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Tonight on the Review Show, we are looking ahead to the Academy Awards. | :00:19. | :00:25. | |
Some of the biggest names in film are up for prizes. | :00:25. | :00:31. | |
# He gave me strength to journey on. Plus new faces. The youngest-ever | :00:31. | :00:35. | |
nominee for the Best Actress award. And the oldest actress ever | :00:36. | :00:39. | |
shortlisted, older even than Oscar himself. | :00:40. | :00:47. | |
In the running for Best Picture, a film made for just $2 million, sits | :00:47. | :00:52. | |
on a shortlist against another that has taken almost $200 million at | :00:52. | :00:55. | |
the box-office. I'm the President of the United States, clothed in | :00:55. | :00:59. | |
immense power. Or will it go to Ben Affleck's Argo, | :00:59. | :01:03. | |
which has scooped the lion's share of this season's awards. You want | :01:03. | :01:07. | |
to come to Hollywood and act like a big shot without actually doing | :01:07. | :01:13. | |
anything? Yeah. You'll fit right in. There is frefrg the dazzling | :01:13. | :01:18. | |
effects of Ang Lee's The Life of Pi, to the off the wall romcom, Silver | :01:18. | :01:22. | |
Linings Playbook. On the night, will the Hollywood establishment | :01:22. | :01:27. | |
honour its over, or the statuettes deliver some surprise -- honour its | :01:28. | :01:31. | |
own, or the statuettes deliver some surprises. | :01:31. | :01:41. | |
:01:41. | :01:42. | ||
Joining me are my guests. Hannah McGill, and Mr Manzoor. | :01:42. | :01:46. | |
We are focusing on the major categories of what are indeed the | :01:46. | :01:50. | |
glitziest awards on the film circuit. We start with Best Actor. | :01:50. | :01:55. | |
If The Golden Calf and BAFTAs are anything to go by, there would be | :01:55. | :02:01. | |
one presidential winner. He could make history, three Oscars, a | :02:01. | :02:05. | |
stovepipe hat trick. Daniel Day-Lewis has earned | :02:05. | :02:08. | |
widespread acclaim for his portrayal of America's 16th | :02:08. | :02:12. | |
President, Lincoln. In Steven Spielberg's political drama about | :02:12. | :02:16. | |
the leader whose bill changed the course of history in the United | :02:16. | :02:20. | |
States. I am the President of the United States, clothed in immense | :02:20. | :02:28. | |
power. Escaping a life of slavery is Jean Valjean, the lead character | :02:28. | :02:33. | |
in Tom Hooper's swashbuckling adaptation of Les Miserables. Based | :02:33. | :02:39. | |
on the tale of poverty tricken life in 17th century France by Victor | :02:39. | :02:42. | |
Hugo. Hugh Jackman was lauded for his vocal performance, recorded | :02:42. | :02:46. | |
live on set. # Be no more than an alibi | :02:46. | :02:51. | |
# Must I lie. Back to the 21st century, and the | :02:51. | :02:56. | |
pilot played by Denzel Washington in Flight, it praised as a hero, | :02:56. | :03:01. | |
when he saves a jet from crashing. Was it down to areonautical skill, | :03:01. | :03:06. | |
or the buzz from narcotics. As the plot unfolds, the pilot, William | :03:06. | :03:09. | |
Whip Whitaker, proves to be the victim of serious drug and alcohol | :03:09. | :03:14. | |
abuse. It was an ordinary day Margaret, you know me, I was in | :03:14. | :03:24. | |
:03:24. | :03:25. | ||
shape to fly. You have a problem saying that. In The Master, Joaquin | :03:25. | :03:31. | |
Phoenix plays a displaced war veteran in America, who falls in | :03:31. | :03:37. | |
with a small cult called The Cause, played by Philip Seymour Hoffman's | :03:37. | :03:41. | |
character. Last but not least, Bradley Cooper's portrayal of a man | :03:42. | :03:45. | |
with bi-polar disorder, trying to heal a broken manager in Silver | :03:46. | :03:50. | |
Linings Playbook. He learns to appreciate the attentions of the | :03:50. | :03:54. | |
unstable young widow Tiffany, played by Jennifer Lawrence. | :03:54. | :03:59. | |
did you order raisin bran. Why did you order tea? Because you ordered | :03:59. | :04:04. | |
raisin bran. I ordered raisin bran because I didn't want there to be | :04:04. | :04:12. | |
any mistaking it for a date. Lestly the performance of the year, | :04:12. | :04:18. | |
let's --letly, the performance of the -- Leslie, the performance of | :04:18. | :04:23. | |
the year, or is he unstoppable? is unstoppable. He is afacing, | :04:23. | :04:27. | |
incredible technique. Such great confidence. Such a physical | :04:27. | :04:31. | |
performance, the sort of things the academy loves. A historical figure. | :04:32. | :04:35. | |
Not just any, but the most beloved President in all history. Do you | :04:35. | :04:38. | |
think it was a chance for Americans to imagine what Lincoln was really | :04:38. | :04:42. | |
like? I think you are right. It made me feel a bit like the tiger | :04:42. | :04:47. | |
in The Life of Pi, this is the closest we are going to get to a | :04:47. | :04:50. | |
real-life Abraham Lincoln. What I liked about it is it could have | :04:50. | :04:55. | |
been easy to do him as a heroic God-like figure, and the fact that | :04:55. | :05:00. | |
he does him as a hunched up with jokes that nobody laughs at. A | :05:00. | :05:03. | |
broken guy with the weight of history on him. He does that really | :05:03. | :05:07. | |
well. The fact that it focused on one particular small period? | :05:07. | :05:12. | |
did it in immense detail and was very informative. And it didn't | :05:12. | :05:18. | |
stint on that. It was a like -- like a courtroom drama. The | :05:18. | :05:21. | |
performance has a lot of vulnerability, it is not a stuffed | :05:21. | :05:26. | |
dummy. There have been a few impersonation films that have been | :05:26. | :05:30. | |
Madame Tussauds, and it was not one of them. Talking about emotional | :05:30. | :05:33. | |
performances, the film might not have made it, what do you think of | :05:33. | :05:38. | |
Denzel Washington's performance in Flight? I think he's always a very | :05:38. | :05:42. | |
complex actor, even in a film that isn't as complex as his performance. | :05:42. | :05:46. | |
