1 00:00:00,200 --> 00:00:02,000 Speaker 1: I don't like it because here's so much she's done 2 00:00:02,040 --> 00:00:05,400 Speaker 1: on her face. Oh my god, she's not even forty. 3 00:00:05,640 --> 00:00:06,360 Speaker 1: She's dead to me. 4 00:00:06,400 --> 00:00:14,360 Speaker 2: Now from The Australian. This is the weekend edition of 5 00:00:14,400 --> 00:00:18,480 Speaker 2: The Front. I'm Claire Harvey. It's Oscar's time. And if 6 00:00:18,520 --> 00:00:22,159 Speaker 2: you love the red carpet, Monday ceremony won't disappoint. But 7 00:00:22,480 --> 00:00:26,160 Speaker 2: if you love movies as escapist art, you might find 8 00:00:26,200 --> 00:00:29,680 Speaker 2: the whole thing a bit tedious. Today our cheeks guide 9 00:00:29,760 --> 00:00:33,000 Speaker 2: to the movies vying for Best Picture and a flashback 10 00:00:33,120 --> 00:00:38,880 Speaker 2: to when movies used to be fun. Milanda Raut is 11 00:00:38,920 --> 00:00:41,080 Speaker 2: The Australian's Culture editor and she's here to talk to 12 00:00:41,080 --> 00:00:44,479 Speaker 2: me ahead of the ninety eight Academy Awards being held 13 00:00:44,479 --> 00:00:48,600 Speaker 2: in Hollywood on Monday Australian time. Milanda, it's great fun 14 00:00:48,640 --> 00:00:50,519 Speaker 2: to watch these awards being handed out. But you and 15 00:00:50,600 --> 00:00:56,200 Speaker 2: I have been watching the Best Picture finalists over the 16 00:00:56,240 --> 00:00:59,920 Speaker 2: past week or so. We're both busy moms, yes, busy professionals. 17 00:01:00,440 --> 00:01:02,760 Speaker 2: It's been a slog, it has been, and it has 18 00:01:02,800 --> 00:01:04,559 Speaker 2: been a slog. They are very long. 19 00:01:04,640 --> 00:01:06,200 Speaker 1: Movies are very long. Now, they're long. 20 00:01:06,240 --> 00:01:08,920 Speaker 2: They're depressing. There's a child dying and nearly every single 21 00:01:08,959 --> 00:01:12,880 Speaker 2: one of them. No mother's a bad Motherhood is torture. 22 00:01:13,000 --> 00:01:16,920 Speaker 2: As our producer Christen Amy it wisely observed, it's not 23 00:01:17,280 --> 00:01:19,880 Speaker 2: a great kind of escape anymore. What's happened to cinema. 24 00:01:19,959 --> 00:01:22,240 Speaker 1: I don't know. I don't know. I just think it's 25 00:01:22,280 --> 00:01:25,880 Speaker 1: all very serious. It's very worthy. We can't not watch 26 00:01:25,880 --> 00:01:26,800 Speaker 1: a movie without a point. 27 00:01:26,840 --> 00:01:39,720 Speaker 2: Maybe you during a week were looking back at the 28 00:01:39,760 --> 00:01:43,039 Speaker 2: list of movies that used to win Best Film, and 29 00:01:43,360 --> 00:01:46,160 Speaker 2: they were I think, so much more fun. They were 30 00:01:46,160 --> 00:01:48,480 Speaker 2: often blockbusters too, weren't they Absolutely? 31 00:01:48,520 --> 00:01:50,200 Speaker 1: And you look back at the list and there's slum 32 00:01:50,240 --> 00:01:53,960 Speaker 1: Dog Millionaire, which is amazing, the King's Speech, Lord of 33 00:01:53,960 --> 00:01:57,720 Speaker 1: the Rings, just all fantastic movies that were amazing filmmaking. 34 00:01:57,760 --> 00:01:59,880 Speaker 1: But also I don't know, they were I don't know, 35 00:02:00,080 --> 00:02:02,000 Speaker 1: walked away feeling good about the world. 36 00:02:02,920 --> 00:02:06,520 Speaker 2: Forrest Gump. Yes, they were not only technically excellent, but 37 00:02:06,520 --> 00:02:09,359 Speaker 2: I think also they captured the mood of the time, 38 00:02:09,800 --> 00:02:12,720 Speaker 2: whereas in recent years it's been movies that frankly, you'd 39 00:02:12,760 --> 00:02:16,119 Speaker 2: have to pay me to go and see Parasite Anora. 40 00:02:16,600 --> 00:02:18,320 Speaker 2: I mean, if there's not a sort of sex worker 41 00:02:18,440 --> 00:02:20,679 Speaker 2: or a dead child in them, they don't win the 42 00:02:20,720 --> 00:02:21,760 Speaker 2: Oscar apparently anymore. 