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We are going live to Central London for the build up to the Baftas | :00:13. | :00:15. | |
Hello and welcome to viewers on BBC News and to our international | :00:16. | :00:20. | |
It's the biggest night in British film. | :00:21. | :00:40. | |
All the stars will be arriving over the next hour and a half and I will | :00:41. | :00:43. | |
be talking to some of them. In a moment I'll be joined | :00:44. | :00:48. | |
by our film critic, Jason Solomons, and fashion editor, Jo Glynn-Smith, | :00:49. | :00:51. | |
but first let's just take a look at this year's | :00:52. | :00:53. | |
nominations for Best Film. All right, the originals | :00:54. | :01:02. | |
were simple. Thousands of triple-A | :01:03. | :01:08. | |
mortgages bundled together, The modern ones are different, | :01:09. | :01:10. | |
they're private and they are made Apparently you are not | :01:11. | :01:15. | |
an American citizen. And according to your boss, | :01:16. | :01:27. | |
you're not a Soviet citizen either. Nothing in particular, | :01:28. | :01:32. | |
what do you do? Maybe you would like to come | :01:33. | :01:43. | |
and visit me sometime. At least there is some pretty | :01:44. | :01:49. | |
country around where I live. Would you like to come | :01:50. | :01:53. | |
and visit me this Sunday? We need to focus on the institution, | :01:54. | :02:20. | |
not the individual priests. Show me the Church | :02:21. | :02:23. | |
manipulated the system so these guys would not | :02:24. | :02:26. | |
have to face charges. Show me that they put those same | :02:27. | :02:28. | |
priests back into parishes Show me it is systemic - | :02:29. | :02:31. | |
that it came from the top down. Those are the films in the running | :02:32. | :02:51. | |
for the Best Film. Lots to talk about their with Jason and Joe, who | :02:52. | :02:58. | |
will be keeping an eye on all the fashion. Here is also our | :02:59. | :03:04. | |
entertainment correspondent at the other end of the red carpet talking | :03:05. | :03:10. | |
to the stars as they arrive and as with one of the nominees for | :03:11. | :03:20. | |
Promising Newcomer. This actress is one of the nominees. How does it | :03:21. | :03:25. | |
fail to be nominated? It feels really weird because I've watched | :03:26. | :03:31. | |
the Baftas for years. It is exciting but weird. You have worked hard at | :03:32. | :03:38. | |
your career. Was that always your aim? Theatre and film are always my | :03:39. | :03:50. | |
two favourite things to do. I have always aspired to be in the movies. | :03:51. | :03:57. | |
I will definitely go back and do more theatres soon. What is it like | :03:58. | :04:03. | |
walking down the red carpet with the people you have been watching for so | :04:04. | :04:09. | |
long? It is surreal but inspiring. If you want something you can work | :04:10. | :04:12. | |
hard and get it and eventually it will happen. What is next for you? A | :04:13. | :04:24. | |
lot of period movies. I'm really excited about them. Thank you for | :04:25. | :04:28. | |
talking to us. Have a good evening. That is the category where members | :04:29. | :04:46. | |
of the public get to vote. It is quite exciting because I think that | :04:47. | :04:49. | |
is where we're going to see the popular vote goal. Twilight won it | :04:50. | :04:57. | |
when it was up for it. We know that the most popular film is going to | :04:58. | :05:09. | |
win. My money is on him tonight and I'm pleased about it because I think | :05:10. | :05:13. | |
he is terrific and Star Wars. It is good to see the young generation | :05:14. | :05:20. | |
represented. It is a strange award but it means a lot to the winner and | :05:21. | :05:28. | |
they go on to have Stella Creasy is. -- way careers. | :05:29. | :05:40. | |
One of the rising stars has been nominated in Best Actress. It feels | :05:41. | :05:48. | |
like your popularity which is a different aspect. When it is time | :05:49. | :05:54. | |
for Bafta members to vote for you and admire your art, but no younger | :05:55. | :05:58. | |
actors bring things like Facebook and instant gram with them will stop | :05:59. | :06:06. | |
-- and saw the social media platforms with them. We sought Scott | :06:07. | :06:19. | |
back -- we saw the list for Best Film. We are waiting for the stars | :06:20. | :06:28. | |
to arrive. Will be the talking about The Revenant all-night? I don't know | :06:29. | :06:37. | |
who is going to win. It is a close race. The Reverend and there's got | :06:38. | :06:42. | |
to be in there and it is very popular. I feel like Leonardo | :06:43. | :06:51. | |
DiCaprio tonight. But the Bridge Of Spies was also very popular. And a | :06:52. | :06:58. | |
solid film from Steven Spielberg, his 28 movie. But there is also | :06:59. | :07:14. | |
Carol in there. And that black satire about the financial | :07:15. | :07:19. | |
situation. They love that one and were very impressed with it. A lot | :07:20. | :07:26. | |
of members thought that was a smart way into that problem. I don't know | :07:27. | :07:31. | |
who's going to win. If you want me to put my money somewhere, I'm going | :07:32. | :07:40. | |
to go for Spotlight. I know as journalists relate to see other | :07:41. | :07:44. | |
journalists glorified on the big screen, but this makes them seem | :07:45. | :07:49. | |
normal. It is not hanging out listening to things and twiddling | :07:50. | :07:52. | |
knobs in meeting contacts in the dark. It is a very quiet film. | :07:53. | :07:59. | |
Nothing grabs you with the cinematography. But people enjoyed | :08:00. | :08:06. | |
the story and a remarkable effort on behalf of those journalists. It is | :08:07. | :08:11. | |
building the painstaking case for the story which reveals systematic | :08:12. | :08:18. | |
abuse in the Catholic Church in Boston at that time. People come | :08:19. | :08:24. | |
forward and evidence slots into place. By the end of the film you | :08:25. | :08:29. | |
are outraged. That great liberal moral outrage that some of the great | :08:30. | :08:34. | |
Bafta winners of the past have had. That is why I am going with that. | :08:35. | :08:43. | |
Welcome to our platform overlooking the entrance to the opera house. We | :08:44. | :08:49. | |
will be keeping an eye on what everyone is wearing. Is it fair to | :08:50. | :08:54. | |
