:00:00. > :00:09.This programme contains some strong language.
:00:10. > :00:15.I'm getting ready for my annual film awards and it's time to check out
:00:16. > :00:20.the competition. Every year, I give the Kermodes
:00:21. > :00:28.Awards to films overlooked by the Oscars. They very often overlook the
:00:29. > :00:32.best films. Look at what I have chosen - none of them were nominated
:00:33. > :00:36.for Best Picture. The more they get it wrong, the easier it is for the
:00:37. > :00:46.Kermodes to get it right. This year's the Best Picture list is good
:00:47. > :00:53.- including Gravity, Bitter Sweet Nebraska. The nail-biting of Captain
:00:54. > :00:56.Phillips and 12 yeer s 12 Years A Slave.
:00:57. > :01:03.In a shocking break, the Academy seem to have got it right!
:01:04. > :01:10.Perhaps it's time for this little fella to call it quits!
:01:11. > :01:38.No, you are not getting rid of me that easily. Although the Oscar
:01:39. > :01:42.nominations look good at first glance, look closer and there are
:01:43. > :01:47.enough glaring oversights to guarantee a star-studded line-up for
:01:48. > :01:53.the Kermodes Awards. Before we get down to business, let's recap on the
:01:54. > :01:56.rules, you cannot win one of these in a category you have been
:01:57. > :02:01.nominated for an Oscar. We don't even pretend to be impartial. I am
:02:02. > :02:07.the only judge and my decision is final! So, without further ado,
:02:08. > :02:14.let's get on with the first award for Best Actor.
:02:15. > :02:23.Shamefully overlooked by the Academy is Tony Savilo. From the Great
:02:24. > :02:35.Beauty. From Italian flamboyance to home
:02:36. > :02:44.grown poetry - and a nod for George McKay. He played the sole survivor
:02:45. > :02:49.in the Scottish drama, For Those In Peril. The Kermode award for Best
:02:50. > :02:55.Actor goes to someone whose absence from the Oscars came as a shock. A
:02:56. > :02:59.two-time Academy Award winner who turns in the performance of a
:03:00. > :03:05.lifetime, in Captain Phillips. My award for Best Actor goes to Tom
:03:06. > :03:11.Hanks. Four pirates, down the main deck.
:03:12. > :03:15.Lock down the bridge! In this gruelling thriller Hanks plays the
:03:16. > :03:26.skipper of an American cargo ship which comes unattack from Somali --
:03:27. > :03:31.-- un-- under attack from Somali pirates. An ordinary man in
:03:32. > :03:33.extraordinary circumstances. Stick together!
:03:34. > :03:42.We'll be all right. Well, that is quite a likeness. That
:03:43. > :03:47.is the Kermode Award. It is quite a delight. The play of Captain
:03:48. > :03:54.Phillips was very unique. It is one thing to be able to have something
:03:55. > :03:57.to take your own feelings, it is something else to take those
:03:58. > :04:02.feelings and channel them through the real events and in some cases
:04:03. > :04:07.the official record of those events N that regard Captain Phillips was a
:04:08. > :04:12.once in a lifetime opportunity. It has resulted in a Kermode award, for
:04:13. > :04:15.which I am very proud. This is the scariest-looking award I have ever
:04:16. > :04:22.seen. I will not show it to my grand kids because it might make them cry!
:04:23. > :04:27.So, on to Best Actress. Now over at the Oscars it is predictable, with
:04:28. > :04:42.streep streep streep celebrating her -- merry Streep of getting an award.
:04:43. > :04:50.Dame Judi den dench and my own Best Actress list would have knocked for
:04:51. > :04:57.the stars of the love story Blue Is The Warmest Colour.
:04:58. > :05:02.As for Oprah Winfrey, where was her supporting actress nomination for
:05:03. > :05:09.her dynamite turn the The Butler. Sorry, Mr Butler, I didn't... . She
:05:10. > :05:15.totally steals the show. Everything you are and everything you have - it
:05:16. > :05:22.is because of The Butler. The unforgiveable omission this year is
:05:23. > :05:29.an is for an actress who I have the highest regard and who was in Saving
:05:30. > :05:32.Mr Banks, in which her portrayal of PR Travis was perfect in every way -
:05:33. > :05:43.Emma Thompson. As the auor trying to protect her
:05:44. > :05:49.famous nanny character from Disneyfiation, Thompson is sniping,
:05:50. > :05:54.but never overly so. Her comic timing is impeccable.