43 00:02:21,840 --> 00:02:23,520 Speaker 1: No, And I guess, well, what is the point of 44 00:02:23,520 --> 00:02:25,600 Speaker 1: a movie? Is it to entertain? Do we go to 45 00:02:25,639 --> 00:02:28,799 Speaker 1: get entertained? And I guess that's where it comes back from. 46 00:02:28,840 --> 00:02:30,720 Speaker 1: I still love to go to the movies and have 47 00:02:30,840 --> 00:02:33,919 Speaker 1: popcorn and maltesus and have a great time or walk out. 48 00:02:34,120 --> 00:02:36,720 Speaker 1: That doesn't mean it's less worthy. And also to the 49 00:02:36,720 --> 00:02:39,680 Speaker 1: amount of people who've seen the movies. I mean Anora 50 00:02:39,720 --> 00:02:41,839 Speaker 1: that won last year, I don't know many people have 51 00:02:41,880 --> 00:02:44,320 Speaker 1: seen that. I mean even this list. One Battle after 52 00:02:44,400 --> 00:02:46,480 Speaker 1: the other obviously did well at the box office, and 53 00:02:46,520 --> 00:02:49,080 Speaker 1: so did Sinners. But still like a lot of people 54 00:02:49,120 --> 00:02:50,600 Speaker 1: would not know any of these movies. 55 00:02:55,760 --> 00:02:59,000 Speaker 2: Okay, let's dive into this list of nominees for Best Picture. 56 00:02:59,160 --> 00:03:03,720 Speaker 2: If oneing Brad Pitt is probably the only unashamed real 57 00:03:03,760 --> 00:03:07,480 Speaker 2: blockbuster out of the movies, isn't it those two you mentioned? 58 00:03:07,520 --> 00:03:11,200 Speaker 2: One Battle after another? And Sinners have done very well 59 00:03:11,200 --> 00:03:13,960 Speaker 2: at the box office, but probably in part because they 60 00:03:14,280 --> 00:03:17,440 Speaker 2: have been Oscar nominees and are getting a lot of buzz. Yes, 61 00:03:17,840 --> 00:03:18,880 Speaker 2: tell me about Sinners. 62 00:03:19,440 --> 00:03:22,080 Speaker 1: It's set in the earliest twentieth century American South, and 63 00:03:22,120 --> 00:03:24,720 Speaker 1: it's kind of sets it up as almost looking back 64 00:03:24,720 --> 00:03:27,919 Speaker 1: at slaves and slavery in the South. It's beautifully filmed 65 00:03:28,480 --> 00:03:31,320 Speaker 1: and it takes you into a complete other direction which 66 00:03:31,520 --> 00:03:33,919 Speaker 1: I didn't expect in the first half of the film. 67 00:03:34,280 --> 00:03:36,480 Speaker 1: And it's a horror movie and it's about vampires. 68 00:03:37,400 --> 00:03:40,560 Speaker 2: I mean to scare you. I don't forgot about me 69 00:03:40,720 --> 00:03:43,680 Speaker 2: hook co Op and rolling on out here. 70 00:03:44,960 --> 00:03:46,880 Speaker 3: Stay as you of. 71 00:03:46,920 --> 00:03:48,280 Speaker 1: Course is me open the door. 72 00:03:50,280 --> 00:03:51,160 Speaker 2: That ain't your brother. 73 00:03:53,600 --> 00:03:55,840 Speaker 1: And it has been a big box office success, and 74 00:03:55,880 --> 00:03:59,960 Speaker 1: it's definitely gathered steam as the award season has progressed. 75 00:04:00,400 --> 00:04:02,320 Speaker 1: I guess it's the most popular one of all of 76 00:04:02,360 --> 00:04:05,360 Speaker 1: the nominees. And at the recent Actor Awards, which used 77 00:04:05,400 --> 00:04:08,640 Speaker 1: to be the SAG Awards, which is voted by actually actors, 78 00:04:09,200 --> 00:04:11,280 Speaker 1: it took out quite a few winners, so now it 79 00:04:11,320 --> 00:04:13,720 Speaker 1: would be among a front runner for the Oscar. 80 00:04:14,120 --> 00:04:17,600 Speaker 2: There were some quite remarkable performances in that movie. Michael B. 81 00:04:17,760 --> 00:04:22,239 Speaker 2: Jordan plays twins, yes, extraordinary, amazingly well too, and lots 82 00:04:22,240 --> 00:04:25,400 Speaker 2: of clever cinematography behind that. But it's a movie in 83 00:04:25,440 --> 00:04:27,840 Speaker 2: two halves, really, isn't it. You know? There's this very 84 00:04:27,880 --> 00:04:31,160 Speaker 2: sort of lyrical and evocative presentation of the American South 85 00:04:31,200 --> 00:04:33,360 Speaker 2: in the Jim Crow era where there's still a lot 86 00:04:33,360 --> 00:04:37,440 Speaker 2: of racism. Yeah, and then the vampires come. Did we 87 00:04:37,480 --> 00:04:38,360 Speaker 2: need the vampires? 