Gilbey on Film: the Oscars grouch

Why make the Best Film category larger? It's obvious who's going to win.

 

The obvious change to this year's Academy Awards nominations is the decision to override the five-film limit on Best Picture nominees that has been in force since 1944. Now ten titles are competing for the prize that tells idiots which movies they should ask their teenage children to download illegally on their behalf.

For all the difference it will make to the end result, the Academy might as well have expanded the category to 50 films, or 4,423 films, or simply everything that has ever been released in the civilised world since the Lumière brothers first announced in the pages of Heat magazine that they were planning something "totally massive". It's a cinch to look at that ten-strong tally and pick out the titles that would scarcely have been acknowledged in an ordinary year.

Under the old system, the nominees wouldn't have stretched beyond Avatar, The Hurt Locker (hooray!), Inglourious Basterds (hooray again!), Precious and Up in the Air. Loosening the elastic has accommodated two deserving nominees that don't stand a chance (District 9 and Up), as well as An Education, which would be this year's Little Film That Could, if only Precious didn't already occupy that role more convincingly. Just for a lark, there's also something populist (the Sandra Bullock vehicle The Blind Side, which opens here next month) and something gormlessly arty (A Serious Man).

The new system is a form of sucking-up, necessitated by the mini-scandal of a colossal hit like The Dark Knight missing out in the categories that count. The ten-film rule placates the studios behind those pictures that would not normally be nominated. And it gives the fanboys something to root for now that their favourite film is ostensibly in the running.

A bit unnecessary, that, because the fanboys' choice, Avatar, is going to snatch Best Picture anyway. First Titanic, now this: James Cameron is such a consummate highwayman that maybe we should all start referring to him as Dick. (As in Turpin, obviously.)

At least Avatar hasn't made any impression in the two writing categories. (How could it? It's only the film's 3-D effects that have distracted most people from noticing that the script barely scrapes into the one-dimensional.) Hope springs eternal in the writing nominations. In the Loop certainly deserves its Best Adapted Screenplay nod. If it wins, can Malcolm Tucker do the acceptance speech, please?

Steve Martin and Alec Baldwin will be hosting the awards ceremony on 7 March, teaming up again after their recent gromcom* It's Complicated in a crafty piece of cross-promotion which will benefit that film's forthcoming DVD release no end.

But it doesn't really matter who's holding the microphone and dishing out the spiky-seeming yet crypto-congratulatory quips. Surely the perfect Oscar show would feature the corpse of Bob Hope, reanimated with the help of technology pioneered by the Avatar boffins, performing a four-hour soft-shoe shuffle to Radiohead's "No Surprises" while Ron Howard, James Cameron and other undeserving recipients of the Best Director prize receive a Thai massage on a bed that is slowly revealed to be a vast and fully working griddle.

(*Gromcom: a romcom in which the participants are grey/silver-haired and/or some way outside the usual 18-35 casting range. I made that term up. You can have it.)

Ryan Gilbey blogs for Cultural Capital every Tuesday. He is also the New Statesman's film critic.

Ryan Gilbey is the New Statesman's film critic. He is also the author of It Don't Worry Me (Faber), about 1970s US cinema, and a study of Groundhog Day in the "Modern Classics" series (BFI Publishing). He was named reviewer of the year in the 2007 Press Gazette awards.

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Britain's diversity crisis starts with its writers. Here's why

What happens on the casting couch draws the headline, but the problem starts on the page, says James Graham. 

I’m a playwright and screenwriter, which – pertinent to the issues we’ll be discussing in this enquiry – still feels weird to say. I get embarrassed, still, saying that, in a taxi or hairdressers. I don’t know why I still carry that insecurity about saying I’m a writer, but I do, because it sounds like I’m lying, even in my own head.

Obviously I’m completely biased, and probably overstating the influence and importance of my own profession, but I think so many of the problems surrounding lack of representation in the performing arts start with writers.

If we aren’t encouraging and generating writers from certain communities, classes or backgrounds to tell their stories, to write those roles, then there’s not going to be a demand for actors from those communities to play them. For casting agents or drama schools to prioritise getting diverse actors on stage. We need to create those plays and TV dramas –like the ones that I grew up with. I didn’t have any access to much theatre until I was fifteen, but I did have Boys From the Black Stuff, and I did have Cracker, and I did have Band of Gold. I think the loss of those regional producing bodies – Central, Granada – now all completely centralised into London, means that we just tell less of those stories. I remember a TV show called Boon – anyone? – which was set in Nottingham, and I would see on the TV streets I’d walked down, and think, Oh my God, that actor is walking down a street I’ve walked down. That sounds like it’s insignificant. If you’re from a town that is deprived, that feels ignored, it isn’t.