:05:55. > :06:08.# How does that sound #
:06:09. > :06:20.No - responsiball is not a word. We made it up. Well, unmake it up!
:06:21. > :06:31.It's a Mark. I had no idea. It 's hysterical I will go between the
:06:32. > :06:41.other two little men on my system. I am so thrilled you like liked Pamela
:06:42. > :06:46.Travers. I adored playing her. When do you get a role play playing
:06:47. > :06:52.something like that? 54 and not many of those come along the roads. Kelly
:06:53. > :06:57.Marcel wrote it. An extraordinary writer. It is great to play someone
:06:58. > :07:02.who is unpleasant to everyone all the time, having been of well
:07:03. > :07:12.brought up - I am as you know, sort of sigh cotically nice to people,
:07:13. > :07:17.which actually conceals a deep desire to be unpleasant myself. I
:07:18. > :07:26.will take this as encouragement and try and let out my inner Pam. Much
:07:27. > :07:31.love, Mark. I am really so thrilled! That's so funny! I'm putting it with
:07:32. > :07:37.the Oscars now. Look! Here we are!
:07:38. > :07:42.Hello, hello! You're more important!
:07:43. > :07:51.Time now for the award for of Best Cinematography.
:07:52. > :08:06.-- for Best Cinematography. It includes nods for the brilliant work
:08:07. > :08:17.on Gravity. Roger Deakins who led the thriller Prisoners and a long
:08:18. > :08:26.over overdue award for the film Nebraska. Where is the nomination
:08:27. > :08:35.for the DP who shot Best Picture Winner. Did 12 Years A Slave shoot
:08:36. > :08:39.itself? Indeed not. With its portrait portraits 12 Years A Slave
:08:40. > :08:46.is one of the best-looking films of the year. Thanks to Steve McQueen's
:08:47. > :08:56.long hfr term collaborator Sean Bobbitt.
:08:57. > :09:05.He is now one of the industry's most respect respected cinematographers.
:09:06. > :09:11.He brings a sense of location and character to this harrowingly real
:09:12. > :09:15.story. There are a couple of moments in 12 Years A Slave where a shot is
:09:16. > :09:20.held longer for than we would expect - how do you judge that sort of
:09:21. > :09:24.thing and what does it do to the viewer p when you hold a shot longer
:09:25. > :09:28.than they would expect? If there is no edit and the scene goes on, the
:09:29. > :09:33.more you believe it's really happening. It compoundses the
:09:34. > :09:40.emotional content of the scene in the minds of the audience.
:09:41. > :09:44.Master... Some of those scenes for one continuous hand-held take. That
:09:45. > :09:49.is what I live for. For me, to get that, and to get it right, it was
:09:50. > :10:01.quite exhilarating. I think the film is terrific and an
:10:02. > :10:06.awful lot of why people have within able to accept the story is the way
:10:07. > :10:10.you have shot it. Here is your handsome Kermode award for Best
:10:11. > :10:15.Cinematography. Thank you very much. It is all I've
:10:16. > :10:20.ever wanted, really. I mean to be finally recognised by your good
:10:21. > :10:25.self! And so, to my next gong and an award
:10:26. > :10:30.which is particularly close to my heart - that of hair and make-up.
:10:31. > :10:35.Now, honestly, I am less interested in the make-up, for me it is all
:10:36. > :10:47.about the hair. This year has been particularly hairy! Who can forget
:10:48. > :10:50.this Milo from Tweanies hair in this film or Stephen Fry. There's one
:10:51. > :10:55.film everyone has been talking about when it comes to hair, a film which
:10:56. > :11:01.failed to make the Oscar nominations lists. It is a film in which every
:11:02. > :11:07.character is defined by their retro hair. Men put in the curlers and the
:11:08. > :11:14.comb-over is king. I am talking, of course, about American Hustle.
:11:15. > :11:24.I want to say... Fantastic! So heavy! This movie, it was huge.
:11:25. > :11:30.Every day was huge. Hours of preparations. Each person from one
:11:31. > :11:35.to 99 on the call-sheet had a different look. We would have to
:11:36. > :11:38.test these people with three or four different wigs, three or four
:11:39. > :11:43.different colours. Yes, you think out of the box. That is how we come
:11:44. > :11:48.up with these crazy ideas. They are crazy, great characters. It was
:11:49. > :11:55.exciting to work on! Still to come - the 2014 Kermodes
:11:56. > :11:59.Awards for Best Director, best film and Best Foreign Language Film. It
:12:00. > :12:04.is time to acknowledge the craftsmanship of those most
:12:05. > :12:13.regularly overlooked by idiot critics, but on whom the film
:12:14. > :12:28.industry depends of depends-the writers.
