And the winners are

12th February, 2012

We like to have a bet on the BAFTA winners in our house.  Although two of us are BAFTA voters, we are privy to no inside-info.  The winner of the predictions game is usually our son Dante, who is good at the BAFTAs, but brilliant at the Oscars.

Meanwhile, let’s see if we’re right on this year’s BAFTAs.  Obviously these are predictions, not votes for who ought to win – that’s a whole ‘nother ball game.

Best Film
• The Artist
• The Descendants
• Drive
• The Help
• Tinker Tailor Soldier Spy

Dominic: The Artist
Sarah: The Artist
Dante: The Artist

Outstanding British Film:
• My Week With Marilyn
• Senna
• Shame
• Tinker Tailor Soldier Spy
• We Need To Talk About Kevin

Dominic:Kevin
Sarah: Shame
Dante: Tinker Tailor

Outstanding debut by a British writer, director or producer:
Attack The Block – Joe Cornish (director/writer)
• Black Pond – Will Sharpe (director/writer), Tom Kingsley (director), Sarah Brocklehurst (producer)
Coriolanus – Ralph Fiennes (director)
Submarine – Richard Ayoade (director/writer)
• Tyrannosaur – Paddy Considine (director), Diarmid Scrimshaw (producer)

Dominic: Tyrannosaur
Sarah: Tyrannosaur
Dante: Tyrannosaur

Foreign language film:
• Incendies
• Pina
• Potiche
• A Separation
• The Skin I Live In

Dominic: Skin
Sarah: Pina
Dante: Skin

Director:
• The Artist – Michel Hazanavicius
• Drive – Nicolas Winding Refn
Hugo – Martin Scorsese
• Tinker Tailor Soldier Spy – Tomas Alfredson
• We Need To Talk About Kevin – Lynne Ramsay

Dominic: Kevin
Sarah: Drive
Dante: Hugo

Leading actor:
• Brad Pitt – Moneyball
• Gary Oldman – Tinker Tailor Soldier Spy
• George Clooney – The Descendants
• Jean Dujardin – The Artist
• Michael Fassbender – Shame

Dominic: Jean Dujardin
Sarah: George Clooney
Dante: Gary Oldman

Leading actress:
• Berenice Bejo – The Artist
• Meryl Streep – The Iron Lady
• Michelle Williams – My Week With Marilyn
• Tilda Swinton – We Need To Talk About Kevin
• Viola Davis – The Help

Dominic: Meryl, Meryl, Meryl, must be Meryl…
Sarah: Meryl
Dante: Meryl

Supporting actor:
• Christopher Plummer – Beginners
• Jim Broadbent – The Iron Lady
• Jonah Hill – Moneyball
• Kenneth Branagh – My Week With Marilyn
• Philip Seymour Hoffman – The Ides Of March

Dominic: Hoffman
Sarah: Branagh
Dante: Branagh

Supporting actress:
• Carey Mulligan – Drive
• Jessica Chastain – The Help
• Judi Dench – My Week With Marilyn
• Melissa McCarthy – Bridesmaids
• Octavia Spencer – The Help

Dominic: Melissa McCarthy
Sarah: Carey Mulligan
Dante: Carey Mulligan

Documentary:
George Harrison: Living In The Material World
• Project Nim
• Senna

Dominic: Senna
Sarah: Senna
Dante: Senna

Animated film:
• The Adventures Of Tintin: The Secret Of The Unicorn
• Arthur Christmas
• Rango

Dominic: Tintin
Sarah: Rango
Dante: Tintin

Original screenplay:
• The Artist – Michel Hazanavicius
Bridesmaids – Annie Mumolo, Kristen Wiig
• The Guard – John Michael McDonagh
• The Iron Lady – Abi Morgan
Midnight In Paris – Woody Allen

Dominic: Paris
Sarah: Paris
Dante: Paris

Adapted screenplay:
• The Descendants – Alexander Payne, Nat Faxon, Jim Rash
• The Help – Tate Taylor
• The Ides Of March – George Clooney, Grant Heslov, Beau Willimon
• Moneyball – Steven Zaillian, Aaron Sorkin
• Tinker Tailor Soldier Spy – Bridget O’Connor, Peter Straughan

Dominic: Ides
Sarah: Ides
Dante: Ides

Original music:
• The Artist
• The Girl With The Dragon Tattoo
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Girl With The Dragon Tattoo
Sarah: Hugo
Dante: The Artist