88 00:04:38,520 --> 00:04:40,479 Speaker 1: I don't know. I like the first half better than 89 00:04:40,520 --> 00:04:41,279 Speaker 1: the second. 90 00:04:41,480 --> 00:04:43,520 Speaker 2: I've got a friend who's watched The Sound of Music 91 00:04:43,560 --> 00:04:46,200 Speaker 2: probably three hundred times, but she's never watched it past 92 00:04:46,279 --> 00:04:47,599 Speaker 2: the point where the Nazi's coming. 93 00:04:47,800 --> 00:04:49,040 Speaker 1: I don't Maybe that's way to do. 94 00:04:49,040 --> 00:04:59,760 Speaker 2: It, one battle after another. This is the Paul Thomas 95 00:04:59,760 --> 00:05:04,000 Speaker 2: and In films starring Leonardo DiCaprio and Sean Penn. I 96 00:05:04,080 --> 00:05:05,520 Speaker 2: hated it. What did you think? 97 00:05:05,560 --> 00:05:08,200 Speaker 1: I didn't really like it either. It's it's very long. 98 00:05:08,680 --> 00:05:11,120 Speaker 1: I just don't get long movies. This was very long. 99 00:05:11,200 --> 00:05:13,760 Speaker 1: We just need an editor. Everyone needs an editor. And 100 00:05:13,839 --> 00:05:16,320 Speaker 1: I just think it was just it was unsettling. I mean, 101 00:05:16,360 --> 00:05:19,920 Speaker 1: Sean Penn was amazing because he was so disturbing and 102 00:05:20,200 --> 00:05:22,960 Speaker 1: awful and gross to look at, I mean, not to 103 00:05:23,000 --> 00:05:25,520 Speaker 1: look at, but just his character. But no, I didn't 104 00:05:25,520 --> 00:05:26,159 Speaker 1: really like it either. 105 00:05:27,960 --> 00:05:30,200 Speaker 2: There's a pivotal scene early in the movie where the 106 00:05:30,320 --> 00:05:35,920 Speaker 2: very impressive female revolutionary is, you know, doing some revolutioning 107 00:05:36,520 --> 00:05:40,040 Speaker 2: along with her slightly hapless boyfriend Leo DiCaprio. 108 00:05:41,080 --> 00:05:42,440 Speaker 1: He's very funny, he's good. 109 00:05:42,839 --> 00:05:46,839 Speaker 2: But Sean Penn responds to her and he's an army 110 00:05:47,040 --> 00:05:50,120 Speaker 2: officer by having a massive erection. Yeah, or she tells 111 00:05:50,200 --> 00:05:53,400 Speaker 2: him to get up, and they're not like you would think. 112 00:05:53,560 --> 00:05:55,720 Speaker 2: And then she becomes sort of the white whale who 113 00:05:55,720 --> 00:05:59,200 Speaker 2: he's chasing. He's obsessed and anyway, she escapes and then 114 00:05:59,279 --> 00:06:03,120 Speaker 2: Leonardo Dicapri was left behind and he becomes the new target. 115 00:06:03,279 --> 00:06:03,479 Speaker 1: Yeah. 116 00:06:03,480 --> 00:06:06,400 Speaker 2: There's a great scene where Leo is running from the 117 00:06:06,440 --> 00:06:11,200 Speaker 2: authorities in his dressing gown. Yes, having hilarious conversations on 118 00:06:11,240 --> 00:06:13,320 Speaker 2: the phone, trying to remember that the kind of past 119 00:06:13,360 --> 00:06:15,880 Speaker 2: code that the other revolutionaries wanted him to say. Before 120 00:06:15,880 --> 00:06:18,600 Speaker 2: he'll get any assistance. We got to go. I need 121 00:06:18,600 --> 00:06:20,040 Speaker 2: a weapon, man a, you got his gun down? 122 00:06:20,120 --> 00:06:22,039 Speaker 3: Non chucks? Here you where you get a gun? 123 00:06:23,880 --> 00:06:25,599 Speaker 2: You've got a gun in your place. I'll get you 124 00:06:25,600 --> 00:06:25,960 Speaker 2: a gun. 125 00:06:26,120 --> 00:06:26,640 Speaker 1: You have a gun? 126 00:06:26,760 --> 00:06:26,880 Speaker 3: Right? 127 00:06:27,440 --> 00:06:32,159 Speaker 2: Yes? Okay, he is great. 128 00:06:32,320 --> 00:06:33,960 Speaker 1: I must say he is fantastic. 