:12:29. > :12:31.Hats off to su san Bear and her co-writer.
:12:32. > :12:35.You have to look. It is one of the things of driving. You have to look
:12:36. > :12:43.when you are reversing the damn car. Are you drunk? I'm not drunk. Set in
:12:44. > :12:50.an all together different age is A Field In England. Ben Wheatley's
:12:51. > :12:57.frankly disorientating civil war film. Brilliantly written with Amy
:12:58. > :13:01.Jump. . Do not speak to me directly again! Otherwise I will turn you
:13:02. > :13:06.into a frog! Now, a Field in England came this
:13:07. > :13:11.close to getting my award. It was pipped at the post by a script named
:13:12. > :13:15.as one of Hollywood's hottest unproduced screenplays in 2011 and
:13:16. > :13:21.produced the basis of one of my favourite films of 2013 - Saving Mr
:13:22. > :13:31.Banks. Good morning. So discomforting to
:13:32. > :13:37.hear a stranger use my first name. Mrs Travers, please. I do apologise.
:13:38. > :13:44.I am the script writer. Co--script writer. I will have my say.
:13:45. > :13:49.Oh, my God! That is brilliant! Thank you so much.
:13:50. > :13:55.Is it real gold? How much money can I get for this?
:13:56. > :14:00.No, seriously, thank you so much. Saving Mr Banks was such an amazing,
:14:01. > :14:06.amazing project to write. It is so lovely to have it recognised by you,
:14:07. > :14:10.Mark! It came from an originating idea from Sue Smith. I am sharing
:14:11. > :14:14.this with her and it was written in a shed at the bottom of my garden,
:14:15. > :14:22.in a very rainy London, but this will now come back to my pool in LA.
:14:23. > :14:25.It is really gorgeous. I don't have a boyfriend - so this can be my new
:14:26. > :14:36.thing that I sleep with! Thank you! Before we move on to the best films
:14:37. > :14:40.of 2013 it's time to celebrate the worst. For the first time I am
:14:41. > :14:44.handing out a special award for Turkey of the Year. What fun it's
:14:45. > :14:54.been! There are so many rubbish films to choose from.
:14:55. > :15:02.We got a problem. In hot contention is The Counsellor, bursting with
:15:03. > :15:07.creative talent which raises the question how can people this good
:15:08. > :15:13.make a movie this bad? I intend to love you until I die. My award for
:15:14. > :15:17.the worst film of 2013 goes to a tale of body-builders and botched
:15:18. > :15:26.kidnappings, dragged screaming from the empty void that is the soul of
:15:27. > :15:31.director Michael Bay. Having never been a fan of his action in the past
:15:32. > :15:38.I thought he might surprise me with this lower budget character-driven
:15:39. > :15:43.piece. Hello, James Bond. You look so sad. I had to hurt a man today.
:15:44. > :15:49.Wow. No, turns out this is worse than
:15:50. > :15:54.Transformers 2. The inaugural Kermode award for Turker of the Year
:15:55. > :15:58.goes to Pain and Gain. Congratulations, Michael. This one's
:15:59. > :16:02.for you. From the dreadful to the sublime. My
:16:03. > :16:12.award for Best Film in a language other than English. Beyond The Hills
:16:13. > :16:18.by Christian Mungiu lingered long in my mind. It's a exploration of
:16:19. > :16:22.superstition and guilt. The Japanese film Like Father Like Son won me
:16:23. > :16:32.over with its touching portrayal of parents facing a terrible revelation
:16:33. > :16:36.about their much-loved child. A family dilemma is also at the
:16:37. > :16:40.heart of Fill The Void, an intelligent and moving story of a
:16:41. > :16:51.young girl on a path to marriage set in the Israeli orthodox community.
