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Ladies and gentlemen, the nominations are in, | 0:00:02 | 0:00:06 | |
the votes are been cast | 0:00:06 | 0:00:07 | |
and the most hotly awaited event | 0:00:07 | 0:00:10 | |
of the film awards season is about to begin. | 0:00:10 | 0:00:14 | |
Forget the Golden Globes, the BAFTAs, the Oscars. | 0:00:14 | 0:00:18 | |
Now in their seventh year, | 0:00:18 | 0:00:20 | |
and bigger, better and, frankly, more bolshy than ever, | 0:00:20 | 0:00:24 | |
it's the Kermodes! | 0:00:24 | 0:00:26 | |
Good evening. Good evening, everyone. | 0:00:30 | 0:00:33 | |
Welcome to the Kermode Awards. | 0:00:33 | 0:00:34 | |
Good to see so many of you here(!) | 0:00:34 | 0:00:37 | |
Is this on? | 0:00:37 | 0:00:40 | |
Here at the Kermode Awards, it's not about posh frocks, red carpets | 0:00:40 | 0:00:44 | |
and grinning celebrities pretending to be happy | 0:00:44 | 0:00:46 | |
when someone else wins their award. | 0:00:46 | 0:00:48 | |
Quite the opposite, in fact. | 0:00:48 | 0:00:50 | |
The Kermodes were established as an antidote to the Oscars, | 0:00:50 | 0:00:53 | |
proving that in any given year it's possible to come up with | 0:00:53 | 0:00:56 | |
a better list of winners from films and film-makers | 0:00:56 | 0:00:58 | |
who weren't even nominated for an Academy Award. | 0:00:58 | 0:01:01 | |
The rules are simple. | 0:01:01 | 0:01:03 | |
You can't win a Kermode for a category | 0:01:03 | 0:01:05 | |
in which you've been nominated for an Oscar. That's it. | 0:01:05 | 0:01:08 | |
We work on UK release dates and my decision is final. | 0:01:08 | 0:01:11 | |
Which means the awards are wantonly partisan, | 0:01:11 | 0:01:13 | |
wholly unverifiable, | 0:01:13 | 0:01:15 | |
but still way more reliable than the Oscars. | 0:01:15 | 0:01:19 | |
And, as ever, this year the American Academy have overlooked | 0:01:19 | 0:01:21 | |
a bumper crop of fabulous films for me to choose from. | 0:01:21 | 0:01:25 | |
But before we start, let's look back at who's been awarded | 0:01:25 | 0:01:28 | |
this coveted statuette | 0:01:28 | 0:01:29 | |
of Richard Nixon's uglier brother over the years. | 0:01:29 | 0:01:32 | |
Sorry, I was just reliving moments from King Kong. | 0:01:37 | 0:01:39 | |
My kids are going to love this. | 0:01:39 | 0:01:41 | |
Thank you so much. | 0:01:41 | 0:01:42 | |
This really is the most important award of the year, | 0:01:42 | 0:01:46 | |
no matter what other people tell you. | 0:01:46 | 0:01:48 | |
And I'm not just saying that because I won it. | 0:01:48 | 0:01:51 | |
Although...well, maybe I am. | 0:01:51 | 0:01:53 | |
-APPLAUSE -Victory! Victory! Yes! | 0:01:53 | 0:01:57 | |
Fantastic. Thank you so much, Mark. | 0:01:57 | 0:02:00 | |
Um...you are the man. | 0:02:00 | 0:02:02 | |
-I'm very proud of this. -Good. -Thank you very much. | 0:02:02 | 0:02:05 | |
I'm really genuinely moved by it. | 0:02:05 | 0:02:07 | |
Thank you very much, Mark Kermode. | 0:02:07 | 0:02:10 | |
That is for real. | 0:02:10 | 0:02:12 | |
I'm so stoked by this, I can't tell you. | 0:02:12 | 0:02:15 | |
This is the one. | 0:02:15 | 0:02:16 | |
This is the one, as far as I'm concerned. | 0:02:16 | 0:02:19 | |
Thank you so much. It's a big honour. | 0:02:19 | 0:02:20 | |
And it's much better than getting an Oscar. | 0:02:20 | 0:02:23 | |
Has it got chocolate inside? | 0:02:23 | 0:02:25 | |
I think I'll give it a kiss. | 0:02:25 | 0:02:27 | |
There you go. | 0:02:27 | 0:02:29 | |
-Ken? -Yeah? -I'm really glad you got it. | 0:02:29 | 0:02:31 | |
-You know how much I love you. -You do. -Mwah! | 0:02:31 | 0:02:34 | |
Quite a roll call of talent there. | 0:02:37 | 0:02:38 | |
But, without further ado, let's get on with this year's awards. | 0:02:38 | 0:02:41 | |
And we'll start with Best Actor. | 0:02:41 | 0:02:43 | |
-Have you ever killed anyone? -No. | 0:02:43 | 0:02:46 | |
Brad Pitt, as the craggy-faced hitman in Killing Them Softly, | 0:02:46 | 0:02:49 | |
takes his place in the Kermode hopefuls in this category. | 0:02:49 | 0:02:53 | |
They cry, they plead, they beg, | 0:02:53 | 0:02:55 | |
they piss themselves, they call for their mothers. | 0:02:55 | 0:02:58 | |
It gets embarrassing. | 0:02:58 | 0:02:59 | |