Cinematography:
• The Artist
• The Girl With The Dragon Tattoo
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: The Artist
Sarah: The Artist
Dante: Hugo

Editing:
• The Artist
• Drive
• Hugo
• Senna
• Tinker Tailor Solider Spy

Dominic: Drive
Sarah: Drive
Dante: Drive

Production design:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Hugo
Sarah: Hugo
Dante: Hugo

Costume design:
• The Artist
• Hugo
• Jane Eyre
• Tinker Tailor Soldier Spy

Dominic: Tinker Tailor
Sarah: The Artist
Dante: The Artist

Make up & hair:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• The Iron Lady
• My Week With Marilyn

Dominic: Iron Lady
Sarah: Iron Lady
Dante: Iron Lady

Sound:
• The Artist
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Tinker Tailor Soldier Spy
• War Horse

Dominic: Hugo
Sarah: War Horse
Dante: War Horse

Special visual effects:
• The Adventures Of Tintin: The Secret Of The Unicorn
• Harry Potter And The Deathly Hallows: Part 2
• Hugo
• Rise Of The Planet Of The Apes
• War Horse

Dominic: Harry Potter
Sarah: Harry Potter
Dante: Tintin

The Orange Wednesdays Rising Star Award (voted by the public)
• Adam Deacon
• Chris Hemsworth
• Chris O’Dowd
• Eddie Redmayne
• Tom Hiddleston

Dominic: Chris O’Dowd
Sarah: Eddie Redmayne
Dante: Chris O’Dowd

Still on my Feet – Edana Minghella’s debut album

We asked, and she delivered.

Edana Minghella, just one of my amazing sisters, has finally given in to our demands for a recorded album.

Here’s the press release:

Edana Minghella – ‘Still on my Feet’

Friday 11 November sees the release of the stunning debut album, ‘Still on my Feet’ by Brighton-based jazz singer, Edana Minghella. Featuring stellar contributions from the likes of Guy Barker and Liane Carroll, this classy collection of standard, and not so standard, tunes, marks Edana out as a ‘new’ jazz voice demanding to be heard.

The effortlessly tasteful backing of regular quartet, Mick Smith (piano), Ken Black (drums), Sarah Bolter (saxophones) and Pete Maxfield (double bass) only serves to reinforce the deep vein of cool that underpins each of the nine tracks on offer here.

“I hope people will pick up on the beauty of these tunes,” says Edana. “How jazz can have a wonderful simplicity, that talented musicians can deliver a ‘less is more’ feel to the music, even when there are strong emotions. And I do want people to be moved by the music.”

No danger there. With a close-up and deeply personal rendition of ‘You Don’t Know What Love Is’, which explodes into an emotionally shredding Barker trumpet solo at its finale, and a raw, yet stunningly controlled, interpretation of Joni Mitchell’s ‘Case of You’, it is clear that here is a singer, and woman, who has been forced to face some of life’s more painful, and bewildering, episodes head on.

“I chose those songs because they were in Ant’s films, says the singer,” (Edana’s elder brother is the Oscar-winning director, Anthony Minghella, who died tragically back in 2008). “They both have huge emotional resonance for me – and I think you hear it in my voice.”

And yet, being Edana, there’s room for effervescence and fun here too. ‘Fifty Ways To leave Your Lover’ teases its way on a stalking double bass before breaking into an outright 70s’ funk stomp that Stevie Wonder would be proud of, while ‘How Deep Is The Ocean’ simply bursts with the pure celebration of love itself.

Production credits on the album go to award-winning vocalist Liane Carroll. “Working with Liane was amazing,” enthuses Edana. “She is the most brilliant jazz vocalist so to have her involved was a real honour.”

The results of this collaboration speak for themselves on ‘Still on my Feet’.

Edana Minghella marks the album’s release with a string of live dates at: Quay Arts Centre, Newport IOW Friday 11 Nov, Bournemouth Swing Unlimited 30 Nov, Brighton The Brunswick 15 Dec and Colour House Theatre, Merton Abbey Mills 17 Dec.

For more information call Andy Strickland on 07803 212 095 or go to: www.edanaminghellajazz.com

Christmas telly and the Alternative Vote

I’m not going to write some long piece on AV. The airwaves and the internet are full of it.

Most of the coverage, you’ll have noticed, is frighteningly shoddy, patronising, alarmist and cheap – everything we all hate about British politics.