129 00:06:34,400 --> 00:06:37,880 Speaker 2: But the film do you think deserves the best picture? 130 00:06:37,880 --> 00:06:40,480 Speaker 1: Oscar? There is this kind of thought going around that 131 00:06:40,520 --> 00:06:43,320 Speaker 1: he Paul Thomas Anderson has done a lot of fantastic movies. 132 00:06:43,880 --> 00:06:47,000 Speaker 1: He's got a distinctive style of movie making and maybe 133 00:06:47,040 --> 00:06:49,120 Speaker 1: it's his time. So a lot of the reviews that 134 00:06:49,160 --> 00:06:51,159 Speaker 1: have been written about this movie is it is this 135 00:06:51,240 --> 00:06:53,359 Speaker 1: the movie that will win him the Oscar? Is it 136 00:06:53,520 --> 00:06:56,280 Speaker 1: his time? So I think maybe that kind of idea 137 00:06:56,320 --> 00:07:00,080 Speaker 1: of rewarding a director over there, like Body of Work, 138 00:07:00,240 --> 00:07:04,760 Speaker 1: like Christopher Nolan with Oppenheimer, and even like going back 139 00:07:04,800 --> 00:07:06,440 Speaker 1: way back to the Lord of the Rings. They waited 140 00:07:06,440 --> 00:07:08,599 Speaker 1: to the third one to give the Oscar to the movie, 141 00:07:08,600 --> 00:07:10,160 Speaker 1: even though arguably the first one was better. 142 00:07:13,720 --> 00:07:16,520 Speaker 2: Coming up more of Milanda Route. While I've got to you, 143 00:07:16,560 --> 00:07:19,119 Speaker 2: come and check out the Australian dot com dot au 144 00:07:19,280 --> 00:07:22,760 Speaker 2: this weekend. Everything's free to read, and you might know 145 00:07:22,880 --> 00:07:25,880 Speaker 2: we usually have a pretty hard paywall. This is a 146 00:07:25,960 --> 00:07:28,680 Speaker 2: chance to sample our journalism and get to know our 147 00:07:28,800 --> 00:07:30,040 Speaker 2: incredible reporters. 148 00:07:30,400 --> 00:07:41,440 Speaker 3: We'll be back after the break. 149 00:07:44,600 --> 00:07:47,120 Speaker 2: So those are the kind of very masculine movie you 150 00:07:47,160 --> 00:07:48,680 Speaker 2: set are up for Best Picture. There's a couple of 151 00:07:48,760 --> 00:07:52,040 Speaker 2: very feminine ones. Yes, I watched Hamnet, you watched If 152 00:07:52,080 --> 00:07:54,600 Speaker 2: I had legs, I kick you. Let's start with that. 153 00:07:54,880 --> 00:07:57,920 Speaker 1: How was Rose Bern She was phenomenal. I really would 154 00:07:58,080 --> 00:08:00,320 Speaker 1: love her to win the Oscar more than anything, because 155 00:08:00,360 --> 00:08:03,400 Speaker 1: not only is she she is Australian, but she's fabulous. 156 00:08:03,400 --> 00:08:07,000 Speaker 1: In this movie, it's lots of close ups. She's a 157 00:08:07,040 --> 00:08:09,680 Speaker 1: woman in her forties who has not had worked on her. 158 00:08:09,720 --> 00:08:11,560 Speaker 1: It looks like a woman her forties, and she's got 159 00:08:11,560 --> 00:08:14,240 Speaker 1: the camera very close up for a lot of the time. 160 00:08:14,320 --> 00:08:18,640 Speaker 1: And she is really just an exhausted, stressed mother trying 161 00:08:18,680 --> 00:08:21,560 Speaker 1: to deal with a sick child, a plumbing crisis, and 162 00:08:21,600 --> 00:08:24,600 Speaker 1: a husband who is never there and kind of yelling 163 00:08:24,640 --> 00:08:25,920 Speaker 1: her at the phone, going well, we just have to 164 00:08:25,960 --> 00:08:28,440 Speaker 1: make it work while he's thousands of miles away. So 165 00:08:28,600 --> 00:08:30,720 Speaker 1: I thought she was fantastic. 166 00:08:32,679 --> 00:08:34,720 Speaker 2: I'm supposed to know how to fix this. I'm supposed 167 00:08:34,760 --> 00:08:36,760 Speaker 2: to know how toffects her. What is it? You think 168 00:08:37,080 --> 00:08:41,720 Speaker 2: it's your job defects? I'm asking you what I suppose 169 00:08:41,840 --> 00:08:44,080 Speaker 2: you know? Can you hear me? I would like you 170 00:08:44,160 --> 00:08:45,760 Speaker 2: to get a good night's sleep. 