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Hello and welcome to Film 2013 with me Claudia Winkleman. And me Danny | 0:00:20 | 0:00:29 | |
Leigh. We are live, get in touch by tweeting or email. Coming up: Tom | 0:00:29 | 0:00:33 | |
Hanks and Halle Berry make a connection in Cloud Atlas. What are | 0:00:33 | 0:00:39 | |
you doing in here? Love and loss for Ben Affleck in Terrence | 0:00:39 | 0:00:43 | |
Malick's To The Wonder. Gongs and glad rags, it's Oscar time again. | 0:00:43 | 0:00:49 | |
You will procure me these votes. Plus, Robbie Collin and Xan Brooks | 0:00:49 | 0:00:53 | |
Brooks are here to chat all things Oscar. First up is Cloud Atlas, | 0:00:53 | 0:00:57 | |
based on the best-selling novel by David Mitchell. The film was shot | 0:00:57 | 0:01:03 | |
by three directors and chronicles six narratives with actors playing | 0:01:03 | 0:01:08 | |
multiple roles. This is the Cloud Atlas secretaries at the time? | 0:01:08 | 0:01:13 | |
doubt there are more than a handful of coppice in South America. I know. | 0:01:13 | 0:01:21 | |
It I know I know. It That is it. The music from my dream. I imagined | 0:01:21 | 0:01:26 | |
us meeting again and again in different lives and different ages. | 0:01:26 | 0:01:30 | |
The thing that got me about the screenplay when I read it was this | 0:01:30 | 0:01:33 | |
idea we are all connected it doesn't matter when we are alive or | 0:01:33 | 0:01:36 | |
not. If you want to call it something more like reincarnation, | 0:01:36 | 0:01:40 | |
that is not as important to me, we are connected by the things we | 0:01:40 | 0:01:44 | |
create and the decision that is we make. These forces begin long | 0:01:44 | 0:01:54 | |
0:01:54 | 0:01:57 | ||
before we are born and continue after we perish. We live in a world | 0:01:57 | 0:02:02 | |
where cinema is not allowed to have the same, kind of, of expansiveness | 0:02:02 | 0:02:06 | |
that cinema once had or that literature has ever had. The | 0:02:06 | 0:02:10 | |
history of literature is a history of full of philosophical | 0:02:10 | 0:02:15 | |
investigation, but we never are allowed in cinema to talk about | 0:02:15 | 0:02:22 | |
philosophy, explicitly. Yesterday, my life was headed in one direction. | 0:02:22 | 0:02:30 | |
Today, it is headed in another. agree on, you know, so many | 0:02:30 | 0:02:35 | |
substantial issues in regards to art and how we imagine cinema to be | 0:02:35 | 0:02:40 | |
and what we long for in cinema nowadays. We feel it's probable | 0:02:40 | 0:02:45 | |
going to triple the potential for something exciting if we do it the | 0:02:45 | 0:02:53 | |
three of us. It was very democratic. Film-making is a social art form. | 0:02:53 | 0:03:00 | |
And, this is a natural extension of that. Action! The idea of making a | 0:03:00 | 0:03:04 | |
movie where one person got to play four or five, sometimes six | 0:03:04 | 0:03:09 | |
different characters really excited me. Where we didn't always | 0:03:09 | 0:03:13 | |
understand it, or we weren't always aware of how we were connecting to | 0:03:13 | 0:03:20 | |
one another, they always knew that. Fear, love, the phenomenon that | 0:03:20 | 0:03:24 | |
determine the course of our lives. Everything has been thoroughly | 0:03:24 | 0:03:29 | |
processed and yet I believe that what we have also been able to do | 0:03:29 | 0:03:34 | |
is, like, leave things open to the audience. There is not a tiny | 0:03:34 | 0:03:40 | |
single spot that I feel we've been lazy with. There is a natural order | 0:03:40 | 0:03:49 | |
to this world and those who try to up-end it do not farewell. Cloud | 0:03:49 | 0:03:52 | |