Flight has two thirds of a great film in, and lets itself down | :05:46. | :05:50. | |
towards the end. He is very strong. You want to be with him and follow | :05:50. | :05:53. | |
him. He gets the complexity of the character. He is very much the best | :05:53. | :05:56. | |
thing about the film. Like with Lincoln, they make the film better | :05:56. | :06:00. | |
than the film actually is. I think what he does really well, with the | :06:00. | :06:04. | |
opening he's an incredibly charismatic presence, and then the | :06:04. | :06:07. | |
charisma breaks down. You see him as a really wounded person. It lets | :06:07. | :06:13. | |
you not like him. Has the facility to do both. He's usually so keen to | :06:13. | :06:18. | |
be the leading man and the charisma centre, so it is good for him. | :06:18. | :06:22. | |
default the rest of the film broke down around him, he was the thing | :06:22. | :06:26. | |
that shone out of it. It let down his performance, he was allowing | :06:26. | :06:32. | |
him to be seen as a complicated and the film at the end hits you with a | :06:32. | :06:35. | |
hammer and says this is what you think. It is nice that he got | :06:35. | :06:38. | |
recognised and the film didn't. were talking about the physicality | :06:38. | :06:42. | |
of Daniel Day-Lewis, but when it comes to The Master, Joaquin | :06:42. | :06:46. | |
Phoenix surely would get an award for a physical performance? Again, | :06:46. | :06:50. | |
I think he does a brilliant job. I found the film problematic. I | :06:50. | :06:54. | |
didn't find it very compelling. Even though he is giving it the | :06:54. | :06:57. | |
full bells and whistles in terms of performance. Because I think it is | :06:57. | :07:01. | |
more of a mood thing. I don't feel like the story is so compelling, it | :07:01. | :07:05. | |
fizzled out for me. It was like a dual between him and Philip Seymour | :07:05. | :07:09. | |
Hoffman. I felt like the film was very interesting, he was being very | :07:09. | :07:14. | |
over the top for me, doing a lot for that film. It is not an Oscar | :07:14. | :07:17. | |
film. I'm not surprised it didn't show up in the categories. You can | :07:17. | :07:22. | |
see him acting so much in his performance. The academy likes to | :07:22. | :07:26. | |
see people acting and preferably singing much. They font like | :07:26. | :07:29. | |
Joaquin Phoenix, he doesn't much like them? That is what I like | :07:29. | :07:37. | |
about him. As with Monique when nominated for Precious, she did | :07:37. | :07:44. | |
nothing to campaign. Didn't he say he didn't want an Oscar. Didn't he | :07:44. | :07:46. | |
just play a meltdown character he played a few years ago. It is | :07:46. | :07:51. | |
interesting how the things work. Equally you could say the Best | :07:51. | :07:56. | |
Actor category should have been Philip Seymour Hoffman and the Best | :07:56. | :07:59. | |
Supporting Actor Joaquin Phoenix? It is hard to say. It is a | :07:59. | :08:02. | |
beautiful duet throughout the film. The best moments are when they are | :08:02. | :08:05. | |
behave the mind games and the battles between them. This is | :08:05. | :08:09. | |
something that so often comes up with best and best supporting. You | :08:09. | :08:13. | |
could say that a lot with the others, the actresses, there is a | :08:13. | :08:16. | |
fine line. Sometimes supporting means supporting an actress or | :08:16. | :08:20. | |
actor. That is always very arguable and weird. They fit people in. | :08:20. | :08:22. | |
of the things about Silver Linings Playbook is one of the few films | :08:22. | :08:27. | |
that it feels like an ensemble. The other films there is a big fat | :08:27. | :08:29. | |
figure, whether it is Daniel Day- Lewis et cetera. That was the | :08:29. | :08:34. | |
surprise in Silver Linings Playbook, here was the guy in the Hangover, | :08:34. | :08:39. | |
and he turned in a nuanced performance? I liked about it that | :08:39. | :08:45. | |
it was a relief it was not breaking into song, and it was in the modern | :08:45. | :08:50. | |
day. For Bradley Cooper, the whole idea that he actually created this | :08:50. | :08:54. | |
character whofs both really damaged, funny -- who was really both | :08:54. | :09:00. | |
damaged, funny and smart, and by the way bi-polar? Robert denir row | :09:00. | :09:07. | |
is in this as well. -- De Niro is in this as well. And there is talk | :09:08. | :09:11. | |
about it putting a human face on mental illness, but I don't think | :09:11. | :09:15. | |
it is that. I think they make a magnetic couple, Jennifer Lawrence | :09:16. | :09:20. | |
and him. It is a comedy, it has dark undertones. It is a romcom? | :09:20. | :09:24. | |
That is one of the classical things we criticise about the Oscars, they | :09:24. | :09:34. | |
give it to people who die. De Niro is fantastic. He's incredibly funny. | :09:34. | :09:39. | |
The star screen is the one where they are all arguing. There are a | :09:40. | :09:46. | |
huge number of people voting with conventional tastes, it rewards | :09:46. | :09:49. | |
weepy performances and extra things like singing and dancing and | :09:49. | :09:54. | |
pretending it has a disability. Bringing us neatly to the final | :09:54. | :09:58. | |
category, the all-singing, not necessarily dancing, Jackman. When | :09:59. | :10:03. | |
you see it out of context, you see the clip, it is like, really? | :10:03. | :10:08. | |
embarrassed about enjoying the film. When you watch it outside. How dare | :10:08. | :10:13. | |
you! In the moment he carries that film for 237 very long minutes. | :10:13. | :10:16. | |
He's absolutely giving it all. To be able to have a film that is | :10:16. | :10:19. | |
ostensibly a musical, but act that you care about the character, and | :10:19. | :10:23. | |
he brings some of the acting skills too was pretty impressive. I missed | :10:23. | :10:29. | |
it on every button. It didn't work me at all, -- for me at all. It was | :10:29. | :10:33. | |
painful. The only more painful movie was The Hobbit. That is | :10:33. | :10:40. | |