say that we increasingly have to look at what they would -- what the | :08:55. | :09:02. | |
women and men are both wearing. It is a big night for fashion. I think | :09:03. | :09:07. | |
it is important that the men are given some airtime as well as the | :09:08. | :09:10. | |
women. There is pressure on the actresses to look the part and it is | :09:11. | :09:16. | |
very cold, but now we're looking at the guys as well and what they are | :09:17. | :09:21. | |
wearing. This is a platform for fashion and film together. We have a | :09:22. | :09:27. | |
channel dedicated to red carpet fashion. Much more to talk about | :09:28. | :09:36. | |
with you as the evening progresses. Now letters go to another rising | :09:37. | :09:48. | |
star. How are you, John? You had an astonishing 2015 and this nomination | :09:49. | :09:53. | |
on top of it. How does that feel? I cannot believe that I'm here this | :09:54. | :09:59. | |
year. I was presenting here last year. I appreciate it. Thank you for | :10:00. | :10:04. | |
having me as part of your nominations. People have seen you in | :10:05. | :10:09. | |
Star Wars that you had a working in film for a number of years. It is | :10:10. | :10:13. | |
not overnight success. How does it feel now you have got to this place? | :10:14. | :10:19. | |
The hard work is sure not and the results are paying off. I'm very | :10:20. | :10:25. | |
appreciative of this and I am aware that it is a brilliant opportunity. | :10:26. | :10:31. | |
This is a moment for me to take him this time in my life in my career. I | :10:32. | :10:38. | |
feel good. I have to get up at 6am tomorrow. The bar has been set high | :10:39. | :10:47. | |
by the success of the previous Star Wars movies. Does this one satisfy? | :10:48. | :10:56. | |
It take some risks and that is the only way to go forward from The | :10:57. | :11:03. | |
Force Awakens. It is something new in a universe they are used to. We | :11:04. | :11:09. | |
are very excited for you guys to watch this movie. Thank you for | :11:10. | :11:17. | |
talking to us. Thank you. To have that level of | :11:18. | :11:24. | |
confidence at that young age. I was never like that in my early years. | :11:25. | :11:29. | |
He has been like that for a long time. He was terrific. A very good | :11:30. | :11:39. | |
actor. In Star Wars he is doing an American accent and hauled in this | :11:40. | :11:42. | |
part in a blockbuster film and he holds a brilliantly and carries on | :11:43. | :11:45. | |
so well and he has done this so well. He is very gifted and he is | :11:46. | :11:54. | |
able boon to British cinema. Here's a black actor and it is important to | :11:55. | :11:59. | |
see how important that film has been with the lead character as a black | :12:00. | :12:03. | |
actor. I am glad to have him included. He is nominated for Star | :12:04. | :12:11. | |
Wars. I think the biggest grossing film of last year and of many years, | :12:12. | :12:19. | |
but people watching this might think that it shows awards are elitists | :12:20. | :12:21. | |
because that is the film everyone went to see and where all the money | :12:22. | :12:27. | |
went. It is also nominated in other categories. People do look at these | :12:28. | :12:38. | |
awards and think that some of the films are not the biggest hits | :12:39. | :12:42. | |
around. But it is up to the Academy to be case setters. We need to keep | :12:43. | :12:50. | |
going with the art. That is hard to do these days. The difference | :12:51. | :12:57. | |
between artistic film and blockbusters is not always there. | :12:58. | :13:03. | |
Star Wars is trailing in the biggest films of all time is to Avatar. Star | :13:04. | :13:12. | |
Wars is consigned to that sort of blockbuster Ben. We will see it | :13:13. | :13:22. | |
tonight, do not worry. It has been nominated for 4- by technical | :13:23. | :13:28. | |
awards. -- four or five technical awards. We're looking at the | :13:29. | :13:34. | |
nominees on the screen for the best actor. You have spoken to Bafta | :13:35. | :13:46. | |
members who really loved Brooklyn. But we need to think about the | :13:47. | :13:50. | |
category as a whole. But I'm not a batter member. -- I am not a Bafta | :13:51. | :14:03. | |
member. I'm with you. There are some very good actresses. She is up | :14:04. | :14:08. | |
against Cate Blanchett and Dame Maggie Smith, who I have a great | :14:09. | :14:17. | |
soft spot for. It is a tough category to call. Sydney at the town | :14:18. | :14:27. | |
would be a big call. It is about a girl who travels to Brooklyn in the | :14:28. | :14:31. | |
1950s and lives in a boarding house and then blossoms in front of our | :14:32. | :14:35. | |
eyes. She becomes an independent women throughout this movie. The | :14:36. | :14:45. | |
best actresses are lining up and chomping at the bit to get up there | :14:46. | :14:48. | |
on the red carpet and shall ask their stuff. The Danish Girl was one | :14:49. | :14:56. | |
of my favourite films this year. I'm joined by someone who has been | :14:57. | :15:03. | |
nominated for two movies. How does it fail to be doubly honoured by | :15:04. | :15:09. | |
Bafta tonight. It is wonderful to be invited here. I have grown-up | :15:10. | :15:18. | |
watching British film and now I live here and most of my films have been | :15:19. | :15:26. | |
done out of the UK. So it is humbling to be here tonight. | :15:27. | :15:37. | |
Starting with the Danish Girl. How was it playing it in that particular | :15:38. | :15:44. | |
way? It was an emotional love story that really attracted me and I was | :15:45. | :15:51. | |
amazed that I didn't know more about these two pioneering woman at the | :15:52. | :16:04. | |
time. It was almost 100 years ago and they had the emotional strength | :16:05. | :16:10. | |
to go on that journey together. You're also nominated Best | :16:11. | :16:14. | |
supporting actress. How did you give a robot sympathy and empathy at the | :16:15. | :16:22. | |
same time. I thought the script was brilliant when I read it. I got the | :16:23. | :16:27. | |
chance to read a character who was like a blank page because she is the | :16:28. | :16:32. | |
first of what she is and then trying to play a robot and get the audience | :16:33. | :16:37. | |
to connect with this thing was very interesting. Thank you very much. | :16:38. | :16:47. | |