171 00:08:47,640 --> 00:08:50,440 Speaker 1: The movie was really good at looking at motherhood and 172 00:08:50,480 --> 00:08:54,280 Speaker 1: how much of it's beyond our control and how difficult 173 00:08:54,320 --> 00:08:58,320 Speaker 1: it is. And she's stuck in this hotel room with 174 00:08:58,440 --> 00:09:00,840 Speaker 1: the red light of a feeding machine of a tube 175 00:09:00,840 --> 00:09:03,640 Speaker 1: into her child. So it's unclear about whether the child's 176 00:09:03,679 --> 00:09:06,800 Speaker 1: sick because she has a stomach condition or she's refusing 177 00:09:06,840 --> 00:09:09,160 Speaker 1: to eat. But I think she should win it. I'm 178 00:09:09,200 --> 00:09:10,640 Speaker 1: not saying she will, but I think she should. 179 00:09:10,679 --> 00:09:14,000 Speaker 2: One of her rivals for Best Actress is Jesse Buckley 180 00:09:14,360 --> 00:09:18,920 Speaker 2: from Hamnet, an English actress in an adaptation of the 181 00:09:19,000 --> 00:09:25,840 Speaker 2: Maggi O'Farrell novel based on I guess a slightly fantastical 182 00:09:26,160 --> 00:09:31,360 Speaker 2: reading of Shakespeare's life hypothesis that Shakespeare wrote Hamlet after 183 00:09:31,400 --> 00:09:35,120 Speaker 2: the death of his son Hamnet, Yes, and that loss 184 00:09:35,120 --> 00:09:38,680 Speaker 2: of the child inspired the play Hamlet. That's a longboat 185 00:09:38,679 --> 00:09:42,040 Speaker 2: to drawer, and I think academics who study Shakespeare don't 186 00:09:42,040 --> 00:09:44,320 Speaker 2: really take that theory very seriously. But it's a great 187 00:09:44,520 --> 00:09:45,240 Speaker 2: subject for a. 188 00:09:45,200 --> 00:09:47,240 Speaker 1: Film, absolutely, And I think it's there's a lot of 189 00:09:47,360 --> 00:09:51,000 Speaker 1: historical fiction. It's like a big genre. Sure everyone likes 190 00:09:51,040 --> 00:09:53,120 Speaker 1: taking one detail and then love. 191 00:09:53,679 --> 00:09:56,160 Speaker 2: So yeah, Unfortunately, I don't think this one really works. 192 00:09:56,280 --> 00:09:58,600 Speaker 2: There's a lot of close ups of Jesse Buckley crying. 193 00:09:59,120 --> 00:10:01,480 Speaker 2: There's you know, a lot of sort of rolling around 194 00:10:01,520 --> 00:10:04,480 Speaker 2: in the dirt in the forest. Poor Mescal, who plays 195 00:10:04,480 --> 00:10:09,240 Speaker 2: William Shakespeare without any apparent signs of genius, invents freestyle 196 00:10:09,240 --> 00:10:13,440 Speaker 2: at one stage, swimming across a river in the rain, 197 00:10:13,520 --> 00:10:16,480 Speaker 2: of course, and is doing freestyle, which I thought was 198 00:10:16,480 --> 00:10:23,200 Speaker 2: an interesting portrayal of sixteenth century. 199 00:10:21,360 --> 00:10:23,760 Speaker 1: Tell me a story, what story? 200 00:10:23,760 --> 00:10:24,280 Speaker 2: Would you like? 201 00:10:25,080 --> 00:10:26,000 Speaker 1: Something that moves you? 202 00:10:27,559 --> 00:10:31,160 Speaker 2: But I found it really depressing. I watched it at 203 00:10:31,160 --> 00:10:33,640 Speaker 2: home on my laptop and found myself hitting the fifteen 204 00:10:33,679 --> 00:10:38,720 Speaker 2: seconds forward quite a lot. It's another example of a 205 00:10:38,800 --> 00:10:41,920 Speaker 2: movie I think that is too long when not enough happens. 