents live with that, you have to deal with that too. It would be difficult to shoot a movie in Morocco or Algeria, which is a former French colony. When I talk to people there, I haven't done anything but my father was there during the war, so it also belongs to me, it sticks to me.

What was the greatest challenge in adapting the novel?

I think the challenge wasn't about the adaptation. The book wasn't written for a South African audience, so you have many pages talking about South Africa and back stories talking about what happened here, what happened to Ali. Why did he leave Kwazulu-Natal? It's a bit boring for you because you know about that. I didn't want to make it the Hollywood way, which would have had scenes explaining the entire history to the audience. It makes no sense, it becomes a Hollywood movie created for massive audiences all over the world. We had the release in Japan a few months ago, I wanted to show what was happening, so it was just about finding the right balance.

How would you say making this film has changed you?

Making this movie changed me as a person, living here, making this movie, trying to understand the culture... we shot everywhere, from Camps Bay to Khayelitsha. I've been through all of Cape Town, but I haven't done this in Paris. There are some very poor, diverse areas around Paris but I don't have any reason to go there.

…so now it's your second favourite city?

Yes, I feel at home. It's a very strange feeling. I came back here a few months ago for three days. That was a really weird feeling, landing here and feeling at home.

And what was it like having Zulu close the Cannes Film Festival?

Great in retrospect, because we had a great reception. I feel blessed - especially with this kind of movie, big-screen movies would come for promotion and then there are many alternate films, but this one is somewhere in-between. It feels incredible to screen your movie to a theatre with 3000 people. While I don't love Cannes as a person, screening your movie is amazing as a director, but there's incredible pressure. Often the media in Cannes are much more unfair than they are out of Cannes, especially when you're screening right at the end and everyone's tired. It's a difficult choice to go there.

Why was the movie title changed from Zulu to City of Violence?

I don't know. We kept the new title for most of the countries... we changed it for Sweden, it's about marketing or perhaps they were afraid people would be confused. What is Zulu? It takes place in Cape Town. Just to hear the pitch, two detectives in Cape Town, named Zulu... it doesn't make sense.

Djimon Hounsou was originally cast, what was it like working with Forest and how did casting him change the character?

Djimon was on-board with the movie nearly from the beginning, because the producer was already thinking about him because he's quite famous in France and speaks perfect French. It was interesting to have an African actor and we met a few times in LA. The truth is we had scheduling issues, and at one point I was here on reccie three months before the shooting, so his agent called me and said he had this big-selling movie he had to do and we'd have to push the shooting date forward.

At this point I had a choice, I could push the movie forward or recast. That same night I had a phone call from Forrest Whitaker's manager telling me I know you have some scheduling issues with Djimon, if something happens, I just want to let you know he is aware of the project and I'm sure he'll love the script. When you have the opportunity to work with Forest, you take it, because he's an amazing actor. Of course it changed because Djimon is younger, they don't have the same silhouette. Forrest is so gifted that he can do anything.

Orlando must have been pleased to have been cast as a hard-living character for a change, and what was it like working with him?

It was great, he was so happy to make this movie... that helped of course. I was looking for an actor who's never done this kind of classic character. If I think of a Hollywood actor who's done that 10 times before that's going to be difficult to repeat. So working with Orlando was interesting for the movie and for him, I knew he would be motivated because it was his first time making something so different and I think that was a big help for the movie too because the fact that in real life Orlando is someone very positive, a cool, friendly person. So the fact that he's playing a depressed, dirty, alcoholic guy, gives it something strange and different. I think he was very motivated and worked very hard.

Jerome Salle on the set of City of Violence

It features a large South African ensemble and I just want to know which of the supporting cast impressed you the most?

I can't tell you that, I'm very proud that we found all the other roles, except the two leads, in South Africa. It hasn't been so easy, we had some professional actors of course. We also worked with some street casting. I love the fact that it was a mess. We'd shoot a scene with Forest Whitaker on one side, an Oscar winner, and on the other side a guy from the rehab centre who we're supposed to follow because he can't be alone and that was great. So that's why I think it's such a great job sometimes, because you're working with all these people, who are all so different... they had the same goal and when it works, it's great!

Just out of interest, do you think the film could have also worked in Joburg?

It would have been a different movie, because I know Cape Town quite well. I don't know Joburg well but intrinsically it would be very different. It's more natural in Cape Town, but there's probably more segregation here than Joburg. Joburg has a totally different atmosphere.

You shot at some majestic locations around South Africa, what was it like working here, and more specifically, how do you think we can improve as a film-making destination?

It's a great place to shoot, it's a great place to work, and I'm sure we'll be back one day or another. Two of the four projects I have, are scheduled to shoot in Cape Town not because it's a Capetonian story but just because it's a great place to work with great crew. From a practical and technical point-of-view I think you're at the top. I've spoken with many directors from all over the world and we all think shooting here is wonderful.

