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Q. Why did the Belgian chicken cross the road? A. Because there's fuck-all else to do in Bruges

Q. Why did the Belgian chicken cross the road? A. Because there's fuck-all else to do in Bruges

What an incredible year my colleagues at Film4 have had since Last King of Scotland picked up an Oscar (and two BAFTAs). Last night at the Golden Globes of the 14 movie awards 6 went to Film4 productions:

  • BEST MOTION PICTURE – DRAMA 
Slumdog Millionaire
  • BEST PERFORMANCE BY AN ACTOR IN A MOTION PICTURE – MUSICAL OR COMEDY
 Colin Farrell, In Bruges
  • BEST PERFORMANCE BY AN ACTRESS IN A MOTION PICTURE – MUSICAL OR COMEDY
 Sally Hawkins, Happy-Go-Lucky
  • BEST DIRECTOR – MOTION PICTURE
 Danny Boyle, Slumdog Millionaire
  • BEST SCREENPLAY – MOTION PICTURE 
Slumdog Millionaire
  • BEST ORIGINAL SCORE – MOTION PICTURE 
Slumdog Millionaire

Add to that movies like Hunger which already has picked up a shedload of silverware (20 so far including the Camera d’Or at Cannes, which I acknowledge is not technically silverware) and Garage, a landmark in Irish cinema. Irish and Waiting Around has been something of a theme this year (Garage, Hunger, In Bruges). And let’s not forget A Complete History of My Sexual Failures made by Chris Waitt, an alumnus of 4Talent.

Film4 may not be huge but they’re perfectly formed, add a great deal to the UK film industry and – like Channel 4 as a whole – punch well above their weight. “Our organization is small, but we have a lot of opportunities for aggressive expansion.”

…which brings us neatly from a great night to a Dark Knight: I have to agree with Maggie Gyllenhall’s analysis of Heath Ledger’s win in the Best Supporting Actor category: “Our movie I think is great, but I think he elevated it to a completely different place.” Without a doubt, performance of the year.

Why so serious?

Why so serious?

UPDATE 15.i.09 08:15

BAFTA nominations just announced. Film4 picked up 3 of the 5 nominations for Outstanding British Film (In Bruges, Slumdog Millionaire, Hunger); Slumdog got most nominations (equal with The Curious Case of Benjamin Button); and, of course, Slumdog is up there for Best Film and Best Director.

Good to see Kate Winslet pitted against herself in Best Actress category – you can see the speech already: “I’m so sorry, Anne, Meryl, Kristin, …oh god, who’s the other one? Me!”

Now THAT speech, it bears some anaylsis… “I’m so sorry [unconvincing (for such an experienced actress) self-deprecation] Anne, Meryl, Kristin, …oh god, who’s the other one? [what a bitch, eh? sub-text: I know full well who the other sexiest one is] Angelina! this is… ok… now, forgive me …gather [sub-text: I've been to drama school]. Is this really happening? OK, erm… I’m going to try and do this on the cuff, ok [so OFF the cuff I get the phrase wrong] – Thank you so much. Thank you so much! [sub-text: I really do need a good script-writer, I've nothing substantial to say myself] Oh god! {applause} Please wrap up, you have no idea how I’m not wrapping up! [sub-text: stop clapping, I need to wrestle control back, I'm not fucking finished!] Ok, gather…”

UPDATE 17.i.09

I’ve just gotten round to watching the end of The Reader. Having given Kate Winslet a hard time above, I have to confess it is an excellent performance, well worthy of awards. But the film itself has left me with nagging doubts, two in particular. Most of the UK critics praised it highly but I noticed two exceptions, strangely enough by two people I went to school with. Pete Bradshaw of The Guardian expressed strong doubts (from memory, the review I read on the way back from Ireland after the new year gave it one star). Mark Kermode subsequently spoke of his reservations on the weekly film review show he does with Simon Mayo on BBC Radio 5.

The implication of the film – in the trial of Hanna Schmidz – is that she left Siemens to join the SS because she had been offered a promotion which would have exposed her illiteracy. The same happened to her at the tram company after the war – she runs away when a promotion to office work is offered. What is this saying? The film comes to (and this is no easy feat) create a degree of sympathy for Hanna, a guard at Auschwitz for the SS. Is it saying because she was illiterate, disadvantaged, perhaps a touch simple it explains her role in the war? That reminds me of an experience I had in Austria in the 80s.