206 00:10:42,480 --> 00:10:45,800 Speaker 2: There are no explosions. No, I'm joking. I don't need 207 00:10:45,840 --> 00:10:48,120 Speaker 2: there to be explosions in a film like this, And 208 00:10:48,200 --> 00:10:51,680 Speaker 2: I think contemplative movies are fine, but they have to 209 00:10:51,720 --> 00:10:55,000 Speaker 2: be sustained by an incredible script. This one, I think 210 00:10:55,040 --> 00:10:59,199 Speaker 2: the script was very wooden and sort of silly. Chloe's'w 211 00:10:59,280 --> 00:11:02,079 Speaker 2: the director said. I read an interview with her where 212 00:11:02,120 --> 00:11:05,120 Speaker 2: she said she didn't really understand Shakespeare, and I think 213 00:11:05,160 --> 00:11:08,280 Speaker 2: that's obvious in the portrayal of Hamlet that they do, 214 00:11:08,400 --> 00:11:10,960 Speaker 2: in that they do a play within the story. They 215 00:11:11,040 --> 00:11:14,480 Speaker 2: show Hamlet being portrayed on the stage in London, and 216 00:11:14,520 --> 00:11:17,000 Speaker 2: it's awful. I mean, you wouldn't watch it in a 217 00:11:17,080 --> 00:11:19,400 Speaker 2: year nine drama production. 218 00:11:19,600 --> 00:11:22,360 Speaker 1: Because I think, also too from what I've read, about 219 00:11:22,360 --> 00:11:24,480 Speaker 1: it is that it doesn't portray Shakespeare in a particularly 220 00:11:24,559 --> 00:11:26,280 Speaker 1: niceold either. He's the absent father. 221 00:11:26,559 --> 00:11:29,480 Speaker 2: He's a complete drip as well, instead of hanging around 222 00:11:29,559 --> 00:11:32,040 Speaker 2: in the attic all the time with candle wax dripping 223 00:11:32,040 --> 00:11:34,760 Speaker 2: all over his fingers. And his wife is the one 224 00:11:34,840 --> 00:11:37,280 Speaker 2: with the wherewithal and she's got her act together and 225 00:11:37,800 --> 00:11:40,160 Speaker 2: of course she's dealing with the grief of losing her child. 226 00:11:41,200 --> 00:11:44,320 Speaker 2: It's now officially eclipsed Shakespeare in Love as my least 227 00:11:44,360 --> 00:11:46,240 Speaker 2: favorite portrayal of Shakespeare. 228 00:11:47,240 --> 00:11:50,240 Speaker 1: Well, if Jesse Buckley wins Best Oscar for her acting, 229 00:11:50,280 --> 00:11:52,600 Speaker 1: well hopefully her speech is better than Gwyneth paltrowit. 230 00:11:53,360 --> 00:11:57,319 Speaker 2: Well, it's stunning that Shakespeare in Love won Best That's extraordinary. 231 00:11:57,440 --> 00:12:00,440 Speaker 2: That's the power of Harvey Weinstein, right, totally different time. 232 00:12:00,559 --> 00:12:04,160 Speaker 2: And that's the other part about modern oscars. Yeah, absolutely, 233 00:12:04,240 --> 00:12:05,160 Speaker 2: there's a lot of campaigning. 234 00:12:05,200 --> 00:12:07,600 Speaker 1: Guy. Yes, Well, in fact, I was reading something the 235 00:12:07,600 --> 00:12:10,480 Speaker 1: other day he was quoting consultants. So there's consultants in 236 00:12:10,559 --> 00:12:14,360 Speaker 1: Hollywood hire to run campaigns. So I mean, like it 237 00:12:14,679 --> 00:12:15,680 Speaker 1: sounds it's like an election. 238 00:12:16,000 --> 00:12:18,319 Speaker 2: Sometimes the studios try to conceal the fact that their 239 00:12:18,360 --> 00:12:21,160 Speaker 2: campaigning I think, but Timothy Shaller May brought it all 240 00:12:21,200 --> 00:12:23,120 Speaker 2: really out into the open, didn't he. We've got an 241 00:12:23,120 --> 00:12:24,720 Speaker 2: obvious campaign for Mighty Supreme. 242 00:12:24,800 --> 00:12:26,800 Speaker 1: Oh. Absolutely, From the moment he stepped out on the 243 00:12:26,840 --> 00:12:30,080 Speaker 1: red carpet with a matching orange outfit to his glamorous 244 00:12:30,760 --> 00:12:34,120 Speaker 1: not wife yet girlfriend Kylie Jenner, he's just been on 245 00:12:34,160 --> 00:12:36,839 Speaker 1: the pr train ever since. And in this instance, I 246 00:12:36,880 --> 00:12:38,840 Speaker 1: don't think it's worked though. Yeah, that's interesting. 247 00:12:39,040 --> 00:12:40,880 Speaker 2: Undone why it's too much? 248 00:12:41,600 --> 00:12:45,080 Speaker 1: I think like there's now in the marketing campaigns behind 249 00:12:45,080 --> 00:12:47,800 Speaker 1: the movies are almost, if not more expensive than the 250 00:12:47,840 --> 00:12:51,360 Speaker 1: movies themselves. They'll spend one hundred million dollars marketing something. 