I like to kill them softly. | 0:03:00 | 0:03:02 | |
Along with Daniel Craig, brilliant as Bond in Skyfall. | 0:03:04 | 0:03:08 | |
And the magnificent Denis Lavant, | 0:03:09 | 0:03:12 | |
playing a fiery existential angel in Leos Carax's Holy Motors, | 0:03:12 | 0:03:16 | |
one of the most breathtakingly bonkers films of the year. | 0:03:16 | 0:03:20 | |
But, even with such stiff competition, my award goes to a man | 0:03:24 | 0:03:27 | |
who has become one of the greatest screen presences of our time. | 0:03:27 | 0:03:31 | |
He played the chillingly evil Le Chiffre in Casino Royale. | 0:03:31 | 0:03:35 | |
Give our guests five minutes to leave. | 0:03:35 | 0:03:37 | |
Or throw them overboard. | 0:03:37 | 0:03:39 | |
And this year he played a teacher | 0:03:41 | 0:03:43 | |
wrongly accused of child abuse in The Hunt. | 0:03:43 | 0:03:45 | |
But he bags the award for Best Actor for his role as Friedrich Struensee | 0:03:50 | 0:03:54 | |
in what, for me, was one of the very best films of 2012. | 0:03:54 | 0:03:58 | |
A Royal Affair. | 0:03:58 | 0:03:59 | |
He is, of course, the magnificent Mads Mikkelsen. | 0:03:59 | 0:04:04 | |
An astonishing historical drama based on true events and set | 0:04:11 | 0:04:15 | |
at the court of King Christian VII in 18th-century Denmark, | 0:04:15 | 0:04:19 | |
A Royal Affair features Mikkelsen as the King's rebellious physician | 0:04:19 | 0:04:22 | |
who falls dangerously in love with his wife Queen Caroline | 0:04:22 | 0:04:26 | |
and discovers that all power corrupts. | 0:04:26 | 0:04:29 | |
Hi, everyone. I hope you are having a fantastic evening. | 0:04:51 | 0:04:54 | |
I'm sitting in Toronto, together with this quite handsome | 0:04:54 | 0:04:58 | |
and quite intelligent-looking man. | 0:04:58 | 0:05:00 | |
Thank you for watching our film. | 0:05:00 | 0:05:03 | |
It's Danish, so we are counting every ticket. | 0:05:03 | 0:05:06 | |
I would like to share this with everyone who was involved in A Royal Affair. | 0:05:06 | 0:05:10 | |
Thanks a million, Mark. This is a great honour. | 0:05:10 | 0:05:13 | |
Takk. Tusen takk. | 0:05:13 | 0:05:15 | |
Next up, Best Actress. | 0:05:19 | 0:05:21 | |
Now, there've been several stunning contenders this year, | 0:05:21 | 0:05:24 | |
including Elizabeth Olsen, who brilliantly portrayed | 0:05:24 | 0:05:26 | |
a young woman falling under the spell of a Manson-like cult | 0:05:26 | 0:05:30 | |
in Martha Marcy May Marlene. | 0:05:30 | 0:05:32 | |
Get over it. | 0:05:36 | 0:05:37 | |
-You haven't learned anything. -I have. | 0:05:37 | 0:05:39 | |
-I thought we had a connection. -We do. -Show me. | 0:05:39 | 0:05:42 | |
Although Olsen has yet to be recognised at the Oscars, | 0:05:42 | 0:05:45 | |
the Academy were quick off the mark | 0:05:45 | 0:05:47 | |
with nine-year-old Quvenzhane Wallis, | 0:05:47 | 0:05:49 | |
the youngest Best Actress nominee ever, | 0:05:49 | 0:05:52 | |
for her fantastic performance as a headstrong girl | 0:05:52 | 0:05:54 | |
in Beasts Of The Southern Wild. | 0:05:54 | 0:05:57 | |
I hope you die! | 0:05:57 | 0:05:59 | |
And after you die, I'll go to your grave | 0:05:59 | 0:06:01 | |
and eat birthday cake all by myself. | 0:06:01 | 0:06:04 | |
At the Academy Awards, Wallis will go head-to-head | 0:06:07 | 0:06:09 | |
with the oldest ever nominee, Emmanuelle Riva, | 0:06:09 | 0:06:12 | |
fast becoming an Oscar favourite in Michael Haneke's Amour, | 0:06:12 | 0:06:15 | |
a heart-wrenching film about love in old age. | 0:06:15 | 0:06:18 | |
But the Kermode Award goes to a Swedish actress | 0:06:26 | 0:06:29 | |
who was tipped as a rising star at this year's BAFTAs | 0:06:29 | 0:06:32 | |
and is utterly mesmerising in her role as Queen Caroline of Denmark | 0:06:32 | 0:06:36 | |
in A Royal Affair, | 0:06:36 | 0:06:37 | |
winning its second award of the night. | 0:06:37 | 0:06:40 | |
The Kermode Award for Best Actress goes to Alicia Vikander. | 0:06:40 | 0:06:44 | |
Vikander stars as the educated and enlightened Queen | 0:07:00 | 0:07:04 | |
trapped in a loveless marriage to a mad king. | 0:07:04 | 0:07:07 | |
I met up with her on a brief visit to London | 0:07:12 | 0:07:15 | |
to award her the Kermode in person. | 0:07:15 | 0:07:17 | |
