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stories at the top of the hour. Now on BBC News it's time for The | :00:04. | :00:14. | |
:00:14. | :00:24. | ||
Power at 400% capacity. How about that? | :00:24. | :00:34. | |
2012, another year of comic book blockbusters fuelling the box | :00:34. | :00:37. | |
office. That seems excessive. British film franchise that did | :00:38. | :00:47. | |
:00:48. | :00:52. | ||
Several smaller films with original stories triumphed. And there were | :00:52. | :01:02. | |
:01:02. | :01:09. | ||
I am looking for someone to share in an adventure. I am ready. | :01:09. | :01:14. | |
Hello and welcome to this look back at the year in film. I am Tom Brook. | :01:14. | :01:18. | |
2012 in creative terms hasn't been bad. Hollywood has continued to | :01:18. | :01:22. | |
underserve the adult audience with engaging fare but there had been | :01:22. | :01:27. | |
triumphs an one of the biggest was James Bond. More to the point, | :01:27. | :01:37. | |
:01:37. | :01:49. | ||
Skyfall, the latest film in the There was strong action in Skyfall | :01:49. | :01:55. | |
but also a compelling story. MI6 itself was under attack. M was in | :01:55. | :02:01. | |
peril. The villain was waging cyber warfare. There is a psychological | :02:01. | :02:04. | |
depth to characters and their relationships, the product of a | :02:04. | :02:07. | |
strong writing team and the director who comes from a | :02:07. | :02:12. | |
background in theatre. Bond. James Bond. Daniel Craig was busy selling | :02:12. | :02:20. | |
the film on the basis of its script. We started this with a great script, | :02:20. | :02:24. | |
a good storyline and that gives everybody such a good preparation | :02:24. | :02:28. | |
time that I think the movie has real depth. Sam came in and | :02:28. | :02:34. | |
directed it, so it's a real dramatic depth but it still remains | :02:34. | :02:40. | |
a Bond movie. This is your third Bond film and you look really | :02:40. | :02:43. | |
comfortable in the role. Do you feel that you really own the part | :02:43. | :02:48. | |
now? I feel really comfortable to where we got to and the way we are | :02:48. | :02:55. | |
now making these movies. It thrills me. Craig is sa much revered man | :02:55. | :02:59. | |
now. He has signed on for two more Bond films and received a lot of | :02:59. | :03:04. | |
praise for his work in Skyfall. Although there was a little bit of | :03:04. | :03:12. | |
criticism. Fans mindful of Bond's sophisticated martini sipping image | :03:12. | :03:16. | |
were disappointed he had stooped to sipping beer because of a lucrative | :03:16. | :03:26. | |
deal with Heineken. Bond is supposed to have a 54 Dom Perignon | :03:26. | :03:29. | |
perfectly chilled. A fantastic Aston Martin. I can't help but | :03:29. | :03:35. | |
think it's selling out a little bit. What are your views on on product | :03:35. | :03:38. | |
placement? You know, it's a necessity and people make such a | :03:38. | :03:44. | |
big deal out of it, but it - you know, it's unfortunate but we get | :03:44. | :03:53. | |
the movies made and that's all that matters. We get the movie made and | :03:53. | :04:00. | |
so what, everybody wins. Tpwu won't be Bond's time with beer that fans | :04:00. | :04:04. | |
remember most from this movie, not perhaps the action, unusually for a | :04:04. | :04:08. | |
Bond film, it's the relationships that linger, especially the one | :04:08. | :04:11. | |
between Bond and M which is far closer than many of us knew. For | :04:11. | :04:15. | |
reasons that will become clear if you watch the film, 2012 marked the | :04:15. | :04:21. | |
last time that Dame Judi Dench will appear in the films unless the next | :04:21. | :04:27. | |
picture ventures into total fantasy. When you look back at your | :04:27. | :04:32. | |
involvement with the films how do you view that? I view that as being | :04:32. | :04:38. | |
very lucky. I feel really lucky. I thought - I had no idea that the | :04:38. | :04:42. | |
part might go on. I had no idea at all when I was asked to play it, I | :04:42. | :04:46. | |