How can you improve your film industry and your own movies? It's all about money. You have the tools: you obviously have the human tools, I don't know if you have the screenwriters, I guess you have the directors. You need to create a tax like in France, for every ticket sold, you take a percentage and you give it back to make movies. We still make 150 movies a year in France thanks to that.

Looking back, what was your favourite scene?

The last scene. We shot that in Namibia and honestly we were exhausted, we had a very small crew and shot all the scenes in two days but very fast. I don't know how to explain it, but we were living with this movie and these characters for three months so we were shooting the movie like it was in a dream. For me, one of the reasons I decided to make the movie was because of the end scene, because I knew it could be very strong and different, but that was very risky because it could be ridiculous, but I always try to make something different.

And what would you like audiences to take away from your film?

Well, I hope they will understand what we are talking about, the meaning, that talks about forgiveness, even if it's very violent, even if it's dark and gritty and I hope that here in South Africa people will forget the director is French and the two leads are American and British. Otherwise, the movie is South African... Orlando, Forest and I came here very humble and we worked hard to make it as South African and loyal to the country as possible. So I just hope they will have a clean and fresh look at the movie.

Paolo Sorrentino on 'The Great Beauty'

Paolo Sorrentino's The Great Beauty won Best Foreign Film at this year's Academy Awards. The luscious and breathtaking film set in Rome has lauded praise from critics and audiences alike, Spling checked in with Paolo to find out about his film, which is now showing at independent and commercial cinemas in South Africa.

Paolo Sorrentino on The Great Beauty InterviewDid you expect The Great Beauty would be such a success?

All the rave reviews it got were a surprise. All I tried to do, to the best of my abilities, was make the film I had in my head. Everything that happened after, the acclaim and its fallout internationally as well, really went beyond anything I could have imagined.

The cinematography of Rome is glorious... were there any locations you would have liked to shoot?

I had the chance to shoot there where I wanted, in the places I’d imagined being able to describe.

The Great Beauty presents a number of paradoxes relating to Rome, how has your film been received in Italy?

In Italy the film was controversial from its first showing at Cannes and that went on up to the Oscar.

You chose to shoot on 35mm, what’s your take on digital?

When I was filming The Great Beauty I knew it would have been my last film in 35mm. And, in fact, that’s how things have panned out.

You’ve directed Toni Servillo in a number of films, do you see yourself in him?

Toni and I have known each other for many years. Our friendship and sense of complicity, his total dedication which, though, never get in the way of his desire to have a good time and do the thing together, passionately, as if on an adventure, means Toni is my ideal interlocutor to deal with the arduous struggle that a film represents. Not to mention, naturally, his inexhaustible capacities as an actor, which are always unforeseeable and unexpected to my eyes.

Which scene in The Great Beauty is your favourite?

I'd say that one moment of the film I feel is essential is when the missionary who's going to be canonized says, “You don't talk about poverty, you live it”. For Jep that moment marks the possibility of being able to pick up the thread of his life again.

Your film’s been compared to Fellini’s La Dolce Vita, what aspect of your cinema would you like to be remembered for?

As I've said before, I consider La Dolce Vita a masterpiece while The Great Beauty is only a film. It's hard to say what will remain of your work. I always hope that my films manage to move people.

Tell us about the writing process... where do you write and what inspires you?

I write at home, in my study. The creative process usually begins with the identification of a character. I start taking lots of notes, about all sorts of things, about things I see and what happens to me as well. I gather all this together and when the material starts to become really substantial, I start creating rhymes, assonance, connections. I define my story as I go along. The next phase is writing the screenplay.

You tend to write and direct... if you had a choice, which screenwriter(s) would you like to work with in the future?

It's not easy for me to think of writing with another screenwriter. I did it with Umberto Contarello for This Must Be The Place and for The Great Beauty. I started writing with Umberto when I was very young, when he was already a successful writer for the cinema and I was just aspiring screenwriter very much learning the ropes.

Ours has been a simple and happy relationship, thanks in part to the method that we used. Basically, this method consists of a first phase of chatting, where we concentrate on general suggestions, the points of interest, the tones. We go for very long lunches during which we talk about the film and often wander off in other directions. Then I write a first draft of the screenplay, Umberto does the second and so on like that, in a long work of ping-pong that goes on right up to the last possible moment, that is, the day before shooting starts.

Was it easy to readjust after shooting This Must Be the Place?

After two wonderful years of travelling between Europe and the United States to make This Must Be the Place, I really felt the need to stop moving. I wanted to maintain my idle lifestyle with a job that allowed me to go home every evening; but in reality La grande bellezza was an exhausting film, despite being a passionate experience.