saying a lo. He's already, he's fine. He's host of the Oscars. | :10:40. | :10:45. | |
does work for that. He certainly works. You can hear him working a | :10:45. | :10:50. | |
bit too much. Any ambitions for Best Actor category? It is | :10:50. | :10:53. | |
interesting for Amour we have Emmanuelle Riva nominated for Best | :10:53. | :10:58. | |
Actress, and Amour turning up in Best Picture, despite foreign | :10:58. | :11:04. | |
language. We don't have the actor performance in Amour, that is | :11:04. | :11:06. | |
arguably the more complicated and difficult role. He's unfortunate in | :11:07. | :11:15. | |
that he's in a strong year. Maybe he doesn't want it. Anybody else? | :11:15. | :11:19. | |
John Sessions! Very good actor? don't know, but he's just great any | :11:19. | :11:23. | |
way. Give him a Lifetime Achievement Award. I meant to say | :11:23. | :11:29. | |
John Hots for The Sessions, he's playing with someone who has a | :11:29. | :11:33. | |
disease, yet likeable? I think it was too much of, the academy | :11:33. | :11:38. | |
recognised it was asking for an Oscar too much. Whoever gets | :11:38. | :11:41. | |
nominate Liberal Democrat lose to Daniel Day-Lewis. This is a cake | :11:41. | :11:45. | |
walk for him. Let's move on, the selection for Best Actress is as | :11:46. | :11:49. | |
mixed as it is likely to be in terms of movies and nominees. Those | :11:49. | :11:53. | |
spanning a staggering nine decades between them, none of this year's | :11:53. | :11:57. | |
contenders has ever had the experience of lifting the famed | :11:57. | :12:07. | |
:12:07. | :12:09. | ||
statuette. Emmanuelle Riva is not just the | :12:09. | :12:13. | |
oldest woman ever to be nominated in this category, but on Sunday she | :12:13. | :12:20. | |
will celebrate her 86th birthday. Nominated for her role in James | :12:20. | :12:24. | |
Hanson's Amour. She's already scooped the BAFTA. But foreign | :12:24. | :12:30. | |
language films rarely do well at the Oscars. 76 years Riva's junior, | :12:30. | :12:34. | |
is nine-year-old Quvenzhane Wallis, the youngest female ever to be | :12:34. | :12:38. | |
nominated for Best Actress. It goes quiet behind my eyes. I see | :12:38. | :12:43. | |
everything that made me, flying around and invisible pieces. Wallis | :12:43. | :12:48. | |
was only six years old when she played Hushpuppy in Behn Zeitlin's | :12:48. | :12:52. | |
Beasts of Southern Wild. But though this young rookie is undoubtedly | :12:52. | :12:59. | |
charming, the likelihood of heroining seems slim. -- her | :12:59. | :13:03. | |
winning seems slim. Nominated for her role of Tiffany | :13:03. | :13:07. | |
in Silver Linings Playbook, 22- year-old Jennifer Lawrence would at | :13:07. | :13:11. | |
any other time be considered an outsider with her youth W a | :13:11. | :13:17. | |
previous Oscar nomination under her belt, and having taken most major | :13:17. | :13:21. | |
awards this season. She will step into the Dolby Theatre as the | :13:21. | :13:24. | |
favourite. I wanted to clarify anything, I want us to be friends. | :13:24. | :13:29. | |
Did you hear what I said? Jessica Chastain was nominated just a year | :13:29. | :13:32. | |
ago in the Best Supporting Actress category for her role in The Help, | :13:32. | :13:41. | |
so can she take it on to the podium for her portrayal of the unassuming | :13:41. | :13:49. | |
heroine Mya in Zero Dark Thirty directed by Bigelow. | :13:49. | :13:53. | |
Last of all, on the red carpet, Naomi Watts, nominated for her role | :13:53. | :14:00. | |
as a mother swept up in the 2004 tsunami, in Juan Antonio Bayona's | :14:01. | :14:04. | |
The Impossible. I'm scared. scared too. | :14:04. | :14:09. | |
Watts, often regarded as the actor's actor, does turn in an | :14:09. | :14:14. | |
emotionally powerful performance, but this is the The Impossible's | :14:14. | :14:17. | |
only nomination. With such a broad spectrum of contenders, whoever | :14:17. | :14:22. | |
wins there will surely be lots to talk about. That's even before | :14:22. | :14:27. | |
discussion of what and whom they will all be wearing. | :14:27. | :14:30. | |
Let's go back to Silver Linings Playbook, first of all, we have had | :14:30. | :14:35. | |
Bradley Cooper. It is also goingor Best Supporting Actor and actress, | :14:35. | :14:41. | |
as well as Jennifer Lawrence, that is the first film since Reds to | :14:41. | :14:46. | |
have four in the category. Do you think this is her stand-out | :14:46. | :14:50. | |
performance? What was interesting, I hadn't seen the Hunger Games, | :14:50. | :14:54. | |
this was my first experience of her. I was dazzled. What I thought was | :14:54. | :14:58. | |
interesting, she has this real magnetism, you can totally get why | :14:58. | :15:02. | |
Bradley Cooper wants to be with her. She also has the vulnerability. The | :15:02. | :15:05. | |
third thing, which I absolutely love, was the very sharp | :15:05. | :15:11. | |
intelligence. In her interactions with the Robert De Niro character | :15:11. | :15:15. | |
where she beats him with the sport, she knows everything about sport. | :15:15. | :15:19. | |
That is almost like some ZAF vant where she can do it? She's picking | :15:19. | :15:24. | |
it all the way along the way. That combination is a deadly combination. | :15:24. | :15:27. | |
For a 22-year-old? Whether it is clever management or she has good | :15:27. | :15:32. | |
taste or luck, she did Winter's Bone, very intense and dark indie | :15:32. | :15:36. | |
film, highly respected. She did a massive blockbuster Fran chie, in | :15:36. | :15:41. | |
which she played a tough girl. Now she does this, she's still charming | :15:41. | :15:46. | |
in a sullen way. It is not an ingraigsating smiley girl. She has | :15:46. | :15:51. | |
a bombshell figure, and she's beautiful. She makes that | :15:51. | :15:55. | |
calibration between comedy and pathos. She has likability and girl | :15:55. | :16:02. | |
next door quality I think actually she might be winning in a way for | :16:02. | :16:07. | |
Winter's Bone, such an extraordinary film. It was a | :16:07. | :16:12. | |