Alicia, welcome to The Culture Show. | 0:07:21 | 0:07:23 | |
Your Kermode Award for Best Actress of 2012 | 0:07:23 | 0:07:26 | |
for your fantastic performance in A Royal Affair. | 0:07:26 | 0:07:28 | |
Congratulations. Treasure it. | 0:07:28 | 0:07:30 | |
I will. It's beautiful. It glitters! | 0:07:30 | 0:07:34 | |
Well, it's my first big award for A Royal Affair, so I'm very proud. | 0:07:35 | 0:07:39 | |
I'll find a nice spot for it back home. | 0:07:39 | 0:07:43 | |
What research did you have to do? | 0:07:43 | 0:07:44 | |
It's a historical role, you have to know the background. What did you do? | 0:07:44 | 0:07:48 | |
My biggest treasure was when I found published letters | 0:07:48 | 0:07:52 | |
that she wrote to her family back in England. | 0:07:52 | 0:07:56 | |
After reading those letters, I saw this very young woman | 0:08:03 | 0:08:07 | |
who had to grow up very fast. | 0:08:07 | 0:08:09 | |
She's a survivor. | 0:08:09 | 0:08:11 | |
She couldn't find love, | 0:08:11 | 0:08:13 | |
she couldn't even express any of the thoughts that she had, | 0:08:13 | 0:08:17 | |
so she had to put on the act and role | 0:08:17 | 0:08:20 | |
of being the perfect Queen instead. | 0:08:20 | 0:08:23 | |
And with doing that, she had to, I think, close everything inside. | 0:08:23 | 0:08:28 | |
Then suddenly, this man arrives, | 0:08:41 | 0:08:44 | |
and opens up and shows her that he's equal | 0:08:44 | 0:08:50 | |
in the thoughts and ideas that she has. | 0:08:50 | 0:08:52 | |
Did you go through a long auditioning process for the role? | 0:08:54 | 0:08:57 | |
Yeah, it was a long process. | 0:08:57 | 0:08:59 | |
I remember I got a call from a casting director in Sweden | 0:08:59 | 0:09:02 | |
and she mentioned this film. | 0:09:02 | 0:09:04 | |
I got so excited, but then I called her and, like, | 0:09:04 | 0:09:06 | |
"No, you've made a mistake because I don't speak Danish." | 0:09:06 | 0:09:09 | |
And she said, "No, no, no, but it's fine, you can, you can try." | 0:09:10 | 0:09:16 | |
So I called a friend's mom who's half-Danish, half-Swedish, | 0:09:16 | 0:09:19 | |
who actually recorded the lines on her phone | 0:09:19 | 0:09:22 | |
so I was able to learn them by listening on my iPhone. | 0:09:22 | 0:09:26 | |
-That's how you did it? -That's how I did my first reading, yes. -Wow! | 0:09:26 | 0:09:30 | |
I think it was the same thing when I did Anna Karenina. | 0:09:33 | 0:09:36 | |
That wasn't a new language, but it was a new accent for me. | 0:09:36 | 0:09:38 | |
Look at me! | 0:09:40 | 0:09:41 | |
I'm receiving for Papa and Maman, who are late to dress. | 0:09:41 | 0:09:44 | |
It's my first reception. | 0:09:44 | 0:09:47 | |
Princess Ekaterina. | 0:09:47 | 0:09:49 | |
Listen, as I say, congratulations. | 0:09:49 | 0:09:52 | |
I think, you know, you're going to be huge. | 0:09:52 | 0:09:54 | |
Just remember, you know, when you're getting a bit... | 0:09:54 | 0:09:56 | |
we were there very, very early on. | 0:09:56 | 0:09:58 | |
-Congratulations. -You can see I've been hugging it. | 0:09:58 | 0:10:00 | |
-Yeah, you have. Congratulations. -Thank you. | 0:10:00 | 0:10:03 | |
Every great film starts with a great script. | 0:10:08 | 0:10:12 | |
I've always been a huge admirer of screenwriter Paul Laverty, | 0:10:12 | 0:10:15 | |
long-time collaborator of Ken Loach, | 0:10:15 | 0:10:17 | |
who wrote The Wind That Shakes The Barley and Looking For Eric. | 0:10:17 | 0:10:20 | |
This year, two of Laverty's screenplays really stood out for me. | 0:10:20 | 0:10:24 | |
His latest Loach collaboration, The Angels' Share. | 0:10:24 | 0:10:27 | |
-Up wi' the kilts. -What?! | 0:10:27 | 0:10:29 | |
A whisky-galore-style Glaswegian comedy drama | 0:10:29 | 0:10:32 | |
-with real heart and soul. -Up, I said. | 0:10:32 | 0:10:34 | |
Jesus Christ! What happened to you? | 0:10:36 | 0:10:38 | |
And his extraordinary film-within-a-film script for Even The Rain, | 0:10:40 | 0:10:44 | |
which follows a Spanish film crew into the heart of darkness, | 0:10:44 | 0:10:47 | |
when they go to make a historical drama in Bolivia. | 0:10:47 | 0:10:50 | |
But my Best Screenplay Award this year | 0:10:56 | 0:10:58 | |
goes to Alice Lowe and Steve Oram, | 0:10:58 | 0:11:01 | |