Atlas will have passionate fans and detractors. Everyone who sees this | 0:03:52 | 0:03:57 | |
film will see it with their jaw hanging open. As a book it was | 0:03:58 | 0:04:05 | |
subtle and gorgeously written. As a film it is an unhinged, feel-good | 0:04:05 | 0:04:12 | |
extravaganza. It is three hours long, give it or take. It cost $100 | 0:04:12 | 0:04:17 | |
million. It all feels like what would happen if you abducted a | 0:04:17 | 0:04:21 | |
large group of actors and locked them in a fancy dress shop. You | 0:04:21 | 0:04:26 | |
would come back in the morning they would have made Cloud Atlas. It's | 0:04:26 | 0:04:31 | |
wildly imaginative, wildly ambition. It's also, if we are being honest, | 0:04:31 | 0:04:35 | |
wildly ridiculous, from time to time. I have to be honest, it has | 0:04:35 | 0:04:39 | |
been a little while since I have seen a film this stoneed. I think | 0:04:39 | 0:04:43 | |
that is why I liked it. That is interesting. I thought it was... | 0:04:43 | 0:04:48 | |
Hats off to them. It is a big old ride. It is long. It, sort of, | 0:04:48 | 0:04:52 | |
careers around a bit. I think you just have to give them points for | 0:04:52 | 0:05:02 | |
bravery. I love this tweet. Some people, like you say, very anti., | 0:05:02 | 0:05:08 | |
"disjointed and confusing, way too long, weirdly entertaining a sort | 0:05:08 | 0:05:18 | |
0:05:18 | 0:05:19 | ||
of, "spot the actor film", now I need to read the book. ." It is | 0:05:19 | 0:05:24 | |
spectacular. The acting has to go big. You have 13 actors playing the | 0:05:24 | 0:05:29 | |
whole of humanity across thousands of years. Some of the cast scope | 0:05:30 | 0:05:37 | |
better than others. Tom Hanks is having a good time. I have to say | 0:05:37 | 0:05:42 | |
I'm not convinced he always knew there was a camera rolling. That is | 0:05:42 | 0:05:48 | |
a good thing. The book, you could take it as a series of short | 0:05:48 | 0:05:51 | |
stories. Everything has been cross cut here you are settling into a | 0:05:52 | 0:05:58 | |
story about a love struck young composer in Cambridge when Hugo | 0:05:58 | 0:06:02 | |
Weaving comes up from the future. That is distracting. I liked that. | 0:06:02 | 0:06:06 | |
It was good value-for-money. As a night out... That sounds weird, I | 0:06:06 | 0:06:13 | |
would say, go, it is bonkers, go. have never seen anything quite like | 0:06:13 | 0:06:17 | |
Cloud Atlas before. That is not meant to sound like a backhander. | 0:06:17 | 0:06:21 | |
There are things I admire about it and applaud about it. Not sure I | 0:06:21 | 0:06:27 | |
would want to sit next to it on the bus. Now it's time for To The | 0:06:27 | 0:06:37 | |
0:06:37 | 0:06:38 | ||
Wonder, Terrence Malick's latest film about life and love. You shall | 0:06:38 | 0:06:46 | |
love, whether you like it or not. Emotionless, -- emotionss, they | 0:06:46 | 0:06:53 | |
come and go like clouds. Love is not only a feeling, you shall love. | 0:06:54 | 0:07:01 | |
To love. To love is to run the risk of failure. The risk of betrayal. | 0:07:01 | 0:07:05 | |
You fear your love has died. You, perhaps, it is waiting to be | 0:07:05 | 0:07:12 | |
transformed into something higher. It's instantly recognisable. It's | 0:07:12 | 0:07:16 | |
filled with beauty and a sense of rapporteur in nature. It is filled | 0:07:16 | 0:07:21 | |
with voice overs as well asking us questions, as we just saw like, | 0:07:21 | 0:07:30 | |
"what is this love that loves us" which is what we asked ourselves | 0:07:30 | 0:07:35 | |
standing in the chip chip shop. This a movie where at moments you | 0:07:35 | 0:07:38 | |