wonderful performance. She has a career that has a lot of push. The | :16:12. | :16:16. | |
academy responds to that, where sometimes someone comes along and | :16:16. | :16:20. | |
it is their moment. You feel that with her. There has been weird | :16:20. | :16:23. | |
shuffling with people like Amy Adams and Helen Hunt who could have | :16:23. | :16:26. | |
been in the Best Actress category they were pushed to the side. That | :16:26. | :16:30. | |
is partly the decision on the part of the distributors who say what | :16:30. | :16:37. | |
they would campaign for. That is an interesting idea in itself. | :16:37. | :16:44. | |
Bankable star. I thought Amy Adams in The Master would get that. | :16:44. | :16:49. | |
thought SallyField would get one. didn't! Moving on. Let's now move | :16:49. | :16:58. | |
on and talk a bit about the $2 million, and the six-year-old, | :16:58. | :17:02. | |
Quevenzhane, actress or performance? If anyone should win | :17:02. | :17:07. | |
an award for this it should be Behn Zeitlin. Working with child actors | :17:07. | :17:12. | |
is challenging. It is all about knowing how to coax the best out of | :17:12. | :17:15. | |
them. Having made home movies with my children, it is getting them | :17:15. | :17:19. | |
through the set-up and getting them comfortable. You didn't have to do | :17:20. | :17:25. | |
that in a swamp? Norfolk it close. She's an extraordinary charismatic | :17:25. | :17:30. | |
kid. Half of it is the great fro she has in the movie. She has | :17:30. | :17:33. | |
presence and charisma. She will be in the next Steve McQueen film. | :17:33. | :17:38. | |
That will be a lot of work? She was dismissive when the film first | :17:38. | :17:43. | |
showed at Sundance. She didn't want to be there. She's tiny, nine now | :17:43. | :17:48. | |
and six then. I was struck by her strength. She seems like a warrior. | :17:48. | :17:51. | |
There is a scene where she's doing the arm wrestling with the dad. I | :17:51. | :17:55. | |
found the film slightly annoying. She is wonderful. I don't think I | :17:55. | :17:59. | |
necessarily want a seven-year-old doing the voiceover in that film. | :17:59. | :18:05. | |
It is a bit too much. It is highly derivative of Terence Malik from | :18:05. | :18:09. | |
the beginning. A lot of it to do with the amazing framing, she looks | :18:09. | :18:14. | |
so beautiful. The innocent face. I'm not sure the delivery of the | :18:14. | :18:19. | |
lines is especially convincing. You can't get away from the fact, being | :18:19. | :18:24. | |
nominated for an Oscar at six, what does it mean, have you turned in | :18:24. | :18:29. | |
extremely thought out clever performance. What will you do at | :18:30. | :18:37. | |
85.Or End up like Lindsay Lohan and TatumO'Neil. Would another six- | :18:37. | :18:41. | |
year-old with the same stuff behind them not be the same. I'm not so | :18:41. | :18:46. | |
much sure the film is about her, as it won't be good for her life. | :18:46. | :18:49. | |
Talking about Zero Dark Thirty and Kathryn Bigelow didn't get a | :18:49. | :18:52. | |
nomination, but Jessica Chastain has. Is she strong enough to be the | :18:52. | :18:57. | |
lynch pin of the film? It is very interim performance, very quiet, a | :18:57. | :19:00. | |
person who is clenched, whole life is career, the whole thing about | :19:00. | :19:04. | |
process. Not one of the strongest performances I have seen in A | :19:04. | :19:13. | |
Bigger Splash big film. She as fine, I have seen -- A bigger film. She | :19:13. | :19:19. | |
was fine. I have seen her in better. She was fantastic in Take shelt | :19:19. | :19:23. | |
Shelter. The Help. She was the best thing in it. This is a good point | :19:23. | :19:30. | |
for her to get recognition. Isn't it partly also that trope of a whom | :19:30. | :19:34. | |
trying to desperately get a killer, who has problems, and has some | :19:34. | :19:38. | |
damaged psyche in some way. That has been done so well on TV. It is | :19:38. | :19:42. | |
The Killing and also Homeland, with those programmes they have 10-20 | :19:42. | :19:45. | |
hours to develop the characters. Suddenly even two-and-a-half hours, | :19:45. | :19:50. | |
that character feels a bit thin and flat to me. And a bit annoying. You | :19:50. | :19:53. | |
don't have to like someone, the character for it to be great | :19:53. | :19:56. | |
performance. With her I felt she was incredibly tense and buttoned | :19:56. | :20:02. | |
up or sleeking. I didn't feel inbetween there was enough -- | :20:02. | :20:06. | |
shrieking. I didn't get enough of the inside woman. Did you get a | :20:06. | :20:10. | |
sense as to what her obsession was? Not particularly. I found it | :20:10. | :20:13. | |
offensive that the whole point of killing Osama Bin Laden was to | :20:13. | :20:17. | |
appease her. I couldn't find out why that was there in the film? | :20:17. | :20:22. | |
of the reasons it was not showing up as much as it was thought to in | :20:22. | :20:26. | |
the nominations, is because it is incredibly equivocal about what it | :20:26. | :20:29. | |
is saying. It plays both sides, that is how it managed to annoy | :20:29. | :20:32. | |
both sides of the argument. It is the journalism that shaped it. | :20:33. | :20:36. | |
She's modelled on someone specific, perhaps there is some flattery | :20:36. | :20:40. | |
going on. I think it is "journalism", they appropriated the | :20:40. | :20:46. | |
idea it was journalistic, not using some of the facts. One of the whole | :20:46. | :20:53. | |
things in the beginning they say it is based on firsthand accounts and | :20:53. | :20:57. | |
transcripts, but at the end the whole thing is without torture they | :20:57. | :21:03. | |
wouldn't have got Osama Bin Laden. Another extraordinary actress, the | :21:04. | :21:07. | |
elderly actress, Emmanuelle Riva. Tell me, do you think this should | :21:07. | :21:11. | |
win. Do you think she's just wonderful. Sor will she get it | :21:11. | :21:18. | |
because she has come -- or will she get it because she's an actress | :21:18. | :21:22. | |