who, along with co-writer Amy Jump, | 0:11:01 | 0:11:03 | |
conjured one of the darkest, nastiest comedies in years | 0:11:03 | 0:11:07 | |
in which they star as latter-day Nuts in May, | 0:11:07 | 0:11:10 | |
combining a caravanning trip with a killing spree. | 0:11:10 | 0:11:13 | |
-Oh! -Wow! | 0:11:19 | 0:11:22 | |
Thank you so much. | 0:11:22 | 0:11:23 | |
This is...an amazing honour | 0:11:23 | 0:11:26 | |
to win a Kermode Award. | 0:11:26 | 0:11:29 | |
It's really great to be recognised for something | 0:11:29 | 0:11:32 | |
that we've spent about 57 years of our lives... | 0:11:32 | 0:11:35 | |
-Yeah. -..devoting ourselves to this project. | 0:11:35 | 0:11:38 | |
Being in a caravan together. | 0:11:38 | 0:11:40 | |
Yeah. Having sex, killing people, that sort of thing. | 0:11:40 | 0:11:43 | |
And it's always good when people enjoy that. | 0:11:43 | 0:11:46 | |
Our idea for the film came from | 0:11:46 | 0:11:49 | |
a sketch we did a long time ago | 0:11:49 | 0:11:51 | |
in a live comedy show, | 0:11:51 | 0:11:53 | |
which was two geeky Brummies going on holiday and killing people. | 0:11:53 | 0:11:58 | |
Which made us laugh. | 0:11:58 | 0:11:59 | |
And then that became, over the course of time, a film. | 0:11:59 | 0:12:02 | |
If you don't pick up this excrement immediately, | 0:12:02 | 0:12:04 | |
then I'm going to have to inform the National Trust. | 0:12:04 | 0:12:07 | |
Report that to the National Trust, mate. | 0:12:09 | 0:12:12 | |
Thank you very much. | 0:12:12 | 0:12:13 | |
Handsome. | 0:12:13 | 0:12:15 | |
Handsome, slightly hunched. | 0:12:15 | 0:12:16 | |
-Oh, God! -THEY LAUGH | 0:12:18 | 0:12:21 | |
On now to Best Director. | 0:12:23 | 0:12:26 | |
Now, this category includes | 0:12:26 | 0:12:27 | |
some typically grievous Academy Awards omissions this year, | 0:12:27 | 0:12:30 | |
including, perhaps unsurprisingly, | 0:12:30 | 0:12:32 | |
previous Kermode Award winner Andrew Dominik, | 0:12:32 | 0:12:35 | |
who directed the gritty, noir gangster movie Killing Them Softly. | 0:12:35 | 0:12:39 | |
-Argh! -HE LAUGHS | 0:12:42 | 0:12:44 | |
More annoyingly, Christopher Nolan, | 0:12:46 | 0:12:48 | |
who has still never been nominated Best Director at the Oscars, | 0:12:48 | 0:12:51 | |
has been overlooked for the final part | 0:12:51 | 0:12:53 | |
of his brilliant Batman trilogy, The Dark Knight Rises. | 0:12:53 | 0:12:56 | |
My mother warned me about getting into cars with strange men. | 0:12:58 | 0:13:00 | |
This isn't a car. | 0:13:00 | 0:13:02 | |
The real egg on Oscar's face comes from the omission of Ben Affleck | 0:13:04 | 0:13:08 | |
from their Best Director nominations | 0:13:08 | 0:13:09 | |
despite the fact that he's won for Argo almost everywhere else. | 0:13:09 | 0:13:13 | |
You really believe your story will make a difference | 0:13:13 | 0:13:15 | |
when there's a gun to our heads? | 0:13:15 | 0:13:17 | |
I think my story's the only thing between you and a gun to your head. | 0:13:18 | 0:13:21 | |
But the Oscar oversight which overshadows all others this year | 0:13:21 | 0:13:25 | |
is the Academy's failure to recognise Skyfall | 0:13:25 | 0:13:27 | |
for anything other than its music and its technical prowess. | 0:13:27 | 0:13:31 | |
All of which sorely undervalues the narrative qualities of a film | 0:13:31 | 0:13:34 | |
which not only reinvigorated a 50-year-old franchise, | 0:13:34 | 0:13:38 | |
but also gave us arguably the very best Bond episode ever, | 0:13:38 | 0:13:42 | |
blending character, action and good old storytelling. | 0:13:42 | 0:13:46 | |
Honestly, what does a Bond movie have to do | 0:13:46 | 0:13:49 | |
to be taken seriously during awards season? | 0:13:49 | 0:13:51 | |
Well, the answer, at least here at the Kermodes, | 0:13:51 | 0:13:53 | |
is it has to be helmed by Sam Mendes, | 0:13:53 | 0:13:56 | |
the worthy winner of my award for Best Director. | 0:13:56 | 0:14:00 | |
Well, here we are. | 0:14:06 | 0:14:08 | |
Er...I'm very, very honoured indeed to be getting this award. | 0:14:08 | 0:14:12 | |
Um...the Kermodes are increasingly important in our culture. | 0:14:12 | 0:14:17 | |
I'm genuinely thrilled because Mark went on record | 0:14:17 | 0:14:20 | |