are watching a masterclass in cinema. Moments you are watching | 0:07:38 | 0:07:43 | |
something which is genuinely profound. There are other moments | 0:07:43 | 0:07:47 | |
when you are watching something that should be projected at the | 0:07:47 | 0:07:55 | |
perfume counter at a duty-free shop. There are other sections that are | 0:07:55 | 0:08:00 | |
solemn. I loved it. I don't know how to say that when I look at you. | 0:08:00 | 0:08:05 | |
Terrence Malick is great. It spoke to my 20-year-old self where I | 0:08:05 | 0:08:11 | |
wandered around, I didn't actually. I would have liked to have wandered. | 0:08:11 | 0:08:16 | |
Looking over your shoulder? Yes. You go, this is not how women are. | 0:08:16 | 0:08:20 | |
Women don't give up their children for men. They are not clinging. | 0:08:20 | 0:08:26 | |
They don't run in fields. That is not how we work. We like jobs, | 0:08:26 | 0:08:35 | |
eating and working. Then I realised how he did men. Here is one tweet, | 0:08:35 | 0:08:42 | |
"it seemed like I was one of a handful at the press screening who | 0:08:42 | 0:08:48 | |
wasn't exasperated." I will see it again. I think it's horribly | 0:08:48 | 0:08:52 | |
miscast. Ben Affleck is a talented man, but an actor who can express | 0:08:52 | 0:08:57 | |
great emotion just by standing silently stair -- staring into the | 0:08:57 | 0:09:03 | |
middle distance is he is not. I had no idea what was going on with him. | 0:09:03 | 0:09:13 | |
0:09:13 | 0:09:14 | ||
He was confused, unwell. Olga Kurylenko spends 95% of the film | 0:09:14 | 0:09:19 | |
running through fields looking over your shoulder. It is a strange | 0:09:19 | 0:09:23 | |
because Terrence Malick has made a beautiful and thought-provoking | 0:09:23 | 0:09:30 | |
film. His lead actors look like shop dummy ries coming to life. | 0:09:30 | 0:09:36 | |
Next, Terence Stamp and Vanessa Redgrave star in Song for Marion. | 0:09:36 | 0:09:42 | |
have entered us into a choir competition. Hello. What are you | 0:09:42 | 0:09:49 | |
doing here? We are singing. Better get someone who can sing then. | 0:09:49 | 0:09:55 | |
me your rock-and-roll. It's about two old age pensioners, married, | 0:09:55 | 0:10:01 | |
completely devoted to each other. She joins a choir. He's just | 0:10:01 | 0:10:10 | |
jealous. Bomb gone off in here. are making cakes. Did grandad tell | 0:10:10 | 0:10:16 | |
you he came to hear me singing? wouldn't call it singing. Hip-hop. | 0:10:16 | 0:10:21 | |
Like the kids. Why don't you join in. Like this. | 0:10:21 | 0:10:31 | |
0:10:31 | 0:10:32 | ||
# Grandad's rap, it's so crap... # Who taught you that word? Grandma, | 0:10:32 | 0:10:37 | |
she says she keeps having to crap. I don't know what is wrong with | 0:10:37 | 0:10:45 | |
your lot, completely crackers. OK. His life is suddenly empty, | 0:10:45 | 0:10:55 | |
0:10:55 | 0:10:56 | ||
doesn't have any reason to do anything really. Then, the Gemma | 0:10:56 | 0:11:01 | |
Arterton character insist there is is something in him that he isn't | 0:11:01 | 0:11:08 | |
acknowledging. Enjoy yourself? It isn't me. Let everyone see you. | 0:11:08 | 0:11:12 | |
The exciting thing for me was the redemption. This is a man, very | 0:11:12 | 0:11:19 | |
late in life, who suddenly has the realisation that there is something | 0:11:19 | 0:11:27 | |
within him that is really alive. Would you like to sing? All right. | 0:11:27 | 0:11:33 | |
You're a dark horse, Arthur. Even if I fall flat on my arse, I'm | 0:11:33 | 0:11:43 | |
0:11:43 | 0:11:43 | ||