:16:52. > :16:54.My award goes to a brilliantly thought-provoking and utterly
:16:55. > :17:01.engaging tale of a young girl growing up in Saudi Arabia, from
:17:02. > :17:17.breakthrough writer director Haifa Mansour. The name of the film is
:17:18. > :17:23.Wadjda. Bursting with charm and humour this is a story about
:17:24. > :17:27.everyday dreams. She wants what the boys have, her own bicycle. The film
:17:28. > :17:31.deals with very serious and important issues but it does so in a
:17:32. > :17:35.way which is very joyous and uplifting and positive. It's not the
:17:36. > :17:38.first draft, the first draft was very serious and bleak. But I
:17:39. > :17:42.changed all the writing. I think it's, for me, it's very important to
:17:43. > :17:47.tell a story about people who are Masters of their destinies. It gives
:17:48. > :17:54.inspiration for younger women in Saudi. We are not victims. Tell me
:17:55. > :17:57.about the challenges of making the film. You are breaking a number of
:17:58. > :18:01.boundaries. A number of firsts. Were you able to be out there directing
:18:02. > :18:07.on the street? Is it a usual thing to see or not? No. I was not able to
:18:08. > :18:11.go out in the street. The country is segregated. Men and women are not
:18:12. > :18:17.supposed to mix in the workplace. They gave me a walkie-talky and
:18:18. > :18:25.monitor. I shouted at them basically outside. It was really difficult. We
:18:26. > :18:32.did it. Action! How did you find your star, who is incidentally
:18:33. > :18:36.fabulous. By luck. We saw a lot of girls and we were like word of
:18:37. > :18:41.mouth, we cannot put an opencasting call. We try to maintain a pro
:18:42. > :18:43.profile while shooting and didn't want to provoke the public,
:18:44. > :18:49.especially the conservatives, we didn't want to get into trouble. So
:18:50. > :18:53.it was like fishing. We sat in the hotel every day and who will come
:18:54. > :19:05.in? She came in and was similar to the character I wrote.
:19:06. > :19:16.Are women in Saudi able to see the film? Yeah. Online. They're not able
:19:17. > :19:21.to watch it in cinemas? No. We opened in neighbouring countries
:19:22. > :19:26.like cue bait and Dubai and a -- Kuwait and Dubai and a lot travel on
:19:27. > :19:32.the weekend to watch films so they saw it there. The bicycle being the
:19:33. > :19:37.symbol of freedom which works well, what is the cultural attitude
:19:38. > :19:41.towards cycling and women? For women all outdoors activities are not
:19:42. > :19:45.allowed and women weren't allowed to bicycle up until April 2013, which
:19:46. > :19:48.is really good. The law changed and women can ride bicycles now. I hope
:19:49. > :19:59.the film a little bit contributed. It's a great achievement and I am
:20:00. > :20:03.proud to present you with the Kermode award for Best Film not in
:20:04. > :20:09.the English language. Thank you so much it's amazing. It means a lot to
:20:10. > :20:12.me to receive this. And now for one of the most
:20:13. > :20:16.important awards of the evening, and in what's been an extraordinary year
:20:17. > :20:22.for cinema, I have chosen not one, but two winners of the Kermode award
:20:23. > :20:25.for Best Director. Neither feature on the Oscar nominations list but
:20:26. > :20:40.both are working at the top of their game.
:20:41. > :20:45.My first winner is the helmsman of Captain Phillips, it sets the pulse
:20:46. > :20:50.racing as it shines a light on the inequalities of the world in which
:20:51. > :20:55.globalisation is the future. Paul Greengrass. With his background in
:20:56. > :21:01.news and investigative journalism he blurs the boundary between drama and
:21:02. > :21:09.documentary. Here he uses handheld cameras and naturalistic
:21:10. > :21:18.performances to overwhelming effect. It's a golden Kermode! Ha! Well,
:21:19. > :21:22.thank you very much, Mark for this real honour. We shot 16 weeks on the
:21:23. > :21:27.ocean but in a funny way it made it a realed a srep ture because you --
:21:28. > :21:31.a real adventure, you got up every day and felt you had the wind at
:21:32. > :21:37.your face and sun at your back or was it the other way around? It felt
:21:38. > :21:44.like an adventure. Physically demanding, a lot of seasickness, a
:21:45. > :21:48.lot of real vomit but we came back with a film, thank you very much.