several times over the last few years | 0:14:20 | 0:14:23 | |
as saying he's never enjoyed a Bond movie. | 0:14:23 | 0:14:26 | |
And action! | 0:14:26 | 0:14:27 | |
I make movies that are constantly asking for the support of the critical fraternity. | 0:14:27 | 0:14:31 | |
And they're like, "We're not sure. It's a difficult movie, it's a grey area, et cetera." | 0:14:31 | 0:14:35 | |
Finally, you say, "You know what, I don't care what you think. | 0:14:35 | 0:14:38 | |
"I'm just going to make a commercial film that I love." | 0:14:38 | 0:14:41 | |
And then you get given one of these. | 0:14:41 | 0:14:42 | |
I want to say thank you very much | 0:14:42 | 0:14:44 | |
and thank you to the people who watch The Culture Show | 0:14:44 | 0:14:46 | |
and to all the people who went to see this movie. | 0:14:46 | 0:14:48 | |
We had high expectations for it, but it's exceeded all of those. | 0:14:48 | 0:14:52 | |
And so, to all of you, thank you very much. | 0:14:52 | 0:14:54 | |
FANFARE | 0:15:00 | 0:15:02 | |
Next to the Kermode Award for Best Film Not in the English Language. | 0:15:02 | 0:15:06 | |
And, don't worry, A Royal Affair isn't even eligible here | 0:15:06 | 0:15:09 | |
because it did sneak into Oscar's Best Foreign Language Film category. | 0:15:09 | 0:15:12 | |
But my other contenders will include The Hunt, Even The Rain, | 0:15:12 | 0:15:16 | |
Holy Motors and Once Upon A Time In Anatolia, | 0:15:16 | 0:15:19 | |
an eerie, hypnotic gem of a film | 0:15:19 | 0:15:22 | |
in which the hunt for a dead body in the Turkish desert | 0:15:22 | 0:15:25 | |
becomes a treatise upon the fragility of human life. | 0:15:25 | 0:15:28 | |
But the Kermode Award goes to a film from the other end of the genre spectrum. | 0:15:40 | 0:15:45 | |
Incongruously directed in Indonesia by Welshman Gareth Evans, | 0:15:47 | 0:15:51 | |
The Raid is set in a high-rise Jakarta slum | 0:15:51 | 0:15:53 | |
through which a SWAT team | 0:15:53 | 0:15:55 | |
have to battle floor by floor to get to a criminal overlord. | 0:15:55 | 0:15:58 | |
You know, like Judge Dredd but better. | 0:15:58 | 0:16:01 | |
The film is a bone-crunching treat, beautifully choreographed, | 0:16:01 | 0:16:04 | |
splendidly directed and head-crackingly violent. | 0:16:04 | 0:16:08 | |
BLEEPING | 0:16:18 | 0:16:19 | |
Sorry, I can't be in the UK to accept this myself, | 0:16:19 | 0:16:22 | |
but it was very nice to see this arrive on my doorstep the other day. | 0:16:22 | 0:16:26 | |
The Raid was pretty much a make or break film for me to be honest. | 0:16:26 | 0:16:30 | |
In Indonesia it was an opportunity to try to exercise as many little genres | 0:16:30 | 0:16:37 | |
as I could possibly fit into one film. And, thankfully, it seems to have paid off | 0:16:37 | 0:16:41 | |
and people have responded to it very kindly. | 0:16:41 | 0:16:44 | |
So I'm very, very proud and very, very happy. | 0:16:44 | 0:16:46 | |
And this is the icing on the cake. So thank you very, very much. | 0:16:46 | 0:16:49 | |
And now to the biggie. The Kermode Award for Best Film. | 0:16:53 | 0:16:56 | |
An award that's become so significant the American Academy | 0:16:56 | 0:16:59 | |
have actually increased their own Best Film list to up to ten movies, | 0:16:59 | 0:17:04 | |
just to try and scupper us. | 0:17:04 | 0:17:06 | |
Well, guess what, it hasn't worked, | 0:17:06 | 0:17:08 | |
because every year my own very favourite film is notable only by its absence from Oscar's list. | 0:17:08 | 0:17:14 | |
Last year it was We Need To Talk About Kevin. | 0:17:14 | 0:17:16 | |
In the past, Pan's Labyrinth, The Assassination Of Jessie James, | 0:17:16 | 0:17:20 | |
Let The Right One In. All timeless gems. | 0:17:20 | 0:17:23 | |
This year my favourite films have included Even The Rain | 0:17:23 | 0:17:26 | |
and, of course, A Royal Affair, | 0:17:26 | 0:17:27 | |
both of which would have been worthy award winners, | 0:17:27 | 0:17:30 | |
but they've just been pipped at the post by a British film set in Italy, | 0:17:30 | 0:17:35 | |
shot in London and staring a previous Kermode Award winner. | 0:17:35 | 0:17:39 | |
To announce the Best Film Award in style | 0:17:39 | 0:17:41 | |
