Oscars Review Special Talking Movies


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Oscars Review Special

In a special edition, Talking Movies looks back at Hollywood's biggest night of the year, reporting on the major winners at the Academy Awards.


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LineFromTo

Now on BBC News, it's time

for a Talking Movies Oscars Special.

0:00:010:00:05

Hello from California,

I'm Tom Brook, and welcome to this

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special edition of Talking Movies

where we look back at the 90th

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annual Academy Awards.

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A recap of what happened

on the big night.

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We hear from those who took

home top Oscar prizes.

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I'm going back home

with these babies.

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Director Guillermo del Toro's film,

The Shape of Water, won

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four Academy Awards,

more than any other picture.

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We bring you his thoughts

on his Oscar-winning movie.

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The idea was to make a movie

about love and cinema.

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It was a night of

inclusion at the Oscars.

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We hear how the Chilean picture

A Fantastic Woman made history

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when it won the best

foreign-language film trophy.

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And we ask why does the Academy keep

giving its top best picture prize

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to little scene films.

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Why doesn't it embrace blockbusters?

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All that and more in this special

review of the Oscars

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edition of Talking Movies.

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The Academy Awards really engage

the film-making community

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here in Hollywood and this year

there were a lot of unanswered

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questions going into the ceremony.

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Everybody wanted to know which film

would win best picture

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and what impact would the Time's Up

movement have on the proceedings.

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Let's take a look

back at the evening.

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It was not an Oscars in which any

one picture made a major sweep.

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The Shape of Water came away

with the most trophies,

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four in all, for best picture,

original score, production design

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and for best director.

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This story of a mute cleaning lady

who becomes involved with an aquatic

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creature had a boldness

of vision, a vision that

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came from its director,

Guillermo del Toro, a man clearly

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delighted by his victories.

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My next stop is going to see my mum

and my dad this week.

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I'm going back home

with these two babies.

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At Oscar viewing parties in

Hollywood there was the expectation

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that The Shape of Water would win.

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Loved the movie, not surprised

at all, wonderful film.

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One of my favourites in a long time.

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I knew it was going to be Shape

of Water, I would have preferred

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for it to be Three Billboards

but I loved Shape of

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Water, it was great.

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So this is one of those

silly Academy things

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where they spend a fortune...

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Veteran awards expert and movie

lover Anne Thompson had been backing

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The Shape of Water all along

as the best picture winner.

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This is a case where

you have a beloved director

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in Guillermo del Toro but it's also

a movie that happens to tie

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in with the political narrative

of the day and so you have a Mexican

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director, he made a movie

that was a fairy tale,

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it was sincere, it was romantic

and it was inclusive

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in the sense that it was

about outsiders who would

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ordinarily be marginalised.

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It fit everything and it was

gorgeously made and all the crafts

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loved it and so that's why it got

so many nominations and four wins.

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The best actor prize went,

as expected, to Britain's Gary

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Oldman for his skilful portrayal

of the British wartime

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leader Winston Churchill

in the film Darkest Hour.

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Winning an Oscar for playing

arguably one of the greatest

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Britons who ever lived,

to win it for playing Winston

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makes it doubly special.

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It has been an unforgettable

experience and a highlight

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of my career.

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And best actress went

to Frances McDormand who gave

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a powerhouse performance as a mother

seeking justice for her daughter's

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murder in director Martin

McDonagh's dark comedy

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Three Billboards Outside Ebbing,

Missouri.

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Look around, everybody, look around,

ladies and gentlemen.

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Because we all have stories to tell

and projects we need financed.

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McDormand gave a memorable

acceptance speech in a show

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of solidarity, asking all female

nominees to stand.

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The plight of women in the film

industry, their experiences

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with sexual harassment,

the rise of the #MeToo

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and Time's Up movements,

were referenced at different

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occasions during the ceremony.

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It was very much an

Oscars of inclusion.