thought it would be just one. It had never occurred that she might | :04:46. | :04:52. | |
go on. I thought she would be fired in Goldeneye but now suddenly seven | :04:52. | :04:59. | |
films later I am thrilled to have done them and they appeal to a much | :04:59. | :05:02. | |
younger audience and maybe that audience - all I am really | :05:02. | :05:06. | |
interested in is getting people into the theatre and that audience | :05:06. | :05:12. | |
may in fact now come to the theatre. That would be good. Do you expect | :05:12. | :05:18. | |
me to talk? No, Mr Bond, I expect you to die die. Skyfall arrived in | :05:18. | :05:22. | |
the same year that marked the 50th anniversary of the movies. The | :05:22. | :05:28. | |
series has had many highs and lows, at in 2012, having netted around | :05:28. | :05:33. | |
�600 million around the world and having picked up glowing reviews | :05:33. | :05:36. | |
James Bond at the cinema is stronger than ever. | :05:36. | :05:46. | |
:05:46. | :05:53. | ||
The big news at the Oscars this year was that for only the second | :05:53. | :05:59. | |
time in history a silent film won for Best Picture, it was The Artist. | :05:59. | :06:04. | |
It went into the awards with ten nominations and took home five | :06:04. | :06:13. | |
Oscar trophies. The picture you will recall is a | :06:13. | :06:19. | |
French-made tribute to Hollywood during the silent era. I wanted to | :06:19. | :06:24. | |
share that experience very specific experience, the cinematic | :06:24. | :06:28. | |
experience from watching a silent movie in a theatre which is a very | :06:28. | :06:33. | |
special. It's a very sensual experience. I mean, you don't have | :06:33. | :06:38. | |
the dialogue. It seems like it's not important but it is important | :06:38. | :06:42. | |
actually because there's a lot of room for the audience and you | :06:42. | :06:49. | |
really participate in the story- telling process. Action. | :06:49. | :06:53. | |
The Artist was very effectively promoted to Oscar voters by that | :06:53. | :07:03. | |
:07:03. | :07:06. | ||
master of campaigning movie impresario, Harvey Weinstein. It | :07:06. | :07:10. | |
made voters feel good about what they do. The director thinks it | :07:10. | :07:14. | |
helps it was made bay European, an -- by a European, an outsider. | :07:15. | :07:22. | |
movie is in a way sell - it celebrates a part of American | :07:22. | :07:27. | |
history and American cinema and I am not sure American directors can | :07:27. | :07:33. | |
do it easily. I think it's easier when you are outside of the thing. | :07:33. | :07:42. | |
I mean, you can have nostalgic eye or a nice look on Hollywood when | :07:42. | :07:51. | |
you are not part of Hollywood. office this year was driven very | :07:51. | :08:01. | |
:08:01. | :08:01. | ||
much by comic book blockbusters, by The Avengers, The Amazing Spider- | :08:01. | :08:11. | |
Man and Men In Black III. They had strong artistic visions of their | :08:11. | :08:17. | |
directors. Of course, the arrival of The Spider-man film give birth | :08:17. | :08:21. | |
to a new international star, Andrew Garfield who has a British | :08:21. | :08:25. | |
background and took on the title role that originally belonged to | :08:25. | :08:31. | |
observy Maguire. -- Toby. How much did you know about Spiderman? | :08:31. | :08:36. | |
I was three years old it was my first Hallowe'en costume and the | :08:36. | :08:43. | |
first hero of mine. As I grew up and realised more and more - in | :08:43. | :08:49. | |
different ways I related to him, like how deeply I feel like coy | :08:49. | :08:52. | |
have been him means that I felt such a great responsibility when it | :08:52. | :08:58. | |
came to be offered the role because I then had to really live up to | :08:58. | :09:02. | |
what I know this symbol is. What did it feel like the first time you | :09:02. | :09:08. | |
put the outfit on? Everyone asks me. A special moment? It was a a | :09:08. | :09:15. | |
special moment before I put it on and after it was itchy and | :09:15. | :09:18. | |