going to do the song. It would be easy to snipe and take pot-shots | 0:11:43 | 0:11:48 | |
for it being predictable and broad and sentimental, it is all of those | 0:11:48 | 0:11:52 | |
things. It is all of those things endearingly. I spent the first half | 0:11:52 | 0:11:57 | |
of the film waiting for it to turn into a Mike Leigh movie. It didn't | 0:11:57 | 0:12:03 | |
do that. It is not that kind of film. It is softer like the | 0:12:04 | 0:12:12 | |
Calendar girls or The Full Monty. I think life is short. This film is | 0:12:12 | 0:12:15 | |
actually gentle and I think it's heartfelt. I think it takes nerve | 0:12:15 | 0:12:20 | |
really to make a fill thm sweet. Redgrave is absolutely brilliant. | 0:12:20 | 0:12:28 | |
We had so many tweets about it, "as funny as it is hard breaking. The | 0:12:28 | 0:12:36 | |
veterans command the centre stage". You were impressed? It is all about | 0:12:36 | 0:12:39 | |
the performance. Terence Stamp can carry a movie. Vanessa Redgrave is | 0:12:39 | 0:12:44 | |
always Vanessa Redgrave. Gemma Arterton is very strong here. | 0:12:44 | 0:12:46 | |
Fantastic to see Christopher Eccleston. I wish Christopher | 0:12:46 | 0:12:50 | |
Eccleston made more movies. He is good when he does. The | 0:12:50 | 0:12:54 | |
relationships between Christopher Eccleston and Terence Stamp as | 0:12:54 | 0:12:59 | |
father and son feels real. All those characters who may be | 0:12:59 | 0:13:04 | |
cartoonish on the page feel very well real. That means the film can | 0:13:04 | 0:13:07 | |
get away with being sentimental. It has something true at the heart of | 0:13:07 | 0:13:13 | |
it. What is your Film of the Year? My book of the week would be Cloud | 0:13:13 | 0:13:17 | |
Atlas. I would encourage everyone to get. It is a mighty thing. All | 0:13:17 | 0:13:26 | |
three of the films are, as Cloud Atlas would say, interlinked. They | 0:13:26 | 0:13:35 | |
are heartfelt, Cloud Atlas gives you the most bang for your buck. | 0:13:35 | 0:13:42 | |
was going to say see To The Wonder? Because it is Malick, you have to | 0:13:42 | 0:13:52 | |
0:13:52 | 0:13:52 | ||
keep up with what he is doing. Read Cloud Atlas. The Oscars take place | 0:13:52 | 0:13:59 | |
this Sunday here's a quick reminder of who is leading the race. It can | 0:13:59 | 0:14:05 | |
only be the 85th annual Academy Awards. Leader of the pack is | 0:14:05 | 0:14:08 | |
Steven Spielberg's Lincoln. Two- time Oscar winner, Daniel Day-Lewis | 0:14:08 | 0:14:14 | |
is hoping to do the triple and become the first actor to win three | 0:14:14 | 0:14:19 | |
Best Actor Academy Awards. He will need them, no-one has ever won an | 0:14:19 | 0:14:24 | |
Oscar for a lead role in a Steven Spielberg movie. Some things you | 0:14:24 | 0:14:29 | |
can rely on. Lincoln composer John Williams gets his 48th nomination. | 0:14:29 | 0:14:35 | |
11 more and he will tie with record holder Walt Disney. Next is Life of | 0:14:35 | 0:14:39 | |
Pi with 11 nominations, seven of which are in the technical | 0:14:40 | 0:14:43 | |
categories. It is the fourth film in Oscar history to achieve such a | 0:14:43 | 0:14:49 | |
feat. Les Miserables and Silver Linings Playbook are both on song | 0:14:49 | 0:14:53 | |
with eight nominations. Les Miserables is the first musical to | 0:14:53 | 0:14:59 | |
be nominated for Best Picture since Chicago in 2002. Silver Linings | 0:14:59 | 0:15:02 | |
Playbook has been recognised in all four acting categories. Everybody. | 0:15:03 | 0:15:10 | |
With its Best Picture nod could be a contender for the big five. The | 0:15:10 | 0:15:17 | |
last film to be nominated was Reds. Argo has seven nominations. | 0:15:17 | 0:15:27 | |