and to open the golden envelope, please welcome to the stage the chairman of the Kermode Awards. | 0:17:41 | 0:17:47 | |
APPLAUSE | 0:17:47 | 0:17:48 | |
Mark, would you do the honours. | 0:17:48 | 0:17:50 | |
But of course. | 0:17:50 | 0:17:51 | |
The Kermode Award for Best Film 2013 goes to... | 0:17:51 | 0:17:55 | |
DRUM ROLL | 0:17:55 | 0:17:57 | |
..Berberian Sound Studio. | 0:17:57 | 0:18:00 | |
CHEERING AND APPLAUSE | 0:18:00 | 0:18:01 | |
So Peter Strickland, Toby Jones, for the best film of 2012 | 0:18:11 | 0:18:14 | |
the Kermode Award for Best Film for Berberian Sound Studio. Congratulations. | 0:18:14 | 0:18:18 | |
-Thank you very much, Mark. -Thank you. | 0:18:18 | 0:18:21 | |
-Peter, take it quick. -Toby has one already. | 0:18:21 | 0:18:25 | |
-I have. You have that one. -It's really quite something. | 0:18:25 | 0:18:29 | |
Thank you very much. | 0:18:29 | 0:18:31 | |
What's he doing to her? | 0:18:31 | 0:18:32 | |
Berberian Sound Studio tells the story of Gilderoy, a mousey sound engineer from Dorking, | 0:18:37 | 0:18:42 | |
who's hired to work on a violent Italian shocker. | 0:18:42 | 0:18:45 | |
I didn't quite know I'd be working on this sort of film. | 0:18:46 | 0:18:50 | |
What did you expect? | 0:18:53 | 0:18:54 | |
It is a visual film about sound. | 0:18:54 | 0:18:56 | |
All the sounds you normally ignore in real life or in a film, | 0:18:56 | 0:19:01 | |
the radiator, the industrial sounds around you. | 0:19:01 | 0:19:04 | |
Even now the air-conditioning has this beautiful choral element to it. | 0:19:04 | 0:19:08 | |
And I just wanted to make a film that explicitly puts that on the table | 0:19:08 | 0:19:13 | |
and lays out the mechanics of it, | 0:19:13 | 0:19:15 | |
but somehow shows you the mystery of it at the same time. | 0:19:15 | 0:19:19 | |
VIBRATION HUMS | 0:19:19 | 0:19:21 | |
I guess I was just fascinated by this divide between this very repellent violence on the screen, | 0:19:24 | 0:19:31 | |
but then this kind of ridiculous pantomime element of grown men smashing vegetables. | 0:19:31 | 0:19:37 | |
And you're kind of watching it and you think, "Should I laugh? Should I be disturbed?" | 0:19:37 | 0:19:42 | |
I like the confusion that it creates. | 0:19:42 | 0:19:44 | |
WOMAN SCREAMS | 0:19:44 | 0:19:46 | |
SCREAMING CONTINUES | 0:19:46 | 0:19:50 | |
Gilderoy during the course of making the sound effects is drawn into the world of the film. | 0:19:50 | 0:19:56 | |
Describe for me what happens to him when he's first confronted with the film that he's working on. | 0:19:56 | 0:20:00 | |
His first glimpse of the footage, | 0:20:00 | 0:20:04 | |
he's both aghast and entirely perplexed by what he sees. | 0:20:04 | 0:20:08 | |
We never see it but we imagine it, because of the sort of lurid sounds | 0:20:08 | 0:20:14 | |
that are being made at the time by the Foley artist. | 0:20:14 | 0:20:17 | |
And the division between what he's working on and what is working on him | 0:20:17 | 0:20:22 | |
sort of becomes blurred. | 0:20:22 | 0:20:24 | |
It is just a film. | 0:20:25 | 0:20:27 | |
You are part of it! | 0:20:27 | 0:20:30 | |
You can see how all this is put together. | 0:20:30 | 0:20:32 | |
What's... what's your problem with this?! | 0:20:32 | 0:20:35 | |
Maybe it's best I go home. | 0:20:35 | 0:20:37 | |
Now it's time for the Kermode Award for Best Documentary. | 0:20:46 | 0:20:50 | |
And, despite the fact that there's a huge amount of great documentaries out there, | 0:20:50 | 0:20:53 | |
factual film making still has a traditionally hard time at the box office, | 0:20:53 | 0:20:57 | |
which makes this award particularly close to my heart. | 0:20:57 | 0:21:00 | |
One of the most poetic documentaries I saw last year was Patricio Guzman's Nostalgia For The Light. | 0:21:00 | 0:21:08 | |
It's set in Chile's Atacama Desert, where astronomers come to gaze at the stars | 0:21:08 | 0:21:12 | |
and victims of the Pinochet regime still search for the buried remains of their loved ones. | 0:21:12 | 0:21:18 | |
It's a must-see film that ranks alongside the documentaries of Werner Herzog | 0:21:18 | 0:21:22 | |
in offering a profound insight into the human condition. | 0:21:22 | 0:21:26 | |
Also in the running, The Last Projectionist, | 0:21:37 | 0:21:40 | |