Perhaps we will be able to talk about the fact that she was | :16:48. | :16:53. | |
nominated twice. Let's talk about what she was wearing. She looks | :16:54. | :16:58. | |
fantastic, it is a Louis the tonic dress. It looks really fresh on her, | :16:59. | :17:08. | |
she could make anything look fantastic. I really love this really | :17:09. | :17:15. | |
structured address. Is it safe to assume that will have been made to | :17:16. | :17:21. | |
her? It would have been made to fit her, if not made for her. No one | :17:22. | :17:26. | |
will allow any of their pieces to walk down the red carpet not looking | :17:27. | :17:33. | |
absolutely perfect. Banks are now. Just a short while ago Jason and I | :17:34. | :17:37. | |
were talking about Spotlight, a film about Boston Globe journalist. I | :17:38. | :17:46. | |
joined by the director of the film. It is up for best movie, Tom | :17:47. | :17:51. | |
McCarthy, how does that feel? It is very exciting, I was in New York | :17:52. | :17:55. | |
last night for the right Guild awards, I was on a plane this | :17:56. | :17:59. | |
afternoon and now we are on the red carpet, it is a real honour to be | :18:00. | :18:03. | |
here. Do you feel more responsibility that you are making a | :18:04. | :18:08. | |
movie about such traumatic real-life events? I think so, not just because | :18:09. | :18:13. | |
of the reporters, but because of the survivors and how they shared their | :18:14. | :18:18. | |
stories and quite honestly how they continued to come forward and share | :18:19. | :18:21. | |
their stories. There is a screening at about Bataclan and we feel it is | :18:22. | :18:28. | |
part of the public discourse. -- at the Vatican. An amazing cast. Rachel | :18:29. | :18:37. | |
McAdams, Mark Ruffalo, Michael Keaton, are you pleased to see Mark | :18:38. | :18:41. | |
Ruffalo picked out for a sporting actor award nomination. I think it | :18:42. | :18:49. | |
could have been any one of them, but it could not happen to a nicer guy. | :18:50. | :18:56. | |
Thank you, great to be here. Interesting that Tom McCarthy was | :18:57. | :19:00. | |
particularly asked in talking about Mark Ruffalo. I am a big Mark | :19:01. | :19:05. | |
Ruffalo fan, it is good ensemble work, it is about a team of | :19:06. | :19:09. | |
journalists, but I did think Mark Ruffalo was particularly good. You | :19:10. | :19:14. | |
have to give the script some energy and differentiate it. Everyone gets | :19:15. | :19:20. | |
the sense of the same characters in these journalism films. You have | :19:21. | :19:24. | |
Michael Keaton doing his tics and then you have this passionate guy, | :19:25. | :19:29. | |
Mark Ruffalo, he wants to get it out there, he cannot do it because the | :19:30. | :19:33. | |
photocopier may not be working. I make the film sound thrilling! | :19:34. | :19:37. | |
LAUGHTER He has the laughter and the tension | :19:38. | :19:41. | |
and you feel like he has not slept. You are up drinking caffeinated | :19:42. | :19:47. | |
drinks with him all night. The seal of the newsroom, it is a good memory | :19:48. | :19:53. | |
for journalists to know that newsroom still count. That film lies | :19:54. | :19:58. | |
in the hard graft that actors put in. It is an ensemble piece. It | :19:59. | :20:06. | |
seems unfair pulling anyone out that ensemble piece, they all do such a | :20:07. | :20:10. | |
terrific job. When we touched on this earlier, when we do watch it, | :20:11. | :20:21. | |
is it fair to say thinking about The Big Short, you felt a lot of Academy | :20:22. | :20:25. | |
members liked it because it could be a dry subject, but the film whatever | :20:26. | :20:30. | |
you think of it is certainly very inventive. It is very clever at | :20:31. | :20:34. | |
telling a very, the coded story. It tells it very gradually in | :20:35. | :20:43. | |
Spotlight, but The Big Short cuts away and tries to explain what is | :20:44. | :20:47. | |
happening in these deals, these terribly structured financial things | :20:48. | :20:50. | |
that made the world collapse. It cuts away to a bar or a celebrity | :20:51. | :20:58. | |
chef telling you what happened. It takes a different approach. For me | :20:59. | :21:02. | |
it is a bit too zippy, I preferred the measured approach of Spotlight. | :21:03. | :21:08. | |
The big Short has worked and it has these great terms from Ryan Gosling, | :21:09. | :21:20. | |
Christian Bale, Steve Carrell. It kept on saying look at me though, I | :21:21. | :21:26. | |
am a film, I am a film! Here are some pictures of Cate Blanchett | :21:27. | :21:31. | |
arriving. I hope we do find out who created that, that is staggering. I | :21:32. | :21:35. | |
don't know if you can judge anything at a first glance. It is absolutely | :21:36. | :21:41. | |
beautiful, so decorative. She always gets it right. She is one of those | :21:42. | :21:45. | |
actresses who is not only incredible at her craft, but she always gets | :21:46. | :21:51. | |
the red carpet Right, so elegant and she is an asset to any film company, | :21:52. | :21:56. | |
an asset to the industry as a whole. She looks incredible, I can't wait | :21:57. | :22:02. | |
to find out. In terms of how it all works during film season, do we | :22:03. | :22:06. | |
assume that all the really big names, all these people who were | :22:07. | :22:09. | |
nominated for Best actress, Best supporting actress that fashion | :22:10. | :22:14. | |
houses are pretty much throwing designs at them saying please wear | :22:15. | :22:22. | |
my creation. It is a bit like that, these people have the eyes of the | :22:23. | :22:26. | |
world on them, the red carpet is one of the best places to PR your | :22:27. | :22:30. | |
product. You have these amazing women to wear your clothes. You have | :22:31. | :22:35. | |
a team of people around you, none of these actresses have just left the | :22:36. | :22:39. | |
house, done their ironing and come to the red carpet, they have teams | :22:40. | :22:42. | |
of people making them look fantastic. The stylus are all | :22:43. | :22:49. | |
looking for the best dresses for the actresses to wear, so we can blast | :22:50. | :22:53. | |
and look at these amazing creations. I can only dream of that, it sounds | :22:54. | :23:01. | |
wonderful. It is a must do part of the job. On a night like tonight | :23:02. | :23:06. | |