I was on a scholarship studying the artist Egon Schiele (to whom my attention had first been drawn by David Bowie on the radio). I went to the small village on the outskirts of Vienna to find his studio. I knew it had been up a small lane but had difficulty finding it. I asked an old man I met on the street and first he hushed me, indicating that the name Egon Schiele was still a dirty word in the village 70 odd years after his ‘artistic’ behaviour had scandalised the place. Then he brought me into a bar, bought me a white wine and launched into an apology (in the sense of ‘explanation’) for Austria’s take up of Nazism. We were poor, hungry, illiterate…

It didn’t wash then and it doesn’t in the film either. The other thing I didn’t buy was that the daughter who had been in Auschwitz as a child with her mother would keep a memento (Hanna’s tin) of a concentration camp guard, least of all by a photo of her murdered family. There’s something being underestimated there.

Now I’m not sure what comes from the David Hare screenplay and what from Bernard Schlink’s source novel (Der Vorleser) but the tin and the flight to the SS from the Siemens promotion both give me the impression that Schlink (or Hare, but I suspect the former) was letting Germany off the hook too easily – ignorance is no excuse and forgiveness doesn’t come that easy.

For all that, it’s still a very well made and compelling movie. Ralph Fiennes’ performance is on a par with Kate Winslet. Ironically the one time I met and spoke to him, in the bar at the Almeida in Islington, he had just played the fiendish Amon Goeth in Schindler’s List. David Kross who plays Fiennes’ character, Michael Berg, when young is also excellent. The film was part-shot by my old boss Roger Deakins (who shared the gig with fellow Brit Chris Menges) and it certainly looks great too. Well worth watching but there’s something dubious to be read between the lines.

Update 22.i.09:

This lunchtime this year’s Oscar nominations have been announced and Channel 4′s Film4 has received 12 (yes, 12!) nominations:

Slumdog Millionaire

· Cinematography

· Directing

· Film editing

· Original score

· Original song – “Jai Ho”

· Original song – “O Saya”

· Best picture

· Sound editing

· Sound mixing

· Adapted screenplay

In Bruges

· Original screenplay

Happy-Go-Lucky

· Original screenplay

Frock-coats and drama kings

Jason Isaacs

Sitting here in Carlingford, County Louth on a quiet evening in charge of sleeping children above, with my other half out with some of her dozens of cousins on the other side of Carlingford Lough in Rostrevor, County Down, with some godawful pseudo-american chatshow on RTE1 (Tubirdy Tonight – the name captures the height of shite it represents – a charmless, dull host behind a reproduction antique desk on the other side of which sits a fake nobody guest (the renowned Deirdre O’Kane?) with a D4 tango tan behind which are wooden window panes giving on to a fake cityscape unlike any part of Dublin I’ve ever seen, a lifeless photo devoid of dynamism or truth) and some two-bit boxing match on RTE2 with a ringside commentator with huge arched eyebrows and a forehead like the Mekon – jaysis, we’re blessed with our public service broadcasting back in Blighty, Ireland has much to offer the world but telly isn’t among its riches – I flick to a movie on Ulster TV, Joe Wright’s recent iteration of Pride and Prejudice with Ikea Knightley, as Mark Kermode (who popped up earlier this evening on the Culture Show) calls her on his weekly movie review show on Radio 5 with Simon Mayo. (How’s that, heavenly muse, for a Miltonian sentence?)

From this movie, which has somehow lost its appeal on a second, small-screen viewing, I drift off to an altogether more engaging gathering than the one before me with the dreadful Mr Collins showing off his lightness of foot. The other night I had the pleasure of meeting Mr Darcy himself, Matthew Macfadyen, and his charming wife Keeley Hawes (Cock and Bull Story, Ashes to Ashes, Spooks, The Bank Job) at the RTS Production Awards where he very deservingly won the best actor award for the excellent Secret Life in which he portrays a recently released paedophile striving for rehabilitation. This Channel 4 commission, written and (first-time) directed by Rowan Joffe (28 Weeks Later, Gas Attack), culminates in an astonishing scene in a fairground where the struggling ex-con brings his handsome Darcy-like features and non-Darcy-like charm to bear on an underage girl. Will he or won’t he? It’s painfully impossible to call.