uncomfortable and annoying. The fantasy that we all have and I | :09:18. | :09:20. | |
realise that I think everyone's asking because everyone wants to | :09:20. | :09:30. | |
:09:30. | :09:40. | ||
put the suit on at some point, is I think Andrew Garfield makes a | :09:40. | :09:43. | |
solid Spiderman. Is he that different to Toby Maguire? Not | :09:43. | :09:48. | |
especially, he is more breeding, a little less -- brooding. Maybe he | :09:48. | :09:53. | |
is hunkier, I don't know, maybe I am not qualified to answer that | :09:53. | :09:56. | |
question. He does a solid job. He believes in the character. He's | :09:57. | :10:00. | |
talked at length about how much he loves Spiderman and that comes | :10:00. | :10:03. | |
across in his performance. You can feel this guy is really giving his | :10:03. | :10:13. | |
:10:13. | :10:20. | ||
Hollywood rules the the roast in internationally but in 2012 came | :10:20. | :10:27. | |
the suggestion China may have the upper hand. The Chinese movie | :10:27. | :10:30. | |
market has been expanding and Hollywood wants a piece of the | :10:30. | :10:33. | |
action. It will do almost anything to make sure it gets it. Case in | :10:34. | :10:39. | |
point the film Red Dawn, an American movie shot with Chinese | :10:39. | :10:45. | |
villains invading the US. It was criticised resorting to old racist | :10:45. | :10:48. | |
stereotypes, once the Chinese got wind of it there were complaints. | :10:48. | :10:53. | |
Fearful that that distribution deals would be jeopardised, in an | :10:53. | :10:58. | |
unprecedented move the Chinese villains were removed and replaced | :10:58. | :11:02. | |
with North Koreans. Once we committed to doing it, to make the | :11:02. | :11:06. | |
changes involved a new credit sequence that we had to do to paint | :11:06. | :11:10. | |
out propaganda posters and flags on uniforms and that type of thing. | :11:10. | :11:15. | |
There was work we had to do to change Chinese to North Korean | :11:15. | :11:19. | |
dialogue. Doesn't it in a way set a dangerous precedent? You are a | :11:19. | :11:23. | |
producer, a respected producer in the industry where you can have a | :11:23. | :11:26. | |
country like China that objects to the content of a film and Hollywood | :11:27. | :11:30. | |
rolls over and complies with their request? That's a topic I think for | :11:30. | :11:38. | |
other people to talk about. That's not something - I can do do | :11:38. | :11:41. | |
anything about. A lot of people put a lot of work into this movie. Our | :11:41. | :11:46. | |
cast, the director, the crew, I felt like we owed it to them to | :11:46. | :11:50. | |
show off their work and these are the things I had to do to make that | :11:50. | :12:00. | |
:12:00. | :12:03. | ||
happen. Two lessons to be learned from this | :12:03. | :12:09. | |
rule. China has some say in the international industry is the main | :12:09. | :12:19. | |
:12:19. | :12:19. | ||
one. I have to select one courageous young man or woman to | :12:19. | :12:27. | |
represent their district. One big money earner was this best-selling | :12:27. | :12:32. | |
adaptation of a best-selling American teen novel. American fans | :12:32. | :12:37. | |
camped out hoping to meet the stars of a film they just could not wait | :12:37. | :12:44. | |
to see. I am so excited, I can't wait. I bought the tickets the | :12:44. | :12:50. | |
moment they went on sale. I am coming down. It is a post | :12:50. | :12:55. | |
apocalyptic vision of North America where children from different | :12:55. | :13:04. | |
districts in North America compete in gladiatorial type competitions. | :13:04. | :13:10. | |
This actress plays the film's protagonist. The think that the | :13:10. | :13:16. | |
violence is the most important part of our story. It is a violence that | :13:16. | :13:21. | |
ignites and up rising and a revolution. It is the sickest | :13:21. | :13:31. | |
reflection of us. The hunger game brought young viewers as well prong | :13:31. | :13:37. | |