where it is very chilly, I looked at those cutaway shoulders and I feel | :23:07. | :23:11. | |
cold just looking at that. We will see a lot of shoulders, they are | :23:12. | :23:15. | |
very in fashion. I do for them. The adrenaline must keep you going. | :23:16. | :23:22. | |
People screaming your name. It is a really big deal. There is a lot of | :23:23. | :23:26. | |
pressure on women and men to look their best. As soon as you put a | :23:27. | :23:32. | |
foot wrong, it is everywhere as well as if you look fabulous. We would | :23:33. | :23:39. | |
never say anything negative about anybody, but the light bulb flashes | :23:40. | :23:42. | |
are on you, it is such a brave thing to do, I take my hat off to all of | :23:43. | :23:50. | |
them. It is a brave thing to do. In terms of performances, I did think | :23:51. | :23:54. | |
that Cate Blanchett was excellent in Carroll, but it is a strong | :23:55. | :23:57. | |
category, I would not want to be calling that one. -- Carol. She has | :23:58. | :24:10. | |
fantastic costumes in the film. It really is about the clothes. Cate | :24:11. | :24:20. | |
Blanchett has a lesbian affair with Rooney Mara in 1950s New York and it | :24:21. | :24:23. | |
is about the blossoming of people through their clothes. It is about | :24:24. | :24:28. | |
the smoulder of a cigarette and the touch of a hand on some velvet, it | :24:29. | :24:33. | |
is the coding of those things. That is why Cate Blanchett carries | :24:34. | :24:38. | |
herself so well on the red carpet, the role is about that, she is | :24:39. | :24:43. | |
carrying a bit Carol with her. As she was doing it when she did it for | :24:44. | :24:53. | |
Blue Jasmine a few years ago. It is a beautiful film. You mentioned the | :24:54. | :24:58. | |
wonderful sandy Powell and some great hair and make up nominations. | :24:59. | :25:05. | |
It is stunning to look at. There is not a pin or brooch out of place. It | :25:06. | :25:10. | |
is an absolutely beautiful film. It may be too perfect for someone to | :25:11. | :25:15. | |
go, I love that film, I want it to win. It is so hermetically sealed, | :25:16. | :25:21. | |
almost as if it is a dream. I loved it, I thought the writing and the | :25:22. | :25:25. | |
acting and the cinematography for sure. The director has done a | :25:26. | :25:29. | |
beautiful job of getting his vision across. It is a vision, it is like a | :25:30. | :25:36. | |
dream world, very delicately done. It is probably the film I loved the | :25:37. | :25:40. | |
most, but I know that it does not get over the line may be for people | :25:41. | :25:46. | |
to vote for it. People may want something like Spotlight, that may | :25:47. | :25:52. | |
have a better chance. Carol is the one you swoon over. It is a swoon of | :25:53. | :25:57. | |
the film. Cate Blanchett has already won awards over in the States. It | :25:58. | :26:05. | |
has started to get incredibly noisy, it is hard to hear anything at all. | :26:06. | :26:19. | |
I think we can go back to Lizo. You are up for best documentary, what | :26:20. | :26:26. | |
surprised you most? There are two parts to your answer, as a person I | :26:27. | :26:32. | |
had no idea how witty and funny, how amazingly intelligent Amy was. There | :26:33. | :26:36. | |
was a part of her personality I was not aware of. As an artist, her | :26:37. | :26:41. | |
songwriting was incredible. We really made a point of highlighting | :26:42. | :26:45. | |
her lyrics, they were like papers from her diary. In terms of | :26:46. | :26:52. | |
documentary research and preparation, how'd you get it down | :26:53. | :26:56. | |
to something that is such a short film? That is a challenge, it took | :26:57. | :27:02. | |
three years of making this film, amazing editing, brilliant | :27:03. | :27:05. | |
producing, a lot of research. It took a while. This took three years, | :27:06. | :27:12. | |
the previous film took five years, maybe we are getting there, the main | :27:13. | :27:17. | |
thing is to get it right. What will your next project be? We are working | :27:18. | :27:21. | |
on a couple of things, hopefully once this is all over we will know | :27:22. | :27:28. | |
what we are doing. Good luck. What a wonderful film-maker, you and I are | :27:29. | :27:33. | |
on the same page when it comes to him, we loved Amy, a desperately sad | :27:34. | :27:41. | |
film just as we loved Senna before that. There is Cate Blanchett. It is | :27:42. | :27:47. | |
an Alexander McQueen dress, we should have relied, the | :27:48. | :27:50. | |
craftsmanship involved in any one of his creations is beyond anything. He | :27:51. | :27:55. | |
was a true artist and the company continues that trend. The bottom of | :27:56. | :28:01. | |
this dress is made out of feathers. It absolutely blows in the window. | :28:02. | :28:05. | |
It is absolutely stunning, if you look at the detail around her | :28:06. | :28:09. | |
bodice, the colours, the technicality that has gone into | :28:10. | :28:14. | |
that, that will have been made to fit her perfectly. It just flows | :28:15. | :28:19. | |
out. It is unbelievably elegant. You could see that standing in the halls | :28:20. | :28:26. | |
of the end a flop ever -- in the halls of the Victoria and Albert New | :28:27. | :28:30. | |
Zealand forever. It is so incredibly beautiful. -- in the halls of the | :28:31. | :28:41. | |
Victoria and Albert Museum for ever. She looks so regal. Imagine if she | :28:42. | :28:48. | |
does not win, she will not get to show it off on stage, it is | :28:49. | :28:52. | |
criminal! But she gets to wear the dress and she has won in that way | :28:53. | :28:58. | |
already! Simple hair, not too much going on with the hair and the | :28:59. | :29:03. | |
jewellery is very simple as well. Does Cate Blanchett have a | :29:04. | :29:09. | |
association with McQueen? Some actors have very close ties with | :29:10. | :29:13. | |
certain brands. She is normally with Armani. We may see how wear Armani | :29:14. | :29:20. | |
at the Oscars. She does love to experiment with her clothes even | :29:21. | :29:32. | |
though she doesn't experiment in a weird Bjork way. She has the ability | :29:33. | :29:36. | |
to spot something that suits her very easily, she is tall and slim, | :29:37. | :29:41. | |
