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I mean it's extremely well made, Argo. But, you know, Robbie's point there that actually Life of Pi is, if you like, cinema moving into the future. Argo is like a solid well-crafted, or is like a 1970s thriller itself, isn't it, Katherine?

Absolutely, I think for me it's completely right that Life of Pi won the Cinematography Awards in the V-E-S, VES awards, because as you say, it's a tremendous film-making achievement. But for me, Argo, it is so purely entertaining. And I suppose we could talk about what best film means. Is it the film that's been sort of crafted with the most technical skill, or is it the film you would just sort of recommend to most people to see.

And so often awards ceremonies do forget about the fun and glamour of going to the movies. You know, they look for stuff, like Lincoln, which, which time, was pretty much apart from obviously one key award or just pretty much overlooked. And it's just really pleasing to see a film that has, that has really captured the people that did go and see its imaginations, and does have that kind of warmth that popular support, you know, has done so well at the Producers Guild of America, the Directors Guild, the Screen Actors Guild. People love Argo, and so to see that a film that really engages with people on that gut-level. And winning the best film is really great.

But even more people love Skyfall, of course. And Skyfall, you could argue, actually has been a bit overlooked even by the British Academy itself. It wins Best British Film and it wins Original Film Music for, for Thomas Newman. Do you think that it was robbed?

I suppose we could look to Robbie's point about awards helping films find audiences that didn't find. An audience on that one perhaps.