whom James Hanson loved? I dreaded watching the film. Two hours of two | :21:22. | :21:26. | |
people dying wouldn't be much money fun. I found it amazingly moving | :21:26. | :21:29. | |
and lovely. That was my best performance, I think. The reason | :21:29. | :21:34. | |
was, she gives that character dignity and a sense of purpose. So | :21:34. | :21:38. | |
even though this is a woman who is suffering from strokes and going to | :21:38. | :21:41. | |
die. You get the sense she's in charge of what she wants to. Do you | :21:42. | :21:45. | |
see that breaking down. It could be so easy to play that character for | :21:45. | :21:49. | |
pity, but you don't, you play it for strength. I thought that was | :21:49. | :21:53. | |
really moving. I have really big reservations about Amour, can I see | :21:53. | :21:57. | |
the craft, and it is exceptionally well made. Knows what he's putting | :21:57. | :22:03. | |
the cram in every shot. The use of sound -- the camera in every shot. | :22:03. | :22:06. | |
The use of sound. There is something I hate about Hanson, the | :22:06. | :22:09. | |
great tragedy of the story, it is touching with the love they have, | :22:09. | :22:12. | |
but the way they lock out their daughter is horrible. She's | :22:12. | :22:16. | |
definitely the odd person out in the familiar lo. It is all about | :22:16. | :22:24. | |
them. The humiliation that she might have to go to an old folks' | :22:24. | :22:34. | |
home. He loves to torture the Boris Johnson woi people. -- I think the | :22:34. | :22:40. | |
tenderness is her, the man and the daughter are played incredibly cold. | :22:40. | :22:43. | |
Hanson doesn't like people. You can't say that people aren't acting | :22:43. | :22:48. | |
well in Hanson films. There is such a bitter core in all his films. A | :22:48. | :22:51. | |
lot of people has said Amour is showing his gentle side. I thought | :22:51. | :22:58. | |
it was a very angry bit of film. Really? She has warmth, her face | :22:58. | :23:04. | |
has this wonderful smile. I have been rewatching Hiroshima MomAmour, | :23:04. | :23:09. | |
the other film she's famous for. She's not a huge legend of French | :23:09. | :23:16. | |
film. She made one famous film in 1959, even then she was 30. She has | :23:16. | :23:20. | |
this intelligent and beautiful warm smile, very intelligent presence. | :23:20. | :23:23. | |
It is a brilliant piece of casting. You are saying it is cold, if you | :23:23. | :23:26. | |
are having something like that happening, is it not natural to say | :23:26. | :23:29. | |
only us two can understand what we are really going through? I don't | :23:29. | :23:32. | |
think so. I think it depends on what person you are. Hanson painted | :23:32. | :23:37. | |
people the way he sees people, and maybe the way he is. Which hits | :23:37. | :23:41. | |
instinct in a crisis is to -- which his instinct in a crisis is to shut | :23:41. | :23:45. | |
people out. It is a portrait of that. There is some surprise at | :23:45. | :23:51. | |
three very notable absences in the Best Director category, Kathryn | :23:51. | :23:57. | |
Bigelow for Zero Dark Thirty, Quentin Tarantino for Django -- | :23:57. | :24:04. | |
Django Unchained, and fecundability feck in Argo. If Argo wins Best | :24:04. | :24:08. | |
Picketure, it will be the only one in a handful of times in Oscar | :24:08. | :24:11. | |
history that Best Director and Best Picture have diverged. The five | :24:11. | :24:20. | |
nominees are all male, but it is not without surprises. | :24:20. | :24:23. | |
The two heavyweights in this category are Steven Spielberg and | :24:23. | :24:29. | |
Ang Lee, with Lincoln and The Life of Pi. Historical dramas have | :24:29. | :24:33. | |
certainly spelt Oscar success for Spielberg in the past, and Lee | :24:33. | :24:37. | |
lease adaptation of the Booker Prize-winning novel, The Life of Pi, | :24:37. | :24:42. | |
represents a bold new move towards technological prowess. Silver | :24:42. | :24:45. | |
Linings Playbook director, David O Russell, had a brush with Oscar | :24:45. | :24:49. | |
success two years ago, with the nomination for Best Director of The | :24:49. | :24:53. | |
Fighter. This year his genre- busting romcom has come back in the | :24:54. | :25:03. | |
:25:04. | :25:05. | ||
running. You want to have dinner at the diner? Pick me up at 7.30. | :25:05. | :25:10. | |
year-old Behn Zeitlin is nominated for his debut feature, Beasts of | :25:10. | :25:14. | |
Southern Wild. With a mere $2 million bucket, Zeitlin cobbled | :25:14. | :25:18. | |
together sets, and used non- professional actors. In a million | :25:18. | :25:25. | |
years, when kids go to school, they are gonna know, that Hushpuppy | :25:25. | :25:30. | |
lived with her daddy in the bath tub. Unusually for a foreign film, | :25:30. | :25:36. | |
Amour, a heart rending journey of love and old age, has several major | :25:36. | :25:41. | |
nominations, including Best Film, Best Foreign language film, Best | :25:41. | :25:45. | |
Actress. And a nod for Best Director for acclaimed European | :25:45. | :25:55. | |
:25:55. | :25:59. | ||
film maker, James Hanson. Let's move on to Philip Hensher, | :25:59. | :26:05. | |
why has holiday noticed him now? has a lot of palm dors, a claim on | :26:05. | :26:08. | |
the European circuit festival. Now because he's highly respected there | :26:08. | :26:14. | |
is a lot of money behind him, he works with known actors. He's a | :26:14. | :26:19. | |
European arthouse name to say you know and like him. It is a box- | :26:19. | :26:27. | |
ticking exercise to say you know Haneke. He's hard to love for me. | :26:27. | :26:32. | |
Do you think kol wood would take to this -- Hollywood would take to | :26:33. | :26:37. | |
this film about two old people in a room and a screaming daughter? | :26:37. | :26:41. | |
think a lot of people are saying Americans won't go for it, it is | :26:41. | :26:44. | |
too depression. Everyone has a point of entry, everyone will die, | :26:44. | :26:48. | |
everyone has parents who will die. It is much more relateable than it | :26:48. | :26:56. | |