most clothes will look fabulous on her, she is very lucky in that way. | :29:42. | :29:47. | |
Fantastic, Cate Blanchett nominated for her role in Carol, adapted from | :29:48. | :29:55. | |
the novel by Patricia Highsmith. Looking over to the left, I was | :29:56. | :30:00. | |
chatting to Joe about styling and we can see that Lizo will speak to | :30:01. | :30:12. | |
Saoirse Ronan. Yes, you have been nominated for the film Brooklyn, did | :30:13. | :30:16. | |
you find it helpful that you had a personal resonance with the | :30:17. | :30:19. | |
character's journey, leaving home and moving to a new place? I did and | :30:20. | :30:25. | |
when you are going through such a similar experience to your character | :30:26. | :30:28. | |
which is something completely new territory for make, at the time you | :30:29. | :30:34. | |
feel quite overwhelmed by it all. In hindsight it probably worked out for | :30:35. | :30:39. | |
the best. It made the whole thing even more emotional for me I think. | :30:40. | :30:44. | |
Another part of the emotional experience is the difficult choices | :30:45. | :30:48. | |
your character has to make. Ultimately I think the choice is | :30:49. | :30:55. | |
about -- I think the film is about a choice, she has to make a for | :30:56. | :31:00. | |
herself. She is faced with the option of one life or another. I | :31:01. | :31:04. | |
love that it kind of gets to this point where she has to choose | :31:05. | :31:08. | |
between the two, it is what is best for her and it is not a decision for | :31:09. | :31:14. | |
anyone else. It was great to get a chance to play that. Enjoy the | :31:15. | :31:24. | |
evening. I was just looking behind me because another big cry went up. | :31:25. | :31:28. | |
You know how it is on the red carpet, lots of people wanting to | :31:29. | :31:33. | |
get autographs and photos. Let's just talk about the wonderful | :31:34. | :31:37. | |
Saoirse Ronan, still very young, very early 20s. I think you have a | :31:38. | :31:42. | |
bit of information on who she was wearing as it were. She was wearing | :31:43. | :31:46. | |
Burberry which is very fitting for a young actress. They are the | :31:47. | :31:50. | |
ambassadors of use and they do manage to capture the way that | :31:51. | :31:56. | |
people are feeling with fashion and they adopted the young punk | :31:57. | :32:01. | |
generation early on with their clothing. She was wearing a | :32:02. | :32:05. | |
strapless dress, very sparkling necklace. Actually quite surprising, | :32:06. | :32:10. | |
a very big piece of jewellery for a young girl to wear. Very colourful. | :32:11. | :32:16. | |
It did compliment the dress that she was wearing. We are just looking at | :32:17. | :32:22. | |
pictures of Kate Winslet getting out of her car at the far end of the red | :32:23. | :32:26. | |
carpet. You were already detecting something of a trend from what we | :32:27. | :32:32. | |
have seen so far, not with Kate Winslet, but elsewhere a lot of | :32:33. | :32:38. | |
metallics. A lot of sparkle and metallics, there were lots of those | :32:39. | :32:42. | |
outfits on the catwalk in the spring, there are also some autumn | :32:43. | :32:48. | |
winter collections we have not seen yet. There is definitely a trend, a | :32:49. | :32:57. | |
lot of detail. Another big screamer goes up behind us, I was chatting to | :32:58. | :33:04. | |
a lot of members of the public earlier... Kate Winslet signing | :33:05. | :33:08. | |
autographs. Some of the people will be very happy. I spoke to them and | :33:09. | :33:13. | |
afternoon, my goodness, I could not believe the number of people who | :33:14. | :33:17. | |
said they arrived in the early hours of Saturday morning. They have | :33:18. | :33:24. | |
basically been out in the London winter for 36 hours, a lot of them | :33:25. | :33:28. | |
slept overnight after collecting their wristbands that allow them | :33:29. | :33:31. | |
into the public section that you can see on the left hand of the screen. | :33:32. | :33:39. | |
You can go home with your wristband, but hard-core stayed here. I cannot | :33:40. | :33:43. | |
tell you how cold it is in London, I said to one lady, you are cold. Yes, | :33:44. | :33:54. | |
I have been cold for 36 hours! Kate Winslet, my goodness, someone that | :33:55. | :34:00. | |
Jason we have seen on red carpets that so many years, she keeps going, | :34:01. | :34:05. | |
she won the Golden Globe for her role in Steve Jobs, she pushes on | :34:06. | :34:09. | |
each year. There is always a performance out there. It is not the | :34:10. | :34:17. | |
Baftas if she is not here. It is the second biggest award ceremony in the | :34:18. | :34:23. | |
world. I think she is terrific in Steve Jobs, she gets the accident | :34:24. | :34:28. | |
right, a Polish American accent. She is the only one who stands up to | :34:29. | :34:33. | |
Michael Fassbender and gives as good as she gets, playing his PA and his | :34:34. | :34:37. | |
conscience. It is a very strange film, Steve Jobs. It is not up there | :34:38. | :34:45. | |
with the best films, Danny Boyle as director. He is such a favourite | :34:46. | :34:58. | |
here at Bafta. It is like a theatrical beast. Especially when | :34:59. | :35:01. | |
Kate Winslet and Michael Fassbender are together, they go at it in a | :35:02. | :35:11. | |
way. It is like watching your ball and John McEnroe. -- Borg. We are | :35:12. | :35:23. | |
seeing a different kind of aspects to Kate Winslet's performance. She | :35:24. | :35:29. | |
does a terrific job. She is probably favourite to seal the wind in the | :35:30. | :35:35. | |
best supporting actress category. -- the wind. We are looking at Steven | :35:36. | :35:51. | |
Spielberg arriving, director of Bridge of Spies. I really enjoyed | :35:52. | :35:56. | |
it. He is getting quite good at this, this Spielberg fell oh! This | :35:57. | :36:05. | |
movie takes its time. -- fellow! It will be a very tight category, Mark | :36:06. | :36:10. | |
Rylance up against Idris Elba. You watch a film like that and you can | :36:11. | :36:13. | |
see some shots in there that no one else can do. The light bulb popping | :36:14. | :36:22. | |
on the floor, just like the cup in Jurassic Park shaking. Spielberg | :36:23. | :36:31. | |
makes events happen as part of this great drama between Mark Rylance who | :36:32. | :36:35. | |