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We had Time's Up represented

on the stage as part of the show

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and the fact that the Academy

integrated that into the show,

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the monologue, addressed

a lot of what has been

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going on in Hollywood,

I think it was really important

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that the Academy and the Oscars

acknowledged this this year.

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But there are those who think that

politics at the Oscars telecast may

0:05:050:05:08

have turned off some TV viewers.

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I almost wonder if the political

cast of it was a good idea.

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They leaned in.

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I understand why, I understand that

in Hollywood everyone wants this

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kind of women's agenda,

Time's Up, #MeToo, inclusion,

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they really do, but you know what

are the Oscars are supposed to be?

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They're supposed to be

an advertisement for the movies.

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And back to the movies.

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Jordan Peele, Get Out.

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One highlight of the evening

was Get Out winning best

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original screenplay.

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This film, a clever fusing

of a racial satire with a horror

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movie, has been a critically

lauded huge hit.

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The Oscar went to the man who wrote

and directed it, Jordan Peele.

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These are exciting teams

for black film-makers.

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I'm so proud to be part of a time,

the beginning of a movement,

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where I feel like the best films

in every genre are being brought

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to me by my fellow black directors.

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Call Me By Your Name.

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Also winning for screenplay

was the gay romance

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Call Me By Your Name.

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89-year-old James Ivory was awarded

the best adapted screenplay trophy

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for his work on the film.

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He is now the oldest

Oscar winner ever.

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Gay romance this film might

be but Ivory sees it

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as a story of first love.

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It's a universal situation,

first love and how we feel about it.

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Whether it has made us unhappy

or joyous or whatever,

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that is universal and that is

subject matter that everyone

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everywhere can identify with.

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The British war epic

Dunkirk did well, winning

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three trophies in sound

and film editing categories.

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The Oscars was not

without omissions or snubs.

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Lady Bird, a strongly

liked coming-of-age story

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starring Saoirse Ronan,

had five nominations.

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The film, which marked

the directorial debut

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of Greta Gerwig, was seen as a big

success story but it

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the Oscars empty-handed.

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Overall it was an Academy Awards

ceremony with few surprises

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with the big prizes generally

going the way Oscar experts

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had been predicting.

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For Guillermo del Toro the Oscars

provided a great night.

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Not only did his film win the best

picture trophy but he also

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won for best director.

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So let's hear from the man himself

and take a look at his Oscar-winning

0:07:370:07:41

picture in greater depth.

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If I told you about her,

the princess without

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voice, what would I say?

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The Shape of Water is set

in Baltimore in 1962.

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Much of the action taking place

in a top-secret government

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laboratory where a mute cleaning

lady played by Sally Hawkins falls

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in love with an aquatic creature

from South America being held

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in captivity at the facility.

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Part of the reason for the film's

Oscar successes is its ambition.

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It draws from many different genres.

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Fantasy, horror, Cold War,

noir thriller, science-fiction.

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Guillermo del Toro

welcomed the challenge

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of bringing it all together.

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I thought the movie could be very

risky because it combined,

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comedy, melodrama, musical theatre,

creature feature, you know.

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It is all these things

at the same time and I thought,

0:08:300:08:32

that's difficult but that's why

you should make it.

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Is she deaf?

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Mute, sir, she can hear you.

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The film's silent star attraction

is Sally Hawkins who,

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except for one singing scene,

doesn't utter a word

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in this two-hour film.

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Del Toro wanted his leading lady

in this romance to be

0:08:460:08:49

a complex and real character.

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She's not a pure princess

waiting for the prince

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to kiss her for the first time.

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She has a life.

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Sally is a woman that is beautiful

and luminous but at the same time

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you can find her on the street.

0:09:040:09:08

Inspiration for The Shape of Water

came from the 1954 film

0:09:110:09:14

Creature From The Black Lagoon.

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Part of Del Toro's

childhood memories.

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That movie had an amphibious

humanoid monster.