0:15:27 | 0:15:43 | ||
want to come to Hollywood and act Ben Affleck is the most prominent | 0:15:43 | 0:15:49 | |
2013 Oscar snub. Django Unchained and zero DUP 13 | 0:15:49 | 0:15:54 | |
may both have five nominations apiece but their directors Quentin | 0:15:54 | 0:15:59 | |
Tarantino and Kathryn Bigelow did not make the cut. Skyfall failed to | 0:15:59 | 0:16:05 | |
get into the best picture race. Amour also has five nominations, | 0:16:05 | 0:16:11 | |
including one for 85-year-old Emmanuelle Riva for best actress. | 0:16:11 | 0:16:17 | |
She is up against the nine-year-old start of peace of the sudden wild. | 0:16:17 | 0:16:23 | |
They are the oldest and youngest nominees ever -- Beith of the | 0:16:23 | 0:16:30 | |
southern wild. There are just four days left until the big decisions | 0:16:30 | 0:16:36 | |
are made. Here with us now I'd journalists | 0:16:36 | 0:16:43 | |
Robbie Collins and Xan Brooks. Thank you for coming in. Is it a | 0:16:43 | 0:16:51 | |
good year? It is not an obvious year, is it? It is certainly an | 0:16:51 | 0:16:55 | |
exciting year if you want a close race where all the challenger | 0:16:55 | 0:17:00 | |
seemed to have a glass jaw. Nobody seems to have the complete | 0:17:00 | 0:17:05 | |
advantage. Lincoln was leading the race at Bath does and then coming | 0:17:05 | 0:17:15 | |
0:17:15 | 0:17:15 | ||
up short. It seems as if Argo has the momentum -- at the BAFTA ors. | 0:17:15 | 0:17:20 | |
The Michael Haneke is up for best picture, Emmanuelle Riva for Best | 0:17:20 | 0:17:28 | |
actress, it has nominations in all four categories. There is an | 0:17:28 | 0:17:32 | |
offensive Western from Quentin Tarantino and then Lincoln which is | 0:17:32 | 0:17:37 | |
a period piece. Oh great year for diversity in the top category. | 0:17:37 | 0:17:43 | |
Usually it is the either / or at this pace. Now there are seven or | 0:17:43 | 0:17:49 | |
eight film swirling around. Last year, we all knew it was the Artist. | 0:17:49 | 0:17:54 | |
It played at Cannes in July and everybody said that will win, job | 0:17:54 | 0:18:01 | |
done. This year, there was some real momentum behind Argo at | 0:18:01 | 0:18:04 | |
Toronto and then when the nominations were announced and Ben | 0:18:04 | 0:18:07 | |
Affleck was snubbed for Best Director, people thought it would | 0:18:07 | 0:18:14 | |
not win. Since the 1930s, only one film has won best picture without a | 0:18:14 | 0:18:24 | |
0:18:24 | 0:18:26 | ||
Best Director which was Driving Miss Daisy. Let's just remind | 0:18:26 | 0:18:33 | |
ourselves of the films which were nominated in best picture category. | 0:18:33 | 0:18:43 | |
0:18:43 | 0:18:45 | ||
You really believe this story? Osama Bin Laden? Yes. | 0:18:45 | 0:18:55 | |
0:18:55 | 0:18:56 | ||
If you are right, the whole world will want in on this. | 0:18:56 | 0:19:06 | |
0:19:06 | 0:19:14 | ||
Without Richard Parker I would have Bull's eye. What is your name? | 0:19:14 | 0:19:24 | |
0:19:24 | 0:19:38 | ||
When life reaches out at the moment like this, it is a sin if you do | 0:19:38 | 0:19:42 | |
not reach back. You have to do everything you can. It you stay | 0:19:42 | 0:19:50 | |
positive you have a shot at a silver lining. There are millions | 0:19:50 | 0:20:00 | |
0:20:00 | 0:20:02 | ||
in bondage and unborn millions to come. I have got an idea. They are | 0:20:02 | 0:20:07 | |
Canadian film crew for a science fiction movie. Will fly out as a | 0:20:07 | 0:20:12 | |
film crew. You have a better idea than this? This is the best idea we | 0:20:12 | 0:20:22 | |