I was very lucky that at my school (which was, at the time, the largest comprehensive school in the country), from the headmaster down to the drama teachers, everyone just believed that working class kids should do plays. Be in plays, read plays, perform plays to the community. Both inside the curriculum of the school day, and outside it – drama teachers dedicating their time to staying behind. Our head of drama identified a group of us who clearly had a passion for it. We weren’t likely thesps. One lad’s entire family were made unemployed when the pit closed. Many lived on the big council estate. My parents and step-parents worked respectively in warehouses, the local council, or as the local window cleaner (incidentally, my first real job. Which I was terrible at).

Our drama teacher was encouraged and determined enough to launch the first ever Drama A-Level in our school. Based on that, about 10 or 12 of us got the confidence – or arrogance – to take our own show to the Edinburgh Festival. We were 16 or 17, and the first people in our community to ever go to visit the festival. We did a play up there, and after that, a psychological unlocking happened, where I thought: maybe I could do a degree in drama (it was the first time I had ever thought to do so) at university (the first in my family to go. Well, joint-first. My twin sister went on the same day, but I walked into my digs first).

I enrolled in drama at Hull University. A high proportion of my peers were middle class. A higher proportion from London or the South East. They talked often about institutions I had never heard of. They were talking about the National Theatre: I didn’t know we had a national theatre that my parents had been paying tax for that I had never been to. Many had performed with the (again, apparently) ‘National’ Youth Theatre, also in London. Paul Roseby, also on this panel, has made such leaps forward in getting the NYT producing in regional venues, and making auditions possible for people across the UK, but unfortunately, at the time, that wasn’t the case for me – and I was the ideal candidate to be in the National Youth Theatre.

I started writing because I had the confidence after I read texts by people like Jim Cartwright, Alan Bennett, John Godber, Alan Ayckbourn: Northern writers, working class writers that made me think it wasn’t just something that other people do.

After returning home, and working at local theatres, I moved down to London. I had to. The major new writing producers are there. All the TV companies are there. The agents are there. I was lucky to find support in a pub fringe theatre – though the economics meant there was no money to commission, so I wrote plays for free for about four years, that would get produced, and reviewed in the national press, while I worked various jobs in the day and slept for a time on a mate's floor. The first person to ever pay to commission me to write a play was Paul Roseby of the National Youth Theatre. I’m now very lucky to be earning a living doing something I love. In a way, compared to actors, or directors, it’s easier for writers who don’t come from a background that can sustain them, financially, in those early years. Your hours can be more flexible. Yes, it was annoying to miss rehearsals because I had a shift in a call centre, but it was still possible to do it. If you’re an actor or director, you’re fully committed. And if you’re doing that for nothing, there starts to be cut-off point for those from backgrounds who can’t.

I’m sure that local and regional theatres are the key to drawing in talent from less privileged backgrounds. But the range of national arts journalism that cover work outside London has been so significantly reduced. In our little echo chamber a few weeks ago, we theatre types talked about Lyn Gardner at the Guardian. Her coverage has been cut, which is very directly going to affect her ability to cover theatre shows outside of London – and so the self-fulfilling cycle of artists leaving their communities to work exclusively in London takes another, inevitable, turn.

I am culpable in this cycle. I have never done a play at the Nottingham Playhouse, my local producing house growing up – why? Because I’ve never submitted one, because I know that it will get less national press attention. So I just open it in London instead. That’s terrible of me. And I should just bite the bullet and say it doesn’t matter about the attention it gets, I should just go and do a story for my community. And if I, and others, started doing that more, maybe they will come.

I also want to blame myself for not contributing back to the state schools that I come from. I really really enjoy going to do writing workshops with kids in schools, but I would say 90 per cent of those that I get invited to are private schools, or boarding schools, or in the South of England. Either because they’re the ones that ask me, because they’re the ones who come and see my shows in London and see me afterwards backstage, or because they have the confidence to email my agent, or they have the budget to pay for my train ticket. Either way, I should do more. It would have helped the younger me so much to meet a real person, from my background, doing what I wanted to do.

I don’t know how to facilitate that. I take inspiration from Act for Change, creating a grassroots organisation. I know that there is a wealth of industry professionals like me who would, if there was a joined-up structure in place that got us out there into less privileged communities, we would on a regular basis go to schools who don’t get to meet industry professionals and don’t unlock that cultural and psychological block that working class kids have that says, that is not for me, that is something that other people do, I would dedicate so much of my time to it. That’s just one idea of hopefully better ones from other people that might come out of this enquiry.

James Graham is a playwright and screenwriter. This piece is adapted from evidence given by James Graham at an inquiry, Acting Up – Breaking the Class Ceiling in the Performing Arts, looking into the problem of a lack of diversity and a class divide in acting in the UK, led by MPs Gloria De Piero and Tracy Brabin.