a beautiful, timely and ever so slightly heartbreaking account | 0:21:40 | 0:21:43 | |
of the changing face of cinema in the UK. | 0:21:43 | 0:21:47 | |
Comfort, courtesy and good cheer | 0:21:47 | 0:21:48 | |
are available inside for the leisure hour, | 0:21:48 | 0:21:51 | |
but the artistic neon lighting at night-time | 0:21:51 | 0:21:55 | |
adds another bright spot to the thoroughfares of Birmingham. | 0:21:55 | 0:21:58 | |
But the statuette for Best Documentary | 0:22:00 | 0:22:02 | |
goes to a David and Goliath tale of ordinary people standing up against big business. | 0:22:02 | 0:22:08 | |
It's my home. I've stayed here for 43 years now | 0:22:09 | 0:22:12 | |
and he wants to murder it. | 0:22:12 | 0:22:14 | |
It has a real-life villain in the shape of an appalling American billionaire | 0:22:14 | 0:22:18 | |
riding roughshod over people and environment alike as he attempts to build a luxury golf resort | 0:22:18 | 0:22:23 | |
in an area of staggering scientific and natural interest in the dune landscapes of Aberdeenshire. | 0:22:23 | 0:22:29 | |
I don't think you want the windows looking down into a slum. | 0:22:29 | 0:22:33 | |
The corruption and collusion between money, politics and the police | 0:22:33 | 0:22:37 | |
that filmmaker Anthony Baxter uncovered are shocking indeed | 0:22:37 | 0:22:41 | |
and will make you very angry. | 0:22:41 | 0:22:43 | |
Although not as angry as they made Donald Trump. | 0:22:43 | 0:22:47 | |
For which reason the Kermode Award for Best Documentary | 0:22:47 | 0:22:51 | |
goes to the brilliantly enraging You've Been Trumped. | 0:22:51 | 0:22:54 | |
Wow! This is a fantastic honour. | 0:23:00 | 0:23:03 | |
Thank you very much indeed, Mark. | 0:23:03 | 0:23:05 | |
Also to the great Bill Forsyth, the director of Local Hero, | 0:23:05 | 0:23:10 | |
who endorsed You've Been Trumped at a crucial moment. | 0:23:10 | 0:23:14 | |
The real life local heroes that You've Been Trumped follows, the local people, | 0:23:14 | 0:23:20 | |
have shown extraordinary dignity, courage and commitment to their local environment and the planet. | 0:23:20 | 0:23:26 | |
So I'd like to dedicate this award, Mark, to them. Thanks very much. | 0:23:26 | 0:23:32 | |
And, finally, to the very last award of the evening. | 0:23:35 | 0:23:38 | |
It is, of course, the Kermode Fellowship Award. | 0:23:38 | 0:23:41 | |
The highest accolade a film-maker can achieve, | 0:23:41 | 0:23:43 | |
the Fellowship recognises an outstanding contribution to the art of cinema. | 0:23:43 | 0:23:48 | |
This year the recipient is a film-maker whose work continues to thrill and inspire me. | 0:23:48 | 0:23:53 | |
His first feature film, That Sinking Feeling, | 0:23:53 | 0:23:56 | |
made it into the Guinness Book of Records as the cheapest theatrically released feature ever. | 0:23:56 | 0:24:01 | |
This year marks the 30th anniversary of one of his most famous films | 0:24:01 | 0:24:05 | |
and a personal favourite, Local Hero, an inspiration as we've just seen for You've Been Trumped. | 0:24:05 | 0:24:10 | |
The Kermode Fellowship Award goes to a real film-making hero, Bill Forsyth. | 0:24:10 | 0:24:17 | |
Bill is a pioneer of British cinema | 0:24:24 | 0:24:26 | |
who first made his mark with a number of bittersweet comedies in the 1980s. | 0:24:26 | 0:24:31 | |
Bill Forsyth, for outstanding contributions to the art of cinema, | 0:24:35 | 0:24:39 | |
-welcome to the Kermode Fellowship Award. -Oh, my goodness! | 0:24:39 | 0:24:42 | |
-That's why you brought me to this pub. -It is. | 0:24:42 | 0:24:44 | |
That's fantastic. I don't know what to say. I'm very, very touched. | 0:24:44 | 0:24:47 | |
Raised in post-war Glasgow, he left school at 17 | 0:24:47 | 0:24:50 | |
to take a job with a film company where he made short documentaries, | 0:24:50 | 0:24:55 | |
but his ambition was to make features. | 0:24:55 | 0:24:59 | |
We used to joke about the fact that the only way we'd get a feature film | 0:24:59 | 0:25:04 | |
was if some Hollywood producer saw our film about fishing boats | 0:25:04 | 0:25:07 | |
and decided we were the guy for his next Doris Day movie! | 0:25:07 | 0:25:11 | |