0:20:22 | 0:20:24 | ||
have, by far. I see everything that made me. | 0:20:24 | 0:20:34 | |
0:20:34 | 0:20:53 | ||
# life has killed a dream. Hydra in. Can I just say, massive | 0:20:53 | 0:21:02 | |
generalisation, men and women, you three were sobbing. Nine-year -- | 0:21:02 | 0:21:08 | |
nine films in best category this year, last year there were 10. What | 0:21:08 | 0:21:14 | |
is missing? The Master. It is the 10th film which should be there. To | 0:21:15 | 0:21:22 | |
would you agree? A wholeheartedly, yes. It is a film made for film | 0:21:22 | 0:21:28 | |
lovers and incredibly informed. It draws on the traditions of American | 0:21:28 | 0:21:32 | |
cinema. The performances from Robert De Niro and Orson Welles | 0:21:32 | 0:21:35 | |
found all these incredible things from film history, the fact that | 0:21:35 | 0:21:39 | |
the academy has not recognise that, even though it is tricky without | 0:21:39 | 0:21:43 | |
the resolution at the end which people crave, to me it is | 0:21:43 | 0:21:49 | |
disappointing. I remember at the time I came out, we thought, that | 0:21:49 | 0:21:56 | |
has got to be it, the opening shot alone. It is this weird thing off | 0:21:56 | 0:22:01 | |
films Peking and trusting. It peaked at the Venice Film Festival. | 0:22:01 | 0:22:06 | |
We said there surely it is the best film of the year. I think it was a | 0:22:06 | 0:22:13 | |
bit too wild and strange for the Academy. What de we think will win? | 0:22:13 | 0:22:19 | |
I have the latest odds and it looks like Argo. Affleck is not nominated | 0:22:19 | 0:22:23 | |
for best director. A what looked like an open race a week ago has | 0:22:23 | 0:22:32 | |
narrowed down to our cost. I think it risks being... I think it risks | 0:22:32 | 0:22:38 | |
becoming a trivia question in a pub quiz in 20 years' time, what won | 0:22:38 | 0:22:43 | |
the best Oscar in the year that the Life Of Pi and Lincoln came out? No | 0:22:43 | 0:22:49 | |
one will get it and no one will remember what Argo was. Is it the | 0:22:49 | 0:22:54 | |
best film of the year? Of course it is not. People have a great deal of | 0:22:54 | 0:22:58 | |
affection towards it. Something very worthy like Lincoln, the | 0:22:58 | 0:23:02 | |
costumes are great, the production design is terrific, when you are | 0:23:02 | 0:23:07 | |
filling out nominations that is easy to choose. When you fell out | 0:23:07 | 0:23:12 | |
your ballot paper and think which of these films are excited any in | 0:23:12 | 0:23:16 | |
the cinema, Argo is a film which connected people. We should | 0:23:16 | 0:23:20 | |
remember that the people who voted in the Academy only had to put in | 0:23:20 | 0:23:25 | |
their ballot papers on Tuesday. All the BAFTAs and all these other | 0:23:25 | 0:23:34 | |
things, will they think, we snubbed Ben Affleck, it should win? Yes, I | 0:23:34 | 0:23:39 | |
think he will. Of the Academy think they are being radical in going for | 0:23:39 | 0:23:44 | |
Argo, it is a bit out there, not respectable history like Lincoln. | 0:23:44 | 0:23:51 | |
If they wanted to be really radical they could give the best picture to | 0:23:51 | 0:24:01 | |
0:24:01 | 0:24:01 | ||
Zero Dark 30 odd Django Unchained. This happens all the time at the | 0:24:01 | 0:24:11 | |
Oscars. Look at the year Crash won. It was interesting but not two gay | 0:24:11 | 0:24:18 | |
cowboys. Ang Lee also missed out that year. There is Lincoln and | 0:24:18 | 0:24:24 | |
Life Of Pi, it seems you would all be delighted with Life Of Pi? | 0:24:24 | 0:24:29 | |
silly. It is strange to talk about it being underrated when it has 11 | 0:24:29 | 0:24:33 | |