251 00:12:51,679 --> 00:12:55,280 Speaker 1: And then recently in an interview, said something like I 252 00:12:55,280 --> 00:12:57,480 Speaker 1: love doing movies because I wouldn't want to do ballet 253 00:12:57,880 --> 00:13:00,439 Speaker 1: or opera because no one watches that he was a 254 00:13:00,559 --> 00:13:01,920 Speaker 1: darling and now he's not. 255 00:13:02,360 --> 00:13:05,240 Speaker 2: He kind of implied that if you have to fight 256 00:13:05,280 --> 00:13:07,960 Speaker 2: for the existence of an art form, you've already lost 257 00:13:07,960 --> 00:13:10,280 Speaker 2: the battle. Didn't he like ballet and opera? I mean 258 00:13:11,000 --> 00:13:13,800 Speaker 2: I would kind of agree with him in the sense 259 00:13:13,840 --> 00:13:16,400 Speaker 2: that I think if something has to be incredibly heavily 260 00:13:16,400 --> 00:13:19,479 Speaker 2: subsidized by tax payers, yeah, it probably doesn't. 261 00:13:19,240 --> 00:13:21,439 Speaker 1: Have much of a future. Yeah, but then film is 262 00:13:21,440 --> 00:13:23,880 Speaker 1: also propped up by the texts Actually we're here in Australia. 263 00:13:23,920 --> 00:13:26,640 Speaker 1: Well absolutely. I mean every film known to man is 264 00:13:26,760 --> 00:13:29,960 Speaker 1: probably funded by a government or another. But I think 265 00:13:30,000 --> 00:13:32,640 Speaker 1: maybe the oscars are more symptomatic of huge change in 266 00:13:32,679 --> 00:13:37,160 Speaker 1: the industry, even with the recent deals with Netflix and Paramount. 267 00:13:37,520 --> 00:13:41,080 Speaker 1: It's just an AI like, I just don't know that. 268 00:13:41,360 --> 00:13:43,000 Speaker 1: I don't think that's what the future looks like. 269 00:13:43,160 --> 00:13:46,120 Speaker 2: Well, one of the OSCAR Best Picture finalists was actually 270 00:13:46,160 --> 00:13:49,880 Speaker 2: a Netflix production, wasn't it. That's Frankenstein by Cmo del Toro. 271 00:13:50,080 --> 00:13:52,720 Speaker 1: Yeah, so it did the stream a trick of being 272 00:13:52,760 --> 00:13:54,640 Speaker 1: out in the movies for two weeks, so then it 273 00:13:54,679 --> 00:13:57,440 Speaker 1: gets seen by nobody, but then it goes onto Netflix 274 00:13:57,440 --> 00:14:00,240 Speaker 1: and gets seen by millions. Well or so they else. 275 00:14:00,360 --> 00:14:03,360 Speaker 2: And that starred Jacob Lardie, Yes, the Australian actor as 276 00:14:03,360 --> 00:14:04,760 Speaker 2: Frankenstein's monster. 277 00:14:04,640 --> 00:14:06,480 Speaker 1: So he's our Australian for Best Acts. 278 00:14:06,480 --> 00:14:10,160 Speaker 2: Well, he's got better reviews for Frankenstein than he did 279 00:14:10,200 --> 00:14:10,839 Speaker 2: for Wuthering Height. 280 00:14:10,960 --> 00:14:15,120 Speaker 1: Absolutely he did. They have really praised his portrayal of 281 00:14:15,200 --> 00:14:16,920 Speaker 1: the monster in that movie. 282 00:14:18,280 --> 00:14:26,880 Speaker 2: If you enough to award me, then I really Dodge. 283 00:14:29,880 --> 00:14:30,320 Speaker 3: Enraged. 284 00:14:33,520 --> 00:14:36,200 Speaker 1: And there's also another kind of Aussie or New Zealander. 285 00:14:36,200 --> 00:14:38,360 Speaker 1: We may claim her for our own, Kate Hawley, who's 286 00:14:38,440 --> 00:14:41,040 Speaker 1: up for Best Costume Design with that, so she's got 287 00:14:41,040 --> 00:14:42,280 Speaker 1: a good chance of winning as well. 288 00:14:49,840 --> 00:14:51,800 Speaker 2: There are three more finalists for Best Picture, and we 289 00:14:51,880 --> 00:14:53,640 Speaker 2: better talk about them in case one of them wins, 290 00:14:53,720 --> 00:14:55,240 Speaker 2: and we want to look like we knew what was 291 00:14:55,240 --> 00:14:59,160 Speaker 2: going to exactly. That's Trained Dreams, the Gonia and The 292 00:14:59,200 --> 00:15:01,560 Speaker 2: Secret Agent. What do you know about those well? 293 00:15:01,600 --> 00:15:04,240 Speaker 1: Trained Dreams has Joel Egiton in it, and