seems. It is interesting Haneke got nominated. He's kind of like a | :26:56. | :27:02. | |
prize European. What happened with the nominations, these supposed | :27:02. | :27:05. | |
snubs to Ben Affleck and Quentin Tarantino and Kathryn Bigelow, when | :27:05. | :27:08. | |
the directors were sitting there to make the nominations, they were | :27:08. | :27:11. | |
thinking, you know what Evelyn will nominate Ben Affleck and Kathryn | :27:11. | :27:16. | |
Bigelow, I'm going to show I'm really highbrow and do Haneke, | :27:16. | :27:21. | |
that's how he has snook in. Not that it is not deserved. It is | :27:21. | :27:28. | |
because everyone's trying to be more highbrow than thou. Let's talk | :27:28. | :27:32. | |
about Ang Lee, The Life of Pi? film, technically it is fantastic. | :27:32. | :27:37. | |
If you are going to give an award for making up tigers give it to Ang | :27:37. | :27:42. | |
Lee. I think the 3. D work is spectacular, the flying fish are | :27:42. | :27:47. | |
spectacular. But I think that, in a way, what is bizarre is this film | :27:47. | :27:55. | |
is trying to give spirituality, yet the finest moments are technical, | :27:55. | :27:58. | |
digital things, rather than spiritual. That is a failure in | :27:58. | :28:02. | |
some ways. There was a "how do they do that?", things with the jelly | :28:02. | :28:06. | |
fish and so forth. You are taken by that rather than the idea that | :28:06. | :28:08. | |
there is relationship building? didn't feel there was nothing | :28:08. | :28:12. | |
spiritual about it. I thought what was genius is the technical stuff | :28:12. | :28:18. | |
was so well done it disappeared. I wasn't looking at the pixels. | :28:18. | :28:24. | |
Really. I'm not subject to spiritual mum Mo jumbo, I was put | :28:24. | :28:28. | |
off by the book trying to make me shi think spiritual things so much. | :28:28. | :28:32. | |
The performance was so good, and technical so good, it opened up the | :28:32. | :28:38. | |
space where I thought about the ideas. Did it speak to Ang Lee's | :28:38. | :28:43. | |
director and vision as a director. Always doing something so different. | :28:43. | :28:51. | |
Going from Broke Back Mountain, Crouching Tigers? At the heart of | :28:51. | :28:57. | |
it he's always interested in families, he's always interested in | :28:57. | :29:00. | |
intimate relationships. There are delicate subtle performances | :29:00. | :29:08. | |
whatever type of film. Whether a superhero movie or martial arts | :29:08. | :29:11. | |
films. It works for The Life of Pi. Did you find the narration and | :29:11. | :29:14. | |
meeting them together? There is a lot that shouldn't work, I was | :29:14. | :29:19. | |
surprised liked it as much as I did. I thought it was an example where | :29:19. | :29:22. | |
film doesn't necessarily do metaphor and symbolism as well as | :29:23. | :29:25. | |
books. Do there is certain books where you can play the double team | :29:25. | :29:28. | |
of what is going on. When you see it in the film you think this isn't | :29:29. | :29:32. | |
working. In the last act of the book it was much more effective | :29:32. | :29:38. | |
when I read the novel, it felt thrown away. It was loud or | :29:38. | :29:43. | |
extremely close or the or way round. In the film it was nauseating but | :29:43. | :29:51. | |
the book more understandable. about David O Russell?'S A good | :29:51. | :29:59. | |
journeyman director. He's clearly Harvey Weinstein's pet. Apparently | :29:59. | :30:03. | |
he does have a masty reputation, that isn't a matter here. He has | :30:03. | :30:10. | |
made a wired collection of movies. I like his early stuff, Three Kings, | :30:10. | :30:18. | |
the I Heart Huckabees was insane. This one is a nostalgia move for | :30:18. | :30:22. | |
the screw ball comedies of the 40s, that is where the film is strongest. | :30:22. | :30:25. | |
Do you think it was he that brought the performances from Jennifer | :30:25. | :30:29. | |
Lawrence, or it is his own thing? think so. He has found a rhythm. | :30:29. | :30:34. | |
Certainly to get actors of that imaginationry to work together, to | :30:34. | :30:43. | |
get the timing -- Majesty to work together to get the timing. It is a | :30:43. | :30:47. | |
personal felt film from the director, you don't always get that | :30:47. | :30:51. | |
in the Best Director category. David O Russell having an up and | :30:51. | :30:57. | |
down reputation, making himself unpopular with Huckabees and then | :30:57. | :31:00. | |
redeeming himself with The Fighter which got a lot of snom nations. | :31:00. | :31:04. | |
This is a film about bettering yourself, and redeeming yourself | :31:04. | :31:09. | |
from being horrible. Is it an apology? Maybe a little bit. | :31:09. | :31:18. | |
end we have Spielberg, and on the other end young Behn Zeitlin from | :31:18. | :31:22. | |
his film, Beasts of Southern Wild. He, essentially took less than $2 | :31:22. | :31:26. | |
million, act r actors that weren't professionals. Didn't look at the | :31:26. | :31:33. | |
Dailies or rushes, and put together this film? To make it worse he's 29. | :31:33. | :31:36. | |
Two days before nominations closed he put it in, and he's very young. | :31:36. | :31:42. | |
Are you jealous? If only the film hadn't done so well. $17 million it | :31:42. | :31:46. | |
has taken. It looks spectacular. What you can do for $2 million. | :31:46. | :31:50. | |
This is an example you were asking about what the director does. This | :31:50. | :31:55. | |
was definitely a director's film. It is credited to a collective. He | :31:55. | :32:00. | |
didn't want to take sole credit for it. It was very much with his | :32:00. | :32:02. | |
writing partner. I don't think it is necessarily the performances | :32:02. | :32:06. | |
bringing it out, it is the use of the camera and music. It is not so | :32:07. | :32:11. | |
much a story. It is about creating a world and evoking an atmosphere. | :32:11. | :32:15. | |
It violates all the kinds of things you are not supposed to do in film, | :32:15. | :32:21. | |