I watched the drama as one of the twenty hours I went through as a judge in the Scriptwriter – Drama category in the company of the likes of Simon Cellan Jones (Cracker, The Trial of Tony Blair) and Kudos’ Derek Wax (Sex Traffic). For me it was the best film, alongside Mark O’Rowe’s Boy A, but the BBC’s adapted screenplay for Mrs Gaskell’s Cranford eventually won the category. Brilliantly crafted of course and a wonderful cast to deliver the lines with the greatest of expertise – but not brave in the Channel 4 way of Secret Life and Boy A. Too much Pride and Prejudice, too little Shameless for me.

I’d been introduced to the self-effacing (for such a tall man) Matthew Macfadyen by Jason Isaacs, who I hadn’t seen for some twenty years. On occasion we traveled together to school on the bus when he was a big boy and I an insignificant underling. I remember him being warm and open – most bigger boys just ignored you at best. He remembered himself as being unpleasant at that age and “driven by fear”. Mark Kermode – who says hallo to Jason Isaacs and David Morrissey every week on the aforementioned review programme – recalls Jason (who was in the same year as him) as very cool and collected. Jason recalls Mark as the cool one to be looked up to with his quiff and rockabilly persona. Which all goes to show the gulf between our perception of ourselves and how we actually come across to others, as well as the role self-confidence and fear plays in our formative years and beyond. Darcy has just walked out suddenly on a confused Elizabeth for just such reasons.

It was lovely catching up with Jason after so long, last time we met he was still in Capital City with Clive Owen et al. [Correction - see comment below: Make that Douglas Hodge - Clive Owen was in Chancer which aired the same year with Peter Vaughan and Leslie Phillips, written by Tony Grounds.] Since then he’s been to Hollywood (Mel Gibson’s The Patriot, Armageddon, Harry Potter, etc.) and back (to be able to raise his daughters properly) and the night of the RTS was playing Harry H Corbett in The Curse of Steptoe and Son on BBC4 to enthusiastic reviews. We chatted about the urban myth that was the Edgware Walker (as brought to the screen by the maverick Lee Kern), about mutual schoolmates including the legendary Laurence Gould, broader than he was tall, famous for launching two skinheads down the stairs at Stanmore Station, and that was another subject of conversation, the neo-nazi violence of the mid-70s which Jason recalls much more vividly than I can. My first gig was the Tom Robinson Band at the Hammersmith Odeon – TRB introduced me to Anti-Nazi League activism, as well as the notion of gay rights – but it was all a bit theoretical for me. It seems like the couple of years age gap between us made it all much more real for Jason. He also spoke insightfully about his own craft. Producer Vadim Jean (Leon the Pig Farmer, Terry Pratchett’s Hogfather) joined us for that bit of the convo – he held up Gene Hackman as one of the most consistently excellent screen actors. Watching Donald Sutherland as Mr Bennett does make you think about consistency – the man from Mash and Klute is also the winner of the all-time worst accent award for his role in Goldcrest’s disasterous Revolution. But in the end it’s all just make-believe. Jason’s older brother, a doctor, it turns out saved a man’s life by performing an emergency tracheotomy (with a biro!) on a plane heading to North Africa. In the light of that, Lydia running off with the perfidious Wickham seems to pale into insignificance.

A few years ago I was filming in Northern Ireland with Eddie McCaffery of Joose TV (then Emerald Productions) and Roddy Gibson (now a TV specialist course director at Middlesex Uni). We had a break from filming and headed up to Horn Head in Donegal. Whilst walking out on the bog of the headland we came across an older man collapsed with blood coming from his mouth, his distraught sister kneeling at his side. The three of us had recently spent weeks in an edit suite cutting a scene involving first aid and so were quite up on our life-saving. We did all the right stuff, got blood all over Roddy’s new jacket which served to cushion the old fella’s head, ended up carrying the prone body (surprisingly heavy) by stretcher back up off the bog to the ambulance which took him to Letterkenny hospital. We never heard a word from the man or his sister. Jason’s brother was given an airline voucher for £30 for his trouble. Elizabeth Bennett may be struggling a bit with her values here but those are both seriously out of whack. Jason’s brother was, however, invited to his emergency patient’s subsequent wedding where he came to see for himself what the act meant to the young man’s parents. Lady Catherine de Burgh (Judi Dench, who also featured in Cranford) has just been shown the door by the feisty Elizabeth, a frock-coated Matthew Macfadyen is striding through the mist, so wedding bells are just around the corner now as things trundle to their happy ending.

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