is arrested for being a Russian spy and Tom Hanks who has to go out | :36:36. | :36:39. | |
there and fight for his release foreign exchange in Cold War Berlin. | :36:40. | :36:44. | |
It is not a film I have ever seen before. Nothing quite like | :36:45. | :36:49. | |
Spielberg. He injects it with this energy. It is nominated for best | :36:50. | :37:03. | |
screenplay, the screenwriter worked with the Coen brothers. There is | :37:04. | :37:06. | |
nothing flashy about it, but the many members they really enjoyed it. | :37:07. | :37:11. | |
Younger viewers may have gone to see Star Wars, but he can still do this. | :37:12. | :37:20. | |
It strikes me as one of those films going back to what we were saying | :37:21. | :37:25. | |
about Star Wars, it is a good watch, critically acclaimed. I think that | :37:26. | :37:31. | |
is sort of balance. I am just trying to work out who everyone is shouting | :37:32. | :37:36. | |
for. I think it is the Saoirse Ronan. I think it is. I just spotted | :37:37. | :37:44. | |
Julie Walters arriving and she is in Brooklyn, going back to the film we | :37:45. | :37:48. | |
were talking about before. She gets the funny lines. Type camera deal | :37:49. | :37:55. | |
that the producers are also working on making Brooklyn a TV series. It | :37:56. | :38:00. | |
will be the first film tonight that has a spin off TV series that will | :38:01. | :38:05. | |
be set in that boarding house where Saoirse Ronan goes to when she first | :38:06. | :38:12. | |
arrived in America. I think it is a great idea. Julie Walters has signed | :38:13. | :38:16. | |
up to be in the boarding house. I think it will be a great series. It | :38:17. | :38:21. | |
is interesting to see what is happening with movies, they are the | :38:22. | :38:25. | |
big stuff, but TV is also huge these days. People are looking to have | :38:26. | :38:30. | |
eight part TV series, things that will run and run on digital media. | :38:31. | :38:47. | |
We are seeing Idriss Alber nominated for Beasts of No Nation which was | :38:48. | :38:59. | |
originally all networks -- on Netflix. Best supporting actress | :39:00. | :39:06. | |
nominee, Julie Walters, what was it like playing Saoirse Ronan's Sara | :39:07. | :39:11. | |
get mother. She was a sort of Sara get mother. I could take acting | :39:12. | :39:15. | |
lessons from her. She was 19 when she did that part. Just phenomenal. | :39:16. | :39:23. | |
She is just so honest, the joy, a lovely person. A great director, a | :39:24. | :39:33. | |
wonderful script, I loved playing her because it is my childhood, my | :39:34. | :39:39. | |
mother and her friends and it reminds me of all of that, Heaven. | :39:40. | :39:45. | |
The film really has an incredibly emotional punch to it, what gives | :39:46. | :39:53. | |
it's that power? It is a coming of age sort of film. People love that, | :39:54. | :40:01. | |
getting through, stories about people getting through, but also | :40:02. | :40:05. | |
about duty and love and being torn and lots of people have to leave | :40:06. | :40:11. | |
home. Everybody, not everybody, but most people have moved from our | :40:12. | :40:16. | |
childhood homes and gone on and it wrenches at you and everybody | :40:17. | :40:18. | |
identifies with it. That separation thing. Thank you for talking to us | :40:19. | :40:25. | |
and enjoy the rest of the red carpet. Thank you. Julie Walters, I | :40:26. | :40:31. | |
was quite surprised when we saw the information on the bottom of the | :40:32. | :40:35. | |
screen that she had been nominated for 15 years, she has been very busy | :40:36. | :40:40. | |
making television and not films. She is to horrific actress and she lends | :40:41. | :40:47. | |
great energy Brooklyn. -- she is a brilliant actress. It is a lovely | :40:48. | :40:51. | |
film Brooklyn, a quiet film, but then you realise that there is this | :40:52. | :40:57. | |
magic. Nick Hornby's screenplay is nominated, one to watch out for. It | :40:58. | :41:12. | |
is from Colm Toibin's novel. Was that Valentino? He did. I am very | :41:13. | :41:20. | |
excited about that. He swept past looking at all the fashions as he | :41:21. | :41:25. | |
went, looking a bit cold, he is not used to this weather with his town. | :41:26. | :41:31. | |
He looked very tanned. He did not look like a man used to London. I've | :41:32. | :41:36. | |
just had a close view of Saoirse Ronan's dress, the necklace she is | :41:37. | :41:41. | |
wearing picks up all the colour of the bleeding of her dress. On closer | :41:42. | :41:46. | |
viewing it worked brilliantly. The whole look. It was really beautiful. | :41:47. | :41:52. | |
I suppose that goes back to what you were saying about stylus working | :41:53. | :41:56. | |
with them and making sure everything is perfect. It is very carefully | :41:57. | :42:02. | |
planned. From the jewellery to the way that they style their hair. It | :42:03. | :42:08. | |
has to be on trend, it has to be forward thinking, these people are | :42:09. | :42:14. | |
showing us the fashion trends going through. One film that we have not | :42:15. | :42:23. | |
talked about a great deal tonight is Trumbo and I can see Bryan Cranston | :42:24. | :42:39. | |
standing on the red carpet. What an incredible talent, how difficult was | :42:40. | :42:44. | |
it getting underneath his skin? He is a man who did not want this fight | :42:45. | :42:50. | |
to come to him, but when it didn't he wanted and needed to defend his | :42:51. | :42:54. | |
Civil Liberties, the right to free speech, the right to assemble, the | :42:55. | :42:58. | |
right to be a member of any political party he chooses. In any | :42:59. | :43:03. | |
enlightened society we should be wise enough to be able to embrace | :43:04. | :43:07. | |
that kind of diversity and not be afraid of somebody else's opinion | :43:08. | :43:12. | |
that may differ from ours. For you is at a film about the individual or | :43:13. | :43:19. | |
a film about American history? -- is it. I don't think you can divide the | :43:20. | :43:26. | |
two, there was an assault on civil liberties and that was a blight on | :43:27. | :43:30. | |
the foundation of American principles. For me it was just about | :43:31. | :43:35. | |
being able to get into that man's skin and be able to as honestly as I | :43:36. | :43:40. | |