So it was pretty remote. So then it was do-it-yourself time. | 0:25:11 | 0:25:15 | |
Well, not a bad night's work, eh, fella? 93 stainless-steel sinks. | 0:25:15 | 0:25:22 | |
-And our very own snoring zombie. -MAN SNORES | 0:25:24 | 0:25:26 | |
Bill's debut film was the wonderful That Sinking Feeling. | 0:25:26 | 0:25:30 | |
It starred actors from a local youth theatre in a comedy about a gang of unemployed Glaswegian teenagers. | 0:25:30 | 0:25:36 | |
Oh, aye. And what do you propose? | 0:25:36 | 0:25:38 | |
We wheel 'em up to the front door and ask for a cashier? | 0:25:38 | 0:25:42 | |
I wrote that very quickly | 0:25:42 | 0:25:43 | |
and we shot it in three weeks with, you know, virtually no money. | 0:25:43 | 0:25:47 | |
And it did work. It worked in many ways for me. It got some exposure. | 0:25:47 | 0:25:51 | |
Suddenly, I had people who were prepared to read the script for Gregory's Girl. | 0:25:51 | 0:25:55 | |
And that happened the next year with a proper budget. | 0:25:55 | 0:25:58 | |
-OK, into twos now. -Gregory's Girl became Bill's breakthrough film. | 0:25:58 | 0:26:03 | |
A story of adolescence and first love in a Scottish new town, | 0:26:03 | 0:26:06 | |
it was an instant hit with both the public and with critics. | 0:26:06 | 0:26:10 | |
What's going on? | 0:26:10 | 0:26:13 | |
She's gorgeous. | 0:26:13 | 0:26:16 | |
She is absolutely gorgeous! | 0:26:16 | 0:26:20 | |
After the success of Sinking Feeling and Gregory's Girl, | 0:26:20 | 0:26:24 | |
there's this partial move across the Atlantic with Local Hero, | 0:26:24 | 0:26:27 | |
which is a classic case of a home-grown movie | 0:26:27 | 0:26:30 | |
but it has aspirations towards an American audience. | 0:26:30 | 0:26:35 | |
It is, as you know, one of my favourite films of all time. | 0:26:35 | 0:26:38 | |
What do you think is the key | 0:26:38 | 0:26:41 | |
to why Local Hero has worked so well for such a large audience? | 0:26:41 | 0:26:46 | |
When I start a movie, I always put a message to myself in the front of the script. | 0:26:46 | 0:26:51 | |
A little prologue. And in that case, it was from that poem, | 0:26:51 | 0:26:54 | |
"What is this life if full of care We have no time to stand and stare?" | 0:26:54 | 0:26:58 | |
So, I suppose, that was my little message going into it. | 0:26:58 | 0:27:02 | |
So I don't know if that is part of the response that you created to it. | 0:27:02 | 0:27:07 | |
Would you give me a pound note for every grain of sand I hold in my hand? | 0:27:07 | 0:27:12 | |
Now you can have the beach for that. | 0:27:12 | 0:27:15 | |
There, I've saved you a pound or two, eh? | 0:27:15 | 0:27:18 | |
Come on, Ben, I don't want to play games. | 0:27:18 | 0:27:20 | |
-Let's negotiate in a businesslike way. -Oh, dear, oh, dear! | 0:27:20 | 0:27:24 | |
You could have had a very nice purchase there, Mr McIntyre. | 0:27:24 | 0:27:30 | |
I find I'm very unsuited to being a film-maker, | 0:27:30 | 0:27:33 | |
because I think film-makers should be people who are slightly extravagant. | 0:27:33 | 0:27:39 | |
You know, and slightly out there. | 0:27:39 | 0:27:41 | |
Throughout my whole film-making time, I think I've been, like, whispering in a crowd. | 0:27:41 | 0:27:47 | |
And it's not the perfect way to get something across to people, | 0:27:47 | 0:27:51 | |
whispering in a crowd, but it's what I think that I've done. | 0:27:51 | 0:27:55 | |
That's what it's amounted to. | 0:27:55 | 0:27:57 | |
Well, I am really glad that you found the reasons to make the films you make, | 0:27:57 | 0:28:00 | |
because without them my life would be infinitely less rich. | 0:28:00 | 0:28:04 | |
-Thank you very much. -Thank you for all your encouragement. | 0:28:04 | 0:28:08 | |
And if...if I do make another film, it will be for you. | 0:28:08 | 0:28:12 | |
Really. God bless you. | 0:28:12 | 0:28:16 | |
And that brings us to the end of tonight's Kermode awards. | 0:28:21 | 0:28:24 | |
There you have it, the very best of what cinema had to offer last year | 0:28:24 | 0:28:28 | |
as judged by me. | 0:28:28 | 0:28:30 | |
So until Oscar drops the ball again next year, | 0:28:30 | 0:28:33 | |
thank you and goodnight. | 0:28:33 | 0:28:35 | |
Subtitles by Red Bee Media Ltd | 0:29:03 | 0:29:06 |