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The director wanted his monster

to be a more developed,

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multidimensional being.

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If you do a monster monster,

all you need is for it to be scary

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or creepy in one or two scenes.

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But here you have a guy

who is going to be sad,

0:09:310:09:37

vulnerable, innocent,

brutal, fierce, an animal, a god,

0:09:370:09:39

all these things he needs to be.

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You need to give the tools to your

actor to create this creature.

0:09:420:09:48

The Shape of Water provides

a critique of militaristic Cold War

0:09:480:09:51

era America and its patriarchal

culture, which is seen

0:09:510:09:53

to marginalise women,

African Americans and gay people.

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By contrast, Del Toro has put

together a very inclusive work.

0:09:560:10:05

The idea was to make a movie

about love, and cinema.

0:10:050:10:12

So I wanted about loving the other

because right now everybody

0:10:120:10:15

says the other is guilty

of your unhappiness.

0:10:150:10:17

The immigrant, whatever

you want to call it,

0:10:170:10:19

they point fingers and I find

it very difficult.

0:10:190:10:24

Compared to his previous films such

as Pan's Labyrinth or Crimson Tide,

0:10:240:10:27

Guillermo del Toro strikes a more

optimistic tone in The Shape

0:10:270:10:29

of Water with a powerful love story,

one that clearly satisfied

0:10:290:10:32

Oscar voters.

0:10:320:10:35

The movies I've done,

nine movies before this,

0:10:350:10:41

are movies about nostalgia and loss.

0:10:410:10:43

They are tinged with a sadness.

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This movie is the first movie

that is almost life affirming,

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you know, it like full of beauty.

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You come out of the movie energised

to face the real world

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as opposed to sort of heartbroken

and destroyed because the real world

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destroyed something precious.

0:11:080:11:10

I think it's the first time

I dared to be hopeful.

0:11:100:11:12

Eliza, honey.

0:11:120:11:13

He's coming for you.

0:11:130:11:16

What's it like to be a nominee

from a distant land and come

0:11:160:11:19

to Los Angeles to participate

in Hollywood's biggest

0:11:190:11:21

night of the year?

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Well, to find out, we asked

two German film-makers

0:11:240:11:26

and their Kenyan production team

to document their trip

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to the Oscars.

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They have been nominated

for the live short action film

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Watu Wote, All Of Us.

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My name is Katja Benrath,

I'm from Hamburg, Germany and I'm

0:11:470:11:50

here in LA because we got nominated

for an Oscar for our short film,

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Watu Wote, for the short film Oscar.

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The story is about about

a terrorist attack.

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A bus was travelling to the border

region of Kenya to Somalia

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and the al-Shabab attacked the bus

with the aim to kill the Christian

0:12:080:12:12

passengers on the bus.

0:12:120:12:13

And on the bus there

were Christians and Muslims.

0:12:130:12:18

During the attack the Muslims just

gave hijabs to the Christian women

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and clothes to the Christian men

so that they could not

0:12:210:12:24

be divided any more.

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And they said to the terrorists,

kill all of us or none of us.

0:12:250:12:28

Until the terrorists

fled at the end.

0:12:280:12:31

You know, when we found out

we were nominated for an Oscar

0:12:330:12:37

we were showing the short film

for the first time in Kenya,

0:12:370:12:40

a lot of the cast members

were there and we watched

0:12:400:12:43

the announcement together

and what was the reaction?

0:12:430:12:46

I think it was screaming,

jumping, flipping!

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It was crazy and it was amazing

because there were so many people

0:12:480:12:51

in the room who were part of this

and it was a challenging process.

0:12:510:12:54

Congratulations, congratulations.

0:12:550:13:01

For me it means to be nominated

for an Oscar that it's especially

0:13:010:13:05

an honour to the whole team and crew

who worked on the project.

0:13:050:13:09

The time we spent here

in LA is like we...