that's an 294 00:15:04,320 --> 00:15:07,960 Speaker 1: historical movie as well, which hasn't had a huge impact 295 00:15:08,120 --> 00:15:10,320 Speaker 1: on Netflix Lord box office, so that was a bit 296 00:15:10,360 --> 00:15:12,560 Speaker 1: of a surprise being there. But at the same time 297 00:15:12,600 --> 00:15:15,160 Speaker 1: he has been acknowledged in the other awards ceremonies, but 298 00:15:15,200 --> 00:15:19,640 Speaker 1: I think it's an outlier. Bagonia stars Emma Stone as 299 00:15:19,880 --> 00:15:22,200 Speaker 1: kind of a tech bro or a female version who 300 00:15:22,200 --> 00:15:25,880 Speaker 1: gets kidnapped by a couple of crazies who think that 301 00:15:25,920 --> 00:15:28,200 Speaker 1: she's an alien, and the idea is whether you believe 302 00:15:28,240 --> 00:15:31,400 Speaker 1: them or not. Emma Stone's won two Oscars, one Four 303 00:15:31,480 --> 00:15:34,360 Speaker 1: Poor Things and La La Land and been nominated for 304 00:15:34,400 --> 00:15:37,280 Speaker 1: multiple others, so I doubt she'll take Best Actress out 305 00:15:37,640 --> 00:15:38,520 Speaker 1: for this movie. 306 00:15:40,600 --> 00:15:44,320 Speaker 2: There are two more films that are finalists for Best Picture. 307 00:15:44,920 --> 00:15:49,320 Speaker 2: There's a Brazilian movie called The Secret Agent and Sentimental Value, 308 00:15:49,360 --> 00:15:51,400 Speaker 2: which is a Norwegian movie. I'm not sure if either 309 00:15:51,440 --> 00:15:54,560 Speaker 2: of these are depressing enough to win Best Picture, but 310 00:15:54,600 --> 00:15:57,280 Speaker 2: they've certainly got the foreign language factor behind them absolutely. 311 00:15:57,320 --> 00:15:59,400 Speaker 1: I mean, I think that all change around Parasite one 312 00:15:59,440 --> 00:16:01,360 Speaker 1: a few years ago, so that kind of opened it 313 00:16:01,400 --> 00:16:03,200 Speaker 1: all up. So who knows. 314 00:16:04,240 --> 00:16:06,200 Speaker 2: Melanda Rout, thank you very much. I'm sorry for putting 315 00:16:06,200 --> 00:16:06,960 Speaker 2: you through this all, dear. 316 00:16:07,840 --> 00:16:10,040 Speaker 1: That's okay. I feel like it was very funny because 317 00:16:10,040 --> 00:16:12,720 Speaker 1: I watched If I Had Legs, I Kick You quite 318 00:16:12,760 --> 00:16:14,520 Speaker 1: late at night, and then I dealt with my own 319 00:16:14,560 --> 00:16:16,840 Speaker 1: children in the morning, and I was too many flashbacks 320 00:16:16,840 --> 00:16:18,240 Speaker 1: to the movie. I was yelling at them, and I 321 00:16:18,280 --> 00:16:20,560 Speaker 1: was getting confused about which was my children. So it 322 00:16:20,640 --> 00:16:22,920 Speaker 1: definitely had a lasting impact for things. I think I 323 00:16:23,000 --> 00:16:24,840 Speaker 1: yelled at them too much for not eating their breakfast, 324 00:16:25,120 --> 00:16:27,080 Speaker 1: and I may be in rosebands head too much. 325 00:16:27,200 --> 00:16:28,200 Speaker 2: Straight to the feeding tube. 326 00:16:28,280 --> 00:16:31,360 Speaker 1: Yeah, exactly what I should have said, eat you obviously. 327 00:16:31,480 --> 00:16:39,120 Speaker 2: Thanks Malanda, thank you. Melander Route edits the Australian's Culture 328 00:16:39,160 --> 00:16:42,200 Speaker 2: section and you'll be able to follow the oscars live 329 00:16:42,400 --> 00:16:46,000 Speaker 2: on Monday March sixteen at our site, The Australian dot 330 00:16:46,000 --> 00:16:50,000 Speaker 2: com au. This episode at the Front was hosted by 331 00:16:50,040 --> 00:16:53,680 Speaker 2: me Claire Harvey and produced by Kristin Amiot. Tiffany Dimac 332 00:16:53,840 --> 00:16:57,200 Speaker 2: edited the episode and Jasper Leik wrote our theme. Thanks 333 00:16:57,240 --> 00:16:59,320 Speaker 2: for joining us on the Front this week. Our team 334 00:16:59,440 --> 00:17:02,520 Speaker 2: also includes Leah Tamaclu and Josh Burton.