female protagonist. Films with strong females became at trend in | :13:37. | :13:42. | |
several 2012 films. This pecks are animation proper as a plucky | :13:42. | :13:49. | |
Scottish heroin. Will lady must not please her weapons on the table. | :13:49. | :13:59. | |
:13:59. | :14:02. | ||
mum! -- heroine. Then this film shows women, one woman in | :14:02. | :14:08. | |
particular at the heart of a search for Osama Bin Laden. In this area | :14:08. | :14:14. | |
of powerful screen women it can be seen as presenting a female | :14:14. | :14:22. | |
character in a new light. confidence. The Usually we see the | :14:22. | :14:27. | |
lead characters in films, if the other women, if they are heroes | :14:27. | :14:31. | |
they are also suffering from something, an illness or a mental | :14:31. | :14:35. | |
problem but they are never just, never a woman who is just a true | :14:35. | :14:45. | |
:14:45. | :14:52. | ||
hero and very capable. I think it Film festivals this year brought in | :14:52. | :14:58. | |
some relatively low-budget British triumphs. This extravaganza held in | :14:58. | :15:05. | |
the snowy mountains of Utah had several UK films. Director James | :15:05. | :15:10. | |
Marsh unveiled his excellent Northern Ireland set film Shadow | :15:10. | :15:17. | |
Dancer. There are secrets to be discovered and there are surprises | :15:17. | :15:24. | |
and dearer people who are paid to be what they are. It works on and | :15:24. | :15:30. | |
narrative level as a gripping story, I hope. There is no moral compass | :15:30. | :15:39. | |
that we want to offer you or judgments that we invite. There was | :15:40. | :15:46. | |
something going on, more than meets the eye. He could not speak English | :15:46. | :15:53. | |
without an accent. In the documentary competition at deep | :15:54. | :15:58. | |
festival was the Impostor. An Algerian man living in Spain who | :15:58. | :16:04. | |
convinced a Texas family that he was there missing teenage son. When | :16:04. | :16:07. | |
we first hear about the events and before you meet any of the | :16:07. | :16:11. | |
characters, on paper you think they is something deeply wrong. How | :16:11. | :16:17. | |
could a mother not know her own son, how could a sister not know her own | :16:17. | :16:21. | |
brother, how could so many people be taken in. I think that is what | :16:21. | :16:30. | |
makes the film interesting. It was the only British film in D dramatic | :16:30. | :16:37. | |
Competition at the Sundance Film Festival. Two brothers from a | :16:37. | :16:46. | |
British Egyptian family living on a rough housing estate. The way we | :16:46. | :16:49. | |
are plain yet it is more specifically about one of them | :16:49. | :16:53. | |
coming of age and one of them coming out, that is when the | :16:53. | :17:00. | |
conflict arises. They it was a coming of age for both brothers. It | :17:00. | :17:06. | |
is really them facing each other, confronting each other, to overcome | :17:06. | :17:12. | |
their differences of opinion. It is unconditional love. This film about | :17:12. | :17:16. | |
the triumph of unconditional brotherly love in that bleak | :17:16. | :17:22. | |
landscape is nicely portrayed by underdog characters not often seen | :17:22. | :17:27. | |
in British cinema. We make a lot of movies about privileged classes, | :17:27. | :17:32. | |
that is a fact. I do not think there is enough of a voice for | :17:32. | :17:37. | |
these kind of characters in the cinema. That is one of the reasons | :17:38. | :17:46. | |
why this movie is very important. bought it did not meet with | :17:46. | :17:51. | |
astounding commercial success, the film won many strong reviews. Its | :17:51. | :18:01. | |
:18:01. | :18:07. | ||
cast and director were put firmly on the map. Also unveiled was this | :18:07. | :18:13. | |
film, among film aficionados it was one of the most talked-about of the | :18:13. | :18:19. | |
year. Everything smacked about originality, including relocation. | :18:19. | :18:27. | |
It is set in Louisiana. In a swampy The Dub place. It is a town cut-off | :18:27. | :18:32. | |