:21:49. > :21:53.Sharing that award for Best Director this year is another British
:21:54. > :21:59.film-maker who has explored inequalities in society through
:22:00. > :22:08.children. Her film The Selfish Giant combines Oscar Wilde's inspiration
:22:09. > :22:22.story and Ken Loach. A distinctive voice in international cinema, she
:22:23. > :22:26.is Clio Barnard. Thank you. It's a very good likeness. I like the
:22:27. > :22:31.pointy shoes and the hair. Yeah, it's perfect. I think Mark Kermode
:22:32. > :22:36.is better looking like Alfred Hitchcock. The film is set in
:22:37. > :22:40.northern England and follows two young boys who turn to the scrap
:22:41. > :22:44.metal trade to support their struggling families. Both leads are
:22:45. > :22:54.first-time actors, brilliantly directed by Barnard. Listen, this is
:22:55. > :23:01.a proper grafter... It's a great honour and a film like The Selfish
:23:02. > :23:07.Giant really needs critical acclaim and reviews in order to get people's
:23:08. > :23:11.attention, so thank you. Now it's the moment we have all been
:23:12. > :23:16.waiting for, the King of the Kermodes, the award for Best Film.
:23:17. > :23:20.One overlooked gem I would have on my list is The Kings of Summer, a
:23:21. > :23:29.coming of age tale I predict will become a future classic. From the
:23:30. > :23:34.gently joyous, to the truly harrowing. A documentary exploring a
:23:35. > :23:38.legacy of murder in Indonesia in which death squad commanders reenact
:23:39. > :23:44.their real-life crimes for the cameras with life-changing results.
:23:45. > :23:48.Up for Best Documentary at the Oscars, I think The Act of Killing
:23:49. > :23:57.deserves to be in competition for the top prize of Best Picture.
:23:58. > :24:00.It's a film which the academy voters have probably not heard of which is
:24:01. > :24:06.my personal favourite. It may not have set the box office alight but
:24:07. > :24:12.this tale of a young soul rebel forging a path in 70s Belfast set a
:24:13. > :24:16.flame in my heart. It's a truly great pop movie made for love, not
:24:17. > :24:19.money, by people whose passion is evident in every frame. Ladies and
:24:20. > :24:31.gentlemen, I give you the winner of the Kermode award for Best Film,
:24:32. > :24:36.Good Vibrations. Blending just the right amount of
:24:37. > :24:44.fact and fantasy, it tells the story of Belfast's Godfather of punk,
:24:45. > :24:50.Terry Hhooley as a launches a record shop providing a springboard for
:24:51. > :25:01.young bands like The Outcasts and The Undertones. Wow! That is truly a
:25:02. > :25:05.thing of beauty. This was a script that had humour and passion and
:25:06. > :25:08.there was obviously terrible things that were happening in Belfast at
:25:09. > :25:12.that time, despite all that there was still this passion for music and
:25:13. > :25:20.an amazing scene that came up through all that. Where are we? On
:25:21. > :25:25.the road to Damascus! It was very important for us when talking about
:25:26. > :25:32.the world of Terry and the bands that it was the foreground of the
:25:33. > :25:39.story. This guy ended up in Wings. These guy guys... We also had to
:25:40. > :25:43.tell the story of the Troubles but didn't want to become the subject of
:25:44. > :25:48.the film. The archive became this relentless backdrop, this dark world
:25:49. > :25:53.that would at times obtrude on the fun and good times of the bands and
:25:54. > :25:58.the good vibrations scene. You are laughing now but I swear sooner or
:25:59. > :26:02.later I am going to get you. I remember getting the phone call by
:26:03. > :26:03.Glenn saying come to the house, I think we have something great.
:26:04. > :26:18.Instantly we seen it as a film. It was a dream in many ways, but
:26:19. > :26:23.also kind of, you know, a struggle. We had very limited budget, not just
:26:24. > :26:34.to make the film but a music budget so we had to beg and plead for
:26:35. > :26:42.people to give us their music. In the end, everyone came through and
:26:43. > :26:47.really supported the film and we are forever grateful for that.
:26:48. > :26:56.We are really honoured, thankings, Mark. -- thanks, Mark. There we are
:26:57. > :26:59.nine handsome Kermodes and one ugly Turkey later. Should that be the
:27:00. > :27:02.other way around? We are done for another year. There's still time for
:27:03. > :27:07.a quick Oscar spoiler. To stop you having to stay up all night on March
:27:08. > :27:12.2 here are those Oscar winners in full.
:27:13. > :27:22.My predictions are: Best Picture 12 Years A Slave, Best
:27:23. > :27:28.Director for gravity. Best Actor Matt yu Mc Canaghey and Best Actress
:27:29. > :27:31.Kate blanchet. Now there is really no reason to watch the Oscars. The
:27:32. > :27:35.Kermodes have got it all covered. Good night.