Top Ten Movies with... Hakeem Kae-Kazim

Hakeem Kae-Kazim is a truly gifted British-Nigerian actor best known for his roles as George Rutuganda in Hotel Rwanda and as Colonel Ike Dubaku in Season 7 of 24. His mother, an accountant, and his father, a civil engineer, moved to study in the UK when he was 1. Hakeem was classically trained in the UK at the highly regarded Bristol Old Vic and was invited to join the Royal Shakespeare Company shortly after graduation.

After many glowing reviews and sharing the stage with the likes of Brian Cox and Sir Ian McKellan at the National Theatre, he made a transition to television with several noteworthy leading roles, including Julius Caesar for the BBC. Kae-Kazim moved to South Africa, where he developed a big following as a celebrity actor, appearing in a number of TV shows and feature films before catching Hollywood's attention with his riveting performance in Hotel Rwanda.

After landing in Los Angeles, he was cast as a pirate lord in the box office blockbuster, Pirates of the Caribbean: At World's End. He followed this up with roles in X-Men Origins: Wolverine, The Fourth Kind, Attack on Darfur and recurring parts in Lost and then Season 7 of 24, as well as the series prequel film, Redemption. More recently, he's played to critical acclaim in Man on Ground, featured in Human Target, NCIS: Los Angeles and Criminal Minds before landing the role of Mr. Scott in Michael Bay's series, Black Sails.

Hakeem's impressive list of film and TV credits extends to video game voice work for Halo, Call of Duty: Modern Warfare 3 and Medal of Honor: Warfighter. Kae-Kazim is an international actor in high demand and while you know his face, his Top Ten Movies interview will give you a chance to discover a little bit more about the man behind the mask.

"...I would most probably choose me to play me!"

I can't watch movies without...

- As obvious as it is, I would say popcorn! Oh and my glasses!

Which famous people share your birthday?

- I believe I share my birthday with Julie Andrews, Zach Galifianakis and Jimmy Carter! (1 October)

What is the first film you remember watching?

- I think I remember watching In the Heat of the Night and Sir with Love both starring Sidney Poitier.

What's the worst movie you've ever seen?

- Probably one I was in actually – but I won't mention which one!

Which movies have made you tearful?

- ...

Who is the most famous movie star you've ever met?

- Probably Johnny Depp.

What's your favourite movie line?

- I absolutely love the quote...

“I've seen things you people wouldn't believe. Attack ships on fire off the shoulder of Orion. I watched C-beams glitter in the dark near the Tannhäuser Gate. All those moments will be lost in time, like tears in rain. Time to die." – Blade Runner

And the other one has to be:

"They Call me Mr. Tibbs" - In the Heat of the Night

Who would you choose to play you in your biopic?

- Well ultimately I would most probably choose me to play me! Either myself or Idris Elba... and if Idris isn't available, Chad Law!

If you could produce a movie, what would it be about?

- If I were to produce a movie, it would be about a great African hero of some sort.

Finally, your top ten movies of all-time...

- Wings of Desire ...written by Wim Wenders. I found the imagery and story of angels coming to earth was very powerful.

- The Lives of Others ...written and directed by Florian Henckel von Donnersmack. I found the exploration of characters living under an oppressive system was done extremely well, as such characters often limit the actors ability to be creative.

- In the Heat of the Night ...directed by Norman Jewison. As you know one of my favourite quotes comes from this film, but ultimately it's a powerful story where an African-American was able to take his place as a man in America.

- Oldboy ...directed by Chan-Wook Park. I really enjoyed watching this film; the complex and darkness explored was fantastic, it was about revenge but done in the most thoughtful and patient way.

- Nine Iron ...I loved the long silences. This film had a visual power to it that was so strong it filled the silences spectacularly!

- The Dark Knight ...the reboot of batman franchise starring Christopher Bale. I loved the performances, especially Heath Ledger. I just loved the new take on it, it had a real darkness to it.

- Once Upon A Time ...visually, this was a real treat. The exploration between the imagery and the soundtrack and the way the two married and connected was wonderful.

- Petty Blue ...this French film is a powerful exploration of love and insanity.

- Earth, Water, Fire, Air ...it's just a beautiful film!

- Dawn of the Planet of the Apes ...directed by Matt Reeves. This is a visual CGI masterpiece and there were some fantastic performances by the actors involved too!

Top Ten Movies with... is a people series on SPL!NG, featuring a host of celebrities ranging from up-and-coming to established personalities from all industries including, but not limited to: Internet, Radio, TV, Film, Music, Art and Entrepreneurs. It's a chance to discover who they are, find out where they're at and to get a fun inside look at their taste in movies.

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