work with children, water, animals, shot in 16mms instead of digital. | :32:21. | :32:25. | |
lot of people involved in this were doing their first film. Such an | :32:25. | :32:29. | |
ambitious project for young people doing their first thing. Yes they | :32:29. | :32:32. | |
have had Sundance backing and support. You have this thing where | :32:32. | :32:36. | |
he's waiting there to see if he has won it, and Spielberg is waiting to | :32:36. | :32:40. | |
see if he has won it. That is exorderry you were talking about | :32:40. | :32:44. | |
the absence of others, and you have the absence of Tarantino, Tom | :32:44. | :32:49. | |
Hooper, et cetera. Do you think Spielberg with Lincoln, people feel | :32:49. | :32:53. | |
very passionately about Spielberg, don't they? I'm surprised, for me | :32:53. | :32:56. | |
this is not one of his best films. It feels like he has the hand of | :32:56. | :33:01. | |
history on him. He feels too reverential and dutiful, it feels | :33:01. | :33:04. | |
like the sort of film, if you are a history student you will want in | :33:04. | :33:07. | |
your collection. But you are not going to want to watch it. I wanted | :33:07. | :33:12. | |
to watch it. I enjoyed it a lot. will talk about best film in a bit. | :33:12. | :33:22. | |
:33:22. | :33:25. | ||
In terms of what he was doing and you could say that the trio of | :33:25. | :33:29. | |
David Stratherne, and Daniel Day- Lewis and Tommy Lee Jones, that | :33:29. | :33:33. | |
trio together was extraordinary, you couldn't fail. I think | :33:33. | :33:37. | |
Tarantino did a better job with Django in terms of making a | :33:37. | :33:41. | |
cinematic experience than Spielberg Z I found the film dull to be | :33:41. | :33:51. | |
honest. Lincoln is an easy film to like, Django you can be wowed by | :33:51. | :33:54. | |
but it is devisive. It is a procedural film, but I found it | :33:54. | :33:58. | |
dull. You like the West Wing, you will love this? I don't know if it | :33:58. | :34:02. | |
is necessarily a director's film. Spielberg being Spielberg now, you | :34:02. | :34:05. | |
assemble all the best people in the business around you, how much can | :34:05. | :34:08. | |
really go wrong, there is an element of that. Tarantino is | :34:08. | :34:11. | |
Tarantino and could only be Tarantino, but I think Tarantino | :34:11. | :34:14. | |
had to be punished for Django Unchained a little bit. That is why | :34:15. | :34:19. | |
it may not have got as many nominations. I like that he plays | :34:20. | :34:26. | |
fast and loose with facts, I like that. I fuend it puerile, I find it | :34:26. | :34:32. | |
ir-- I find it puerile. I find it irritating. He's too naughty. | :34:32. | :34:37. | |
talk about being naughty but inglorious Bestards was brilliant | :34:37. | :34:42. | |
and it got revolted. Maybe this is close tort bone for Americans. | :34:42. | :34:47. | |
Let's move on, last year's Ward were bathed in nostalgia, we have | :34:47. | :34:55. | |
the tribute to the -- last year's Academy Awards were bathed in no | :34:55. | :34:59. | |
sir algia with The Artish winning five nominations. There is a wide | :34:59. | :35:06. | |
variety in the running. There is no doubt that the hot | :35:06. | :35:11. | |
favourite to win is Argo. Ben Affleck's slick retro thriller with | :35:12. | :35:16. | |
the CIA's involvement in the Iranian hostage crisis, which has | :35:16. | :35:21. | |
scooped numerous awards, including Golden Globes for Best Director and | :35:21. | :35:26. | |
Best Picture and the BAFTA for Best Film. There are only options, it is | :35:26. | :35:32. | |
about finding the best one. don't have a better idea than this? | :35:32. | :35:37. | |
This is the best bad idea we have. The competition is Lincoln from | :35:37. | :35:40. | |
Steven Spielberg, the highest grossing film on the list. One two | :35:40. | :35:42. | |
of films about America's relationship with slavery, which | :35:42. | :35:46. | |
couldn't be more different. The other being Quentin Tarantino's | :35:47. | :35:54. | |
typically bloody Django Unchained. I like the way you die, boy. | :35:54. | :35:59. | |
Following her Oscar-winning The Hurt Locker, Kathryn Bigelow's Zero | :35:59. | :36:02. | |
Dark Thirty focuses on another contemporary subject, the killing | :36:02. | :36:08. | |
of Osama Bin Laden. Is this topic a little too political for the | :36:08. | :36:14. | |
academy's tastes. Not surprising Ang Leely's lavish The Life of Pi | :36:14. | :36:24. | |
:36:24. | :36:29. | ||
is -- Ang Lee's laughic The Life of Life of Pi sup for 11 nominations. | :36:29. | :36:33. | |
Tom Hooper and Les Miserables up for eight awards, and proving some | :36:33. | :36:36. | |
A-Listers can really sing and live on set. | :36:36. | :36:39. | |
# Yes it is true # There is a child | :36:39. | :36:44. | |
# The child is my daughter I'm married. At first glance a | :36:45. | :36:52. | |
romantic comedy about bi-polar disorder and spread betting doesn't | :36:52. | :36:58. | |
lock like much of a film. But it proved a sophisticated reinvention | :36:58. | :37:05. | |
of the romcom. Then the outside bets, Behn Zeitlin's response to | :37:05. | :37:07. | |
Hurricane Katrina, Beasts of Southern Wild, is up for four | :37:07. | :37:12. | |
awards, including Best Picture. Not bad at all for a small budget | :37:12. | :37:16. | |
feature. The only foreign language film on the list, the tale of love | :37:16. | :37:24. | |
and old age, Amour. So will the academy finally honour Hanek after | :37:24. | :37:30. | |
a long and auspicious career. Can Zeitlin follow Sam Mendes and | :37:30. | :37:37. | |
others to win the award for his first feature, and Affleck to win | :37:37. | :37:41. | |
the fight against American heros. We have talked about a number of | :37:41. | :37:46. | |
these films. Let's deal with Argo. It is a film that speaks to modern | :37:47. | :37:52. | |
American fears, a bit like 1993 did. I wonder if that will give it a | :37:52. | :37:56. | |
following wind? It will give it a push, and speaks to Hollywood's own | :37:56. | :38:00. | |