nominations but a lot of those are in the technical category and there | 0:24:33 | 0:24:37 | |
is a risk it could be shunted aside. The worst anyone says about Life Of | 0:24:37 | 0:24:45 | |
Pi is it is mushy. That is not criticism I accept. It could have | 0:24:45 | 0:24:50 | |
been a career killer for Ang Lee. It was the book which should not be | 0:24:50 | 0:24:55 | |
adapted. I think Life Of Pi is a triumph. I completely agree. Ang | 0:24:55 | 0:25:02 | |
Lee took a book which was considered none the adaptable. It | 0:25:02 | 0:25:08 | |
is very cinematic. When you see it you sink -- you think it is | 0:25:08 | 0:25:13 | |
designed to be on the big screen. Ang Lee's achievement is much more | 0:25:13 | 0:25:19 | |
so than Ben Affleck. There is also a resistance to the Life Of Pi | 0:25:19 | 0:25:27 | |
because the Academy think it is too sentimental. Is there a feeling | 0:25:27 | 0:25:32 | |
that they like George Clooney, they like Ben Affleck, is there a | 0:25:32 | 0:25:39 | |
feeling that he deserves this? certainly have a sentimental streak | 0:25:39 | 0:25:44 | |
and they have their darlings. Clooney is also -- almost becoming | 0:25:44 | 0:25:48 | |
the Jack Nicholson of his generation. He is the one the | 0:25:48 | 0:25:52 | |
camera cuts to and the one the host is making jokes about and he is | 0:25:52 | 0:25:57 | |
laughing along with it. One of the things about the Oscars is as well | 0:25:57 | 0:26:02 | |
as shining a light on great films, it can destroy a film for me. I | 0:26:02 | 0:26:07 | |
liked Argo when I saw it back in the autumn. The more we are told it | 0:26:07 | 0:26:13 | |
is the Oscar favourite, you think no, surely not. You have gone off | 0:26:13 | 0:26:20 | |
it! You like it before it was cool. Absolutely. It reminds me of the | 0:26:20 | 0:26:23 | |
Booker Prize where traditionally the book which has won the Booker | 0:26:23 | 0:26:29 | |
Prize is a book which nobody has hated. It has been a compromise and | 0:26:29 | 0:26:34 | |
a fudge. I think Argo risks going down in history as the film nobody | 0:26:34 | 0:26:39 | |
hated. The for going on to best director, I have to ask you what | 0:26:39 | 0:26:44 | |
would you like to win? In the absence of the mast I think it | 0:26:44 | 0:26:53 | |
should be Life Of Pi. Life Of Pi. would go Django Unchained. Left me | 0:26:53 | 0:27:03 | |
0:27:03 | 0:27:10 | ||
$:/STARTFEED. If David O'Russell wins I will hear you from my house? | 0:27:10 | 0:27:15 | |
I'm boycotting any conversation about Silver Linings Playbook. | 0:27:15 | 0:27:21 | |
Lincoln, it should be? Yes. With Barack Obama beginning his second | 0:27:21 | 0:27:24 | |
term, that feels like the completion of the process that was | 0:27:24 | 0:27:27 | |
started with the events that happened in Lincoln. I think, | 0:27:27 | 0:27:31 | |
perhaps, there will be a move to reward Spielberg in that sense. | 0:27:31 | 0:27:36 | |
There is the sense that the Best Director Oscar is seeing as a | 0:27:36 | 0:27:41 | |
runner up prize, a, "thanks for trying" prize. There are lots of | 0:27:41 | 0:27:45 | |
people not on this list like Bigelow or Tarantino, are you | 0:27:45 | 0:27:53 | |
disappointed by their omissions? is strange. Could you have a | 0:27:53 | 0:27:57 | |
parallel list. Affleck not tkwg going on -- being on that. That is | 0:27:57 | 0:28:03 | |
notable. They are saying that Argo is the Best Film of the year, the | 0:28:03 | 0:28:13 | |
0:28:13 | 0:28:13 | ||
only thing bad about it was the idiot behind it. OK. Let us remind | 0:28:13 | 0:28:20 | |