could betray that sensibility. How did you research it, did you look at | :43:41. | :43:45. | |
old newsreels, films? One of the things that is good about a | :43:46. | :43:52. | |
nonfictional character is the availability of source material, | :43:53. | :43:55. | |
video tape, his daughters are alive and well and they helped from | :43:56. | :43:58. | |
industry. Thank you for talking to us. Thank you. Bryan Cranston | :43:59. | :44:09. | |
playing Dalton Trumbo, a film I felt should have been better because the | :44:10. | :44:14. | |
story is so fantastic, so much rich material about the McCarthy, the | :44:15. | :44:22. | |
blacklisting of lots of screen writers. He was really good, I | :44:23. | :44:29. | |
cannot put my finger on it. I always liked there being a floor mat -- | :44:30. | :44:36. | |
being a flamboyant writer who becomes the hero! People will be | :44:37. | :44:41. | |
surprised to see how well he changes, he sits in the bar typing | :44:42. | :44:46. | |
away, the big cigarette holder, drinking whiskey. It is a great | :44:47. | :44:59. | |
performance, very different to Breaking Bad. John Wayne pops up, | :45:00. | :45:07. | |
Dame Helen Mirren is in their, but Bryan Cranston is representing | :45:08. | :45:11. | |
Trumbo at the moment. Lets talk more about Steve jobs. I am with Michael | :45:12. | :45:14. | |
Fassbender. How tricky was getting under the | :45:15. | :45:24. | |
skin of a man as complex as Steve jobs? It was tricky! I spend a lot | :45:25. | :45:30. | |
of time with the script and a lot of time with him however I could | :45:31. | :45:34. | |
through watching videos, whatever was out there. Just bending time | :45:35. | :45:41. | |
with the script. It is a dramatisation, the story we are | :45:42. | :45:44. | |
telling is the script at the moment we are telling are in there, so I | :45:45. | :45:50. | |
try to focus on that and just get a handle on the words but also the | :45:51. | :45:54. | |
cadence and rhythm that are rights to and respecting that and doing it | :45:55. | :46:02. | |
justice. And also trying to integrate as best as possible with | :46:03. | :46:06. | |
the other ensemble members. If one person loses that rhythm than the | :46:07. | :46:11. | |
whole piece can sort of fall apart. Really that's a long way of saying | :46:12. | :46:15. | |
that most of the work was based on the script. What was your approach | :46:16. | :46:21. | |
to him, if large family man or a creative genius? I think creative | :46:22. | :46:27. | |
genius for sure. Someone who are robbery wealth of focus, passion and | :46:28. | :46:34. | |
drive. So much so that he bent the universe, at least the one that we | :46:35. | :46:38. | |
live in and how we live and communicate. How we shop, watch | :46:39. | :46:46. | |
movies, listen to music. Bags for your time. -- thanks for your time. | :46:47. | :46:57. | |
Michael Fassbender, a talented man. We both really liked him in Steve | :46:58. | :47:01. | |
jobs. But it was a film that certainly did not go down too well | :47:02. | :47:06. | |
in America, did it? It didn't. I'm not sure what reason, perhaps too | :47:07. | :47:11. | |
talkative. Michael Fassbender is extraordinary, he gives this | :47:12. | :47:15. | |
performance of Steve jobs over three different periods of his life. | :47:16. | :47:21. | |
Michael Fassbender can make working on a computer exciting. And he has | :47:22. | :47:26. | |
had a terrific year, he was Mike also, many thought that might be | :47:27. | :47:32. | |
nominated here. -- he was in Macbeth. He has always been a | :47:33. | :47:38. | |
magnetic star since he broke through with Hunger a few years ago. He has | :47:39. | :47:44. | |
become one of our greatest actors on screen, magnetic, a hugely popular | :47:45. | :47:50. | |
guy, very easy on the eye and a cool guy come he brings a fresh air to | :47:51. | :47:55. | |
stardom and seems to wear red lightly. He is great fun to have at | :47:56. | :47:58. | |
the after parties as well, and all-round good blog! They could be | :47:59. | :48:03. | |
that on the film poster, all-round good blog. Julie Walters, there was | :48:04. | :48:09. | |
an enormous screen for her from the crowd behind me which is lovely | :48:10. | :48:12. | |
because you get used to them shouting for Leonardo DiCaprio and | :48:13. | :48:16. | |
Cate Blanchett and the other big names, not that she is not a big | :48:17. | :48:20. | |
name, but in film terms perhaps less so than the Cate Blanchetts of this | :48:21. | :48:30. | |
world. And as I looked down at Lizo Mzimba, down at the other end of the | :48:31. | :48:34. | |
red carpet, he has the director of one of my favourite films of the | :48:35. | :48:39. | |
year. I am of Tom Hooper, the man behind The Danish Girl. For | :48:40. | :48:44. | |
outstanding British movie. How tricky was getting head around | :48:45. | :48:50. | |
subject subject matter? It has been an eight year journey to bring that | :48:51. | :48:54. | |
to the screen, the writer has an working on it for 15 years. I always | :48:55. | :48:59. | |
connected with the incredible love story at the centre of this film, I | :49:00. | :49:03. | |
found it incredibly moving. And I suppose the main battle was just to | :49:04. | :49:06. | |
get it onto the big screen in the first place so I am pleased we are | :49:07. | :49:14. | |
here. And we took a lot of advice. Eddie and I met many inspiring trans | :49:15. | :49:18. | |
men and women who shared their stories and educated us about what | :49:19. | :49:23. | |
the character might have gone through a hundred years ago. Lily | :49:24. | :49:28. | |
was going through this at a time when there was no precedent and the | :49:29. | :49:32. | |
was no word transgender. One can only admire her bravery as we look | :49:33. | :49:38. | |
at how the world is beginning to catch up with her as a pioneer. It | :49:39. | :49:45. | |
is an incredible historical story that has relevance today in the | :49:46. | :49:51. | |
21st-century. Yes, and it is unusual to tell a story that is most 100 | :49:52. | :49:55. | |
years old but is only just coming into its own right now. That is | :49:56. | :49:59. | |
banks to some other great TV and film making that has gone on over | :50:00. | :50:08. | |
the last few years, transparent, Oranges New Black there is must be | :50:09. | :50:15. | |