sense of self-satisfaction, that the sense the hostages are freed. | :38:00. | :38:06. | |
The Iranians are making a different film, of course? Exactly. It will | :38:06. | :38:11. | |
flatter the academy. It has already swept all the precursor awards. It | :38:11. | :38:17. | |
is a weird blip that he didn't get nominated for Best Director. I | :38:17. | :38:22. | |
think it is certainly a lock. the way you were saying the Oscars | :38:22. | :38:27. | |
liking to be sophisticated and choosing things, because Argo has | :38:27. | :38:30. | |
done well elsewhere, do you think they will feel they have to back | :38:30. | :38:33. | |
it? A lot of the things happen after the fact and the voting. The | :38:33. | :38:37. | |
reason it is so weird that Ben Affleck didn't get the director | :38:37. | :38:42. | |
nomination, is the Oscars over award actors who are also directors | :38:42. | :38:48. | |
t loves these people, the Robert Redfords, the Jodie Foster, and | :38:48. | :38:52. | |
Clint Eastwood, they want those famous people do something else. | :38:52. | :38:56. | |
They want to be in with famous people so they will invite them | :38:56. | :39:00. | |
round for dinner. Ben Affleck is in that mould, he's not that showy | :39:00. | :39:06. | |
director, and the best thing about Argo is not necessarily the | :39:06. | :39:09. | |
direction. It is funny, politically serious and Hollywood mainstream | :39:09. | :39:12. | |
with the tension and drama. I would disagree with the directing, I | :39:12. | :39:16. | |
thought the last half hour of Argo was very Spenceful. Everything | :39:16. | :39:21. | |
happening at the last minute. was fantastic, I was at the edge of | :39:21. | :39:26. | |
the my seat. Didn't you think it was phoney because it was left | :39:26. | :39:29. | |
until then. I didn't think it was phoney, I thought it was good film | :39:29. | :39:33. | |
making. The interesting thing about that versus zerze, you know what | :39:33. | :39:37. | |
happens to Osama Bin Laden, there was no suspense zurg -- Zero Dark | :39:37. | :39:41. | |
Thirty, you know what happens to Osama Bin Laden, so there was no | :39:41. | :39:47. | |
Spence. It felt genuinely exciting. Let's say what are the chances of a | :39:47. | :39:51. | |
foreign language film, Amour, winning Best Picture? Very, very | :39:51. | :39:55. | |
small. It is lovely to have it in there, just having it on the list | :39:55. | :39:58. | |
is really interesting, it opens doors for future foreign language | :39:58. | :40:02. | |
films, it shows people these films don't have to be overlooked, just | :40:02. | :40:06. | |
because there are subtitles at the bottom of the screen. Do you think | :40:06. | :40:09. | |
with the Artist getting everything last year, they will move away from | :40:09. | :40:14. | |
that? The Artist did a different kind of films, maybe it is that it | :40:14. | :40:19. | |
wasn't so bad to have a few French people. Maybe they changed the | :40:19. | :40:22. | |
regulations to open up to have as many as ten, to have these weird | :40:22. | :40:25. | |
things crop up, something like this and Beasts of Southern Wild, or | :40:25. | :40:28. | |
something in a foreign language, I think that is really exciting and a | :40:28. | :40:33. | |
really smart move on the part of the academy. Was it in a broader | :40:33. | :40:35. | |
way, because we are coming to the end of the programme, let's talk | :40:35. | :40:39. | |
about the Oscar, was it because the Oscars, it is all about the glitz | :40:39. | :40:43. | |
and the dresses. But actually what they wanted to do for people in the | :40:43. | :40:47. | |
industry is return a bit of credibility to it? I think that is | :40:47. | :40:50. | |
very problematic for them. They are trying to do both things, by | :40:51. | :40:53. | |
opening up the nominations they wanted to give a chance to | :40:53. | :40:57. | |
outsiders and small pictures, the more Major Generalal ones. They | :40:57. | :41:01. | |
also wanted, we are hoping, in order to get bigger audiences for | :41:01. | :41:05. | |
the broadcast. Which is the meat and potatoes and pays everyone's | :41:05. | :41:09. | |
bills and puts all the coature on their backs. They want things like | :41:09. | :41:16. | |
the Batman movie to get nominated and The Hobbit, they are not | :41:16. | :41:20. | |
getting nominated. It is pictures like Amour. Zero Dark Thirty, | :41:20. | :41:24. | |
Lincoln, Django are all America revisiting moments of its fractured | :41:24. | :41:28. | |
past and trying to find a way of getting cinematic closure and happy | :41:28. | :41:32. | |
ending which may not have happened at the time. It sound like this is | :41:32. | :41:35. | |
Hollywood trying to retreat back into the American past or reinvent | :41:35. | :41:39. | |
the truth in some ways. Before we finish we have a quick, your | :41:39. | :41:45. | |
wishlist and where you think that there is going to be a problem for | :41:45. | :41:48. | |
your desires? In which ever category do you chose, what would | :41:48. | :41:53. | |
you like to win and which will win? For me in foreign language I would | :41:53. | :42:03. | |
:42:03. | :42:03. | ||
love to Seymour mour not win, and Pablo Lauren's film No, another | :42:03. | :42:07. | |
election and politics move yo, one of the most overlooked films of the | :42:07. | :42:14. | |
year and a stonker. In actor in a supporting role, I thought Alan | :42:14. | :42:18. | |
Arkin was very good. I don't think he will win, because Tommy Lee | :42:18. | :42:23. | |
Jones and Walter is good. But Arkin was really funny. I think the | :42:23. | :42:29. | |
animated film category is great this year. I think Wreck It Ralph, | :42:29. | :42:36. | |
but I would like Frankenweenie for me. Thank you for your choices, you | :42:36. | :42:41. | |
can roll out your very own red carpet and pop the corks in the | :42:41. | :42:47. | |
middle of fund night and see who has won hot in the academy on Sky | :42:47. | :42:53. | |
Movies HD coverage. Thanks to my guests. | :42:53. | :42:58. | |
Matter that is back at 1.00 next week, the suggests up for | :42:58. | :43:03. |