ourselves who is up for Best Actor and Best Actress. You look nice. | 0:28:20 | 0:28:27 | |
How did Tommy die? It was an ordinary day. You know me, I was in | 0:28:27 | 0:28:37 | |
0:28:37 | 0:28:37 | ||
shape to fly. Do you have a problem saying that? Things that are equal | 0:28:37 | 0:28:43 | |
to the same thing are equal to each other. The only way to defend | 0:28:43 | 0:28:49 | |
ourselves is to attack. Calm down. It will be OK. He is dangerous. | 0:28:49 | 0:28:53 | |
# Gave me hope # When hope was gone hbg he gave me | 0:28:53 | 0:29:01 | |
strength to turn it on... # There are two narratives about the | 0:29:01 | 0:29:11 | |
0:29:11 | 0:29:19 | ||
You have a problem? I have a problem? You say more inappropriate | 0:29:19 | 0:29:29 | |
0:29:29 | 0:29:34 | ||
things than appropriate things. and my daddy, we stayed right here. | 0:29:34 | 0:29:44 | |
0:29:44 | 0:29:45 | ||
Thank you. Thank you. Thank you so much. First things first, actor, | 0:29:45 | 0:29:50 | |
Daniel Day-Lewis, done. Am I wrong or right? That is a done deal. | 0:29:50 | 0:29:59 | |
can move on to Best Actress. There is a lot of love for Emmanuelle | 0:29:59 | 0:30:04 | |
Riva., "Emmanuelle Riva deserves all the awards. If she doesn't win | 0:30:04 | 0:30:12 | |
the whole thing is a farce." Another one here, "if Jennifer | 0:30:12 | 0:30:18 | |
Lawrence doesn't win they should scrap the ceremony." It is either | 0:30:18 | 0:30:28 | |
0:30:28 | 0:30:31 | ||
or? Jennifer Lawrence has been the frontrunner for months. She was the | 0:30:31 | 0:30:41 | |
frontrunner for a very long time. Emmanuelle Riva was named the Best | 0:30:41 | 0:30:47 | |
Actress at the BAFTAs. I hope Oscar voters have gone away and look at | 0:30:47 | 0:30:52 | |
Amour and see the complexity and depth of that performance that | 0:30:52 | 0:30:55 | |
outclasses every nominee on that list. She is second odds on, if you | 0:30:55 | 0:31:02 | |
like to win. Who would you like it to go to? I would like it to go to | 0:31:02 | 0:31:05 | |
her too. She has the momentum. It is the best performance of the | 0:31:05 | 0:31:11 | |
bunch. It is an astonishing piece of work. She has the sentimental | 0:31:11 | 0:31:16 | |
value as well of being, celebrating her 86th birthday on the night of | 0:31:16 | 0:31:21 | |
the Oscars. Sh shouldn't matter. The the Academy likes a good news | 0:31:21 | 0:31:27 | |
story. Shame to get her from Paris to send her all the way home. | 0:31:27 | 0:31:37 | |
0:31:37 | 0:31:37 | ||
will be voting for Emmanuelle Riva while. Why she has picked up these | 0:31:37 | 0:31:42 | |
nominations, and her could-star hasn't had a nomination anywhere. I | 0:31:42 | 0:31:46 | |
find it pusleing because it was a film about a couple. Best | 0:31:46 | 0:31:52 | |
Supporting, that is Hathaway. There has been support for Amy Adams. | 0:31:52 | 0:31:59 | |
Hathaway they will give the Oscar for Best Musical Performance not | 0:31:59 | 0:32:06 | |
Best Supporting Actress. Who is Best Actress? It could be Tommy Lee | 0:32:06 | 0:32:16 | |
0:32:16 | 0:32:16 | ||
Jones. It could be De Niro. He is gunning for. This it has been 30 | 0:32:16 | 0:32:23 | |
years since his last one. Who are we putting our money on? Tommy Lee | 0:32:23 | 0:32:27 | |
Jones. We are back next week. We will review Stoker, Broken City, | 0:32:27 | 0:32:30 | |
Arbitrage and Caesar Must Die. Playing us out tonight, West Side | 0:32:30 | 0:32:39 | |
Story our opportunity to dance. In 1962 it was nominated for 11 Oscars | 0:32:39 | 0:32:45 | |
and won 10, making it the musical with the most Oscar wins. A record | 0:32:45 | 0:32:53 |