the tipping point for a trans-drama. Thanks for your time. Tom Hooper, | :50:16. | :50:22. | |
director of The Danish Girl, we saw Alicia Vikander earlier, she arrived | :50:23. | :50:27. | |
looking absolutely stunning. And Julianne Moore, this time last year | :50:28. | :50:34. | |
she was the toast of London and Hollywood given that heartbreaking | :50:35. | :50:42. | |
but wonderful film, Still Alice. She returns the reigning champion, I | :50:43. | :50:48. | |
think. And she is still a wonderful start, she has new film out this | :50:49. | :50:54. | |
week. She can get in promotion for that as well. A film of people | :50:55. | :50:59. | |
expected to be nominated, has not quite made the grade, but she is | :51:00. | :51:05. | |
still a terrific start and last year's Still Alice is still fresh in | :51:06. | :51:09. | |
people's memory, a film about early onset Alzheimer's. The BAFTAs shows | :51:10. | :51:17. | |
the stars are happy still just a common present, 90 present of people | :51:18. | :51:22. | |
nominated have turned up. -- 90 present. The magnet of this red is | :51:23. | :51:33. | |
still strong. It has grown and grown over the last ten years. It has | :51:34. | :51:37. | |
become a much stronger pool. And we still expect Leonardo DiCaprio to be | :51:38. | :51:45. | |
here, names like that. Leonardo and Kate Winslet together, since | :51:46. | :51:52. | |
Titanic. I help we are all safe here! Let's hope so. That was | :51:53. | :51:59. | |
Benicio Del Toro we just saw. Yes, a wonderful performance in the film | :52:00. | :52:03. | |
Sicario, a little overlooked. It was about the war on drugs in the | :52:04. | :52:09. | |
Mexican border. He plays this will like assassin. I think he is | :52:10. | :52:13. | |
terrific in there. Much was made in the US but he was not nominated, | :52:14. | :52:19. | |
this diversity issue. In the BAFTAs we're seeing them perhaps slightly | :52:20. | :52:22. | |
more inclusive than the Oscar race has become. Which I think is a major | :52:23. | :52:28. | |
coup for BAFTA. And they can perhaps even improve on that and see more | :52:29. | :52:33. | |
edgy films being nominated. There are some cool stuff going on at | :52:34. | :52:40. | |
BAFTA. Just remind us, Jason, who votes? Who makes up after? Huge | :52:41. | :52:45. | |
number of members. 6500 voting members. They are not all film | :52:46. | :52:54. | |
people. It is made up of film folk, TV producers, actors and writers, | :52:55. | :53:01. | |
and also gaming, I am no expert on gaming. But there are people who do | :53:02. | :53:08. | |
gaming to gamble for BAFTA. Perhaps they will vote for The Revenant | :53:09. | :53:10. | |
because it is like one of those endless running games. That is why | :53:11. | :53:14. | |
the BAFTAs is different from the Oscars and beget a different kind of | :53:15. | :53:24. | |
result. I'm with Kate Winslet nominated for Best supporting | :53:25. | :53:27. | |
actress in Steve jobs. You play almost his moral conscience, his | :53:28. | :53:32. | |
long-standing love. What was it like working with Michael Fassbender on | :53:33. | :53:37. | |
that? It was definitely one of the highlights of my whole working life | :53:38. | :53:41. | |
to work with Michael Fassbender. He is an incredible actor and is so | :53:42. | :53:45. | |
dedicated and committed. His focus every day was extraordinary to be | :53:46. | :53:50. | |
around. And I feel very proud of the film and incredibly proud of him and | :53:51. | :53:57. | |
impressed by his performance. How easy is to betray someone such a | :53:58. | :54:02. | |
long period of time? And someone who was due to the story but about him | :54:03. | :54:07. | |
so was known? It was quite hard. I did not know anything about her, and | :54:08. | :54:11. | |
so spending time with the real Joanna, which I was able to do, was | :54:12. | :54:15. | |
really helpful because she was able to talk to me about her friendship | :54:16. | :54:17. | |
with Steve, not just the working relationship. And it was the | :54:18. | :54:24. | |
friendship that was almost more important for me to know about. All | :54:25. | :54:27. | |
this shouting, it is probably legal! Yes, it is Leo! Such an | :54:28. | :54:36. | |
interruption! But it was fantastic to have that time because I was able | :54:37. | :54:42. | |
to talk with her about Steve, and that is what kept the film warm at | :54:43. | :54:49. | |
its centre between the two of them. She can get a side on him that not | :54:50. | :54:54. | |
everyone can get. She got the behind-the-scenes version of Steve | :54:55. | :54:57. | |
jobs, and that was a lot of fun to play around with. Thanks, Kate. | :54:58. | :55:01. | |
Alleging Doctor Leonardo, you do have a lot to catch up with! No, we | :55:02. | :55:15. | |
see job all the time! I can barely feel my toes, I can't imagine what | :55:16. | :55:26. | |
it is like for Howard! -- for her. Kate Winslet lights are more fitted | :55:27. | :55:33. | |
dresses. And so she is showing off her figure in this particular | :55:34. | :55:38. | |
outfit, and her shoulders. One thing we can pick up is that all these | :55:39. | :55:42. | |
actresses are wearing the most incredible jewellery. A lot of big | :55:43. | :55:53. | |
dangle earrings. Maybe we will see some more dresses coming through | :55:54. | :56:00. | |
with big necklaces later on. I love that beautiful bracelet, simple but | :56:01. | :56:06. | |
stunning. It is, and it is an opportunity for jewellery houses to | :56:07. | :56:09. | |
show off the most spectacular of their pieces. It is not often the | :56:10. | :56:13. | |
public will see this type of jewellery. It is incredible, very | :56:14. | :56:19. | |
high value. And these actresses are the perfect people to wear it. | :56:20. | :56:24. | |
Unaffordable for us mortals, but we can dream. We can, and there are | :56:25. | :56:31. | |
other ways of showing them. There is Bryan Cranston. This is the shot we | :56:32. | :56:39. | |
see just before the guests walking to the Opera house, over to our | :56:40. | :56:44. | |
left. The reason you could not cure yourself think earlier was because | :56:45. | :56:48. | |
the most enormous screen went up for Bryan Cranston, quite deafening. And | :56:49. | :56:52. | |
I am guessing that as people who love breaking bad rather than | :56:53. | :57:00. | |
Trumbo, dare I say. I was