0:13:120:13:15

It's the craziest time

I've ever experienced.

0:13:150:13:20

We had a lot of interviews,

you have to promote your film,

0:13:200:13:23

you have to do campaigning.

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I also have a few appointments

because some companies want to speak

0:13:240:13:27

with me because they liked

the short film.

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The film already opened doors for us

where we never ever thought

0:13:300:13:33

about knocking on them before.

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Now they are open and going

to the Oscars now, mainly for us

0:13:390:13:42

it is kind of really a great honour,

especially to the team.

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It was just amazing

being there on the red carpet.

0:14:120:14:14

Really experiencing everything.

0:14:140:14:15

It was great.

0:14:150:14:16

Also the preparations before

were amazing because we had a lot

0:14:160:14:19

of fun with hair and make-up

and so many people running around,

0:14:190:14:22

very chaotic but great.

0:14:220:14:25

Despite not having won the Oscar

it's great being nominated,

0:14:310:14:33

it's just winning as well.

0:14:330:14:38

The one thing I realised

during the last days,

0:14:380:14:40

it's totally possible,

it totally possible to just make

0:14:400:14:47

good films and tell good stories

to receive that honour

0:14:470:14:49

because people are interested

in films like that and stories

0:14:490:14:52

like that so just think

about the next story,

0:14:520:14:54

the next film.

0:14:540:14:55

I was a little bit surprised how

little at all I was disappointed.

0:14:550:14:59

It's just, I'm the same Katja

as before and it's great

0:14:590:15:02

we were nominated and I will be

a nominated director

0:15:020:15:04

for my whole life.

0:15:040:15:08

The Chilean film A Fantastic Woman

made history at the Academy Awards

0:15:180:15:21

by becoming the first Oscar-winning

picture to be led by

0:15:210:15:23

a transgender actress.

0:15:230:15:29

It also marked the first time that

Chile won in the best

0:15:290:15:32

foreign-language film category.

0:15:320:15:35

Tristan Daily reports.

0:15:350:15:38

Set in Santiago in Chile, Marina

is at the centre of this picture.

0:15:380:15:44

Her older boyfriend

has died suddenly.

0:15:440:15:51

As a transgender woman,

she faces hostility

0:15:510:15:53

from doctors and the police.

0:15:530:15:54

Her partner's family rejects her,

they don't want her at the funeral.

0:15:540:15:57

She retains her dignity,

she holds her ground

0:15:570:15:59

and she doesn't give in.

0:15:590:16:00

Marina is portrayed

by the transgender Chilean

0:16:000:16:02

actress Daniela Vega.

0:16:020:16:03

She plays a woman who inhabits

a world very different from her own.

0:16:030:16:06

Of course I'm transgender but my

life it's completely different.

0:16:060:16:09

I have the opportunity to study.

0:16:090:16:10

My family supports me,

my friends support me.

0:16:100:16:12

And I have a lot of love around me.

0:16:120:16:16

And I think it's

completely different.

0:16:160:16:20

Not only has A Fantastic Woman won

an Oscar and received

0:16:250:16:27

accolades from critics,

but it's brought inspiration to

0:16:270:16:29

the transgender community as well.

0:16:290:16:33

To see a trans identified woman

portraying a trans identified

0:16:330:16:40

character in a movie that took

the storyline seriously

0:16:400:16:42

is ground-breaking.

0:16:420:16:48

Honestly, I related from it I think

right from the beginning and that's

0:16:480:16:51

just one of many experiences

of trans women out there.

0:16:510:16:58

To be able to sit in a movie theatre

and watch a movie with a trans woman

0:16:580:17:02

about a trans woman and be able

to connect with it right away, yes.

0:17:020:17:06

Daniela Vega sees the movie

as asking more questions than it

0:17:120:17:15

does supply answers.

0:17:150:17:16

Who is normal and what is normal?

0:17:160:17:18

What kind of bodies you can inhabit?

0:17:180:17:25

And what kind of love you can live

and what kind of love you cannot

0:17:250:17:30

and who says that or not?

0:17:300:17:31

While A Fantastic Woman may pose

questions, it also presents

0:17:310:17:34

audiences with a piece of cinema

that is hard to categorise.

0:17:340:17:38

There are moments of

fantasy amid reality.

0:17:380:17:40

Admirers see it as a

very satisfying film.

0:17:400:17:43

I like to think as a trans-genre

film about a transgender character.

0:17:430:17:46

So the film flirts with...

0:17:460:17:51

It's like a romantic film that

becomes a thriller that

0:17:510:17:54

becomes a ghost story,

it has moments of fantasy and it

0:17:540:17:59

sounds like a musical.

0:17:590:18:03

And then it's a character study,

something about a woman,

0:18:030:18:07

a film about humiliation and revenge

but at the heart of everything

0:18:070:18:10

it is a document of someone real.

0:18:100:18:20

In recent years the box office

takings of films that win best

0:18:220:18:25

picture at the Oscars have

been relatively small.

0:18:250:18:27

The Academy seems

to shun blockbusters.

0:18:270:18:28

What is driving this

trend and does it matter?

0:18:280:18:31

We have been finding out.

0:18:310:18:32

The Shape of Water.

0:18:320:18:37

In handing out the best picture

Oscar to The Shape of Water,

0:18:370:18:42

the Academy has perpetuated a trend

of often giving the top Academy

0:18:420:18:47

Academy Award not to a big,

commercial hit,

0:18:470:18:53

but to a less well seen,

independent or arthouse film.

0:18:530:18:56

The Shape of Water's

takings have been modest

0:18:560:18:57

compared to a blockbuster.

0:18:580:18:59

Less than $60 million in the US.

0:18:590:19:00

Moonlight, which won best picture

last year, took in just

0:19:000:19:03

$28 million domestically.

0:19:030:19:04

The year before it was Spotlight

which grossed $45 million

0:19:040:19:06

at the US box office.

0:19:060:19:08

None of these films

are blockbusters, they are movies

0:19:080:19:10

with modest box office ambitions

made on small budgets.

0:19:100:19:16

I think that movies that do really

well at the Oscars are original

0:19:160:19:20

movies and original movies are risky

and risky movies tend

0:19:200:19:22

to get low budgets.

0:19:220:19:24

So small budgeted films tend

to do well at the Oscars.

0:19:240:19:29

The last time the Academy gave

the best picture prize to a true

0:19:290:19:32

Hollywood blockbuster

was with The Lord Of The Rings

0:19:320:19:34

The Return Of The King back in 2004.

0:19:340:19:38

Many Academy voters work

on Hollywood blockbusters

0:19:380:19:43

but perhaps one reason they tend

to vote for smaller films

0:19:430:19:46

is because these movies

conform to the image

0:19:460:19:48

of what an Oscar-winning

film should be.

0:19:480:19:53

It's always best to look

at the awards as a reflection

0:19:530:19:55

of Hollywood, as how it wants

to think of itself.

0:19:550:19:58

It wants to see itself as socially

and politically engaged.

0:19:580:20:01

It wants to see itself

as doing serious acting,

0:20:010:20:07

sometimes in all quotes!

0:20:070:20:10

It wants to see itself as making

films that will last through time.

0:20:100:20:14

Some believe Oscar voters

even harbour a prejudice

0:20:140:20:15

towards commercial blockbusters.

0:20:150:20:21

They cite Wonder Woman,

critically acclaimed,

0:20:210:20:23

it made millions, but failed to get

a single nomination.

0:20:230:20:25

The film's detractors would argue

that it just did not

0:20:250:20:28

merit Oscar recognition.

0:20:280:20:29

But not everyone agrees.

0:20:290:20:33

Wonder Woman was the big commercial

movie that should have been

0:20:330:20:36

nominated for best picture this year

but it got skunked because it

0:20:360:20:39

didn't have snob appeal.

0:20:390:20:42

In recent years movies

like Interstellar, The Hunger Games,

0:20:420:20:46

should have been nominated for best

picture but they missed out

0:20:460:20:50

because voters are still going

for the little snob movies

0:20:500:20:53

even though the race has been

expanded to eight, nine, ten films.

0:20:530:20:58

The Academy is often accused

of being elitist with its best

0:20:580:21:03

picture picks but there are other

reasons why it may not give its top

0:21:030:21:06

award to big commercial hits.

0:21:060:21:07

I think that it's not necessarily

that there is a prejudice

0:21:070:21:13

against commercial fair so much

as when you look at a lot

0:21:130:21:16

of the commercial films

of the last few years,

0:21:160:21:18

the last decade even,

they have been a lot of franchise

0:21:180:21:21

films and sequels and reboots

and they have been mostly action.

0:21:210:21:23

And I think that, for a lot

of people, that is a separate

0:21:230:21:30

category than the best film

of the year in terms of an award is.

0:21:300:21:34

The Academy's favouring of less

widely seen pictures creates

0:21:340:21:36

a problem in generating ratings

for the Oscars telecast,

0:21:360:21:40

vital to its livelihood.

0:21:400:21:47

More viewers will tune

in if blockbusters

0:21:470:21:49

have been nominated.

0:21:490:21:50

I think the Academy would love

to have more popular

0:21:500:21:52

films be nominated.

0:21:520:21:53

The Academy, the people who run it,

have no control over that

0:21:530:21:56

because it's up to the voters.

0:21:560:21:59

In their democratic institution,

the people, the films that get

0:21:590:22:01

the most votes are the ones that

are selected and they have

0:22:010:22:04

no control over that.

0:22:040:22:06

Is the Academy going to continue

to bestow best picture honours

0:22:080:22:11

on relatively low profile movies?

0:22:110:22:18

Industry economics dictate that

to maximise profits and reach

0:22:180:22:20

a broad global audience,

blockbusters need to be

0:22:200:22:22

artistically cautious.

0:22:220:22:23

In other words, films

unlikely to win Oscars.

0:22:230:22:27

So as long as that is the case,

more original, smaller movies

0:22:270:22:32

will probably continue to take home

Oscars biggest award.

0:22:320:22:36

Well, that brings our

programme to a close.

0:22:420:22:44

We hope you have enjoyed the show.

0:22:440:22:46

Please remember you can

always reach us online

0:22:460:22:50

at bbc.com/talkingmovies and you can

find us on Facebook too.

0:22:500:22:54

So, from me, Tom Brook,

and the rest of the Talking Movies

0:22:540:22:58

production team here in Los Angeles,

it is goodbye as we leave

0:22:580:23:02

you with this year's Oscar-winning

best original song.

0:23:020:23:05

# If you close your eyes

and let the music play

0:23:050:23:07

# Keep our love alive,

I'll never fade away

0:23:070:23:09

# If you close your eyes

and let the music play

0:23:090:23:13

# Keep our love alive,

I'll never fade away

0:23:130:23:18

# Remember me

0:23:180:23:22

# For I will soon be gone

0:23:220:23:23

# Remember me

0:23:230:23:27

# And let the love we have live on

0:23:270:23:32

# And know that I'm

with you the only way that I can be

0:23:320:23:36

# So, until you're in my arms again

0:23:360:23:40

# Remember me

0:23:400:23:41

# Que nuestra cancion

no deje de latir

0:23:410:23:44

# Solo con tu amor yo

puedo existir

0:23:440:23:46

# Remember me

0:23:460:23:47

# Que nuestra cancion

no deje de latir

0:23:470:23:49

# Solo con tu amor

yo puedo existir

0:23:490:23:51

# Remember me #.

0:23:510:23:55