from the world. There is a giant levy that separates it from the | :18:32. | :18:35. | |
civilised world and the people are living completely self-sufficient | :18:35. | :18:41. | |
leave. The pool their food out of the water and make everything out | :18:41. | :18:49. | |
of scraps. Living this way it is like a perpetual feast. Abundance | :18:49. | :18:57. | |
and celebration, it refuses to be maintained by the civilised world. | :18:57. | :19:00. | |
The whole universe depends on everything fitting together just | :19:00. | :19:09. | |
right. At the centre of the film is a young girl, it is her story. | :19:09. | :19:14. | |
are under siege, their way of life is under threat, there is a storm | :19:14. | :19:20. | |
and rising floodwaters. Mythical beast like figures are on their way. | :19:20. | :19:27. | |
I am here to take care of you, OK? The little girl's father is dying. | :19:27. | :19:32. | |
What is remarkable about the picture are the performances, | :19:32. | :19:36. | |
particularly the little girl who was six years old when the film was | :19:36. | :19:42. | |
shot, she clearly admires her character. She is a beggar and | :19:42. | :19:46. | |
fearless little girl who is suing her muscles. How concerned were you | :19:46. | :19:50. | |
when you were starting on this film about whether or not you would be | :19:50. | :19:56. | |
able to do it? You are in almost every frame in the film. It is | :19:56. | :20:01. | |
something I wanted to drive. A little kid sometimes does not get | :20:01. | :20:07. | |
additions, it is something I had to try. There is much that could be | :20:07. | :20:11. | |
construed as bleak in this picture, as a culture living on the margins, | :20:11. | :20:17. | |
at the mercy of nature. Ultimately it does show a group of people with | :20:17. | :20:25. | |
a spirit that is triumphant. lived with her daddy in the Bath | :20:25. | :20:29. | |
tub. The there were some disappointments at the box-office. | :20:29. | :20:35. | |
John Carter was a huge financial disaster. There were some films | :20:35. | :20:39. | |
which did well commercially but fell short in terms of audience | :20:39. | :20:46. | |
expectations. The Hobbit was a case in point. Here are my choice of 10 | :20:46. | :20:52. | |
top films this year or ring -- ranked on professionalism and | :20:52. | :21:02. | |
:21:02. | :21:13. | ||
A James Bond film just as it should be. And this film from a new voice | :21:13. | :21:19. | |
in British cinema. Two brothers in British cinema. Two brothers | :21:19. | :21:29. | |
:21:29. | :21:31. | ||
movingly coming-of-age together. And the coming of age film, a heart | :21:31. | :21:41. | |
:21:41. | :21:44. | ||
stopping picture with memorable In 7th place a great documentary | :21:44. | :21:48. | |
with a strong story. At Detroit musician who became huge in South | :21:48. | :21:57. | |
Africa and was hardly known of in his native USA. At number six Kiera | :21:57. | :22:04. | |
Knightley and Jude Law in Tolstoy's classic tale of love and adultery. | :22:04. | :22:10. | |
Ingenious staging in a mocked-up data that not everyone liked. In | :22:10. | :22:18. | |
5th place from a director that is well known, a boy trapped in a | :22:18. | :22:27. | |
lifeboat for days. Stunning use of 3D. The film had great ambitions. | :22:27. | :22:33. | |
At number four and original energetic and independent film made | :22:33. | :22:38. | |
with great passion that took you to another disturbing world and gave | :22:38. | :22:46. | |
you hope. In third place, a Hollywood movie that really works | :22:46. | :22:56. | |
:22:56. | :22:59. | ||
starred and directed by this man. Extremely well made and | :22:59. | :23:09. | |
entertaining. In second place a master/servant relationship, almost | :23:09. | :23:18. | |
a love story. A dense and tough to fathom film but one which many | :23:18. | :23:28. | |
found very rewarding. And in first place from an Austrian director at | :23:28. | :23:36. | |
the story of ageing and love starring a veteran French actor. As | :23:36. | :23:46. | |
:23:46. | :23:47. |