Plus ca change.

But I’m not seeing much on the particular aspect which concerns me, so I’ll have to set it out myself.

It is the part of AV where it works just as its supporters hope it will. It’s also the very part of AV I don’t like.

Here goes. Bear with me. It’s not too nerdy. I promise.

Think of a constituency much like that of my home-town, the Isle of Wight.

Here the natural relative majority is Tory at, say, 45%.

(By “relative” majority, I mean more votes than any other candidate, but not more than half the vote – what the Americans sometimes call a “plurality”. More than 50% would be an “absolute” majority, and in that case AV would not apply.)

LibDems are second on, say, 31%.

Labour are very much third on, say, 20%. Other parties make up the remaining 5%.

Under FPTP, the Tories clearly win. Grrr.

I don’t live on the Isle of Wight anymore. In my day, a vote for Labour was a “wasted” vote and if you were left-minded, you voted Liberal instead. Steve Ross, our Liberal guy, had a strong personal vote, so voting tactically for him made real sense. He was our MP for many years in what I think is “really” a Tory seat.

These days Steve is gone and the seat is Tory-held on a relative (not absolute) majority.

Were I to return to the Island and cast my vote there, AV supporters would seek to console me.

They’d say – vote for Labour first, then LibDem second. If all your Labour colleagues do the same, then your combined vote will hit 51%, and the LibDem will get in. Otherwise your least favourite candidate, the Tory, will win the seat with just 45% under FPTP.

This is exactly the kind of situation in which AV shows its power.

It allows a “coalition of opposition” to the relative-majority candidate.

It delivers an MP with more “support” (51%) than the relative-majority Tory (45%) of the existing system.

And that has to be fairer, right?

Well, happy as I am in this imagined scenario to see the Tories lose, I just don’t think it’s fair.

I don’t think it’s fair that the second choices of me and my Labour mates are conjoined with the LibDem vote to trump the first-choices of the Tory voters.

My Labour candidate came last. His values and views are not widely supported in the local community. So why should his supporters’ second choices count equally against the first choices of the Tory candidate, who, after all, has more support in the community than any other single candidate?

What AV completely fails to take into account is strength of feeling. I really want Labour to win. My second choice might well be LibDem, but I don’t – in anything other than the technical sense – support the LibDems. At the moment, it is fairer to say I despise them.

At the same time, I have to accept that the Tory voters probably really want the Tory candidate to win. These strong preferences ought to count for much more than my very weak and reluctant second “preference” for the LibDem candidate.

They do not. The Tory voter’s strong first preferences are trumped by my weak and reluctant second preferences being lumped together with the support for the LibDem candidate.

In precisely the real-world example where AV might “work”, it delivers results which in my view are unfair.

There’s a cartoon going round saying AV is like ranking your preferences for Parma Violets, Smarties or dog shit.

If the shop doesn’t have those Parma Violets, and if you don’t (or can’t) identify Smarties as your second preference, you might just end up with a little stripey bag of dogshit.

Of course, this is a loaded and biased example.

Because Smarties are quite a nice second choice.

What if, like me – and I think like very many others – you want your first choice so much more than your subsequent choice that all the other choices are simply gradations of shit?

If everyone has the choice of sweeties or shit, then a system under which the most people get what they think is a sweetie is the fairest one.

That system is first past the post.

One last example. It’s loaded too, but it’s also a genuine story.

I remember one Christmas with the in-laws. You know the score. Eating and presents done, and all the family – aunts and cousins and all the generations – sits down to watch the TV. It’s a sticky moment: how to decide, in the company of people who come together once every other year, which channel to watch?

On this occasion, most wanted the action film. The youngsters piped up for a kids’ programme. But the old’uns didn’t want the action film or the kids’ programme. They wanted a musical. The line of least contention – everyone’s second choice – was, if I remember rightly, a game show.

It was a proper, polite, wholesome compromise. Some ten minutes in, I was bored out of my tiny mind. I looked around. The kids were bored too. So were the adults. So were the old’uns. Nobody was really watching. Nobody was getting what they wanted.

We had chosen our channel under a kind of impromptu AV. I remember wishing we’d done it on a show of hands: old-fashioned first past the post. At least then we’d have gone for the channel which made the biggest single group of people happy. Instead we were all sitting there politely enduring the compromise nobody wanted.

Strength of feeling matters. First choices matter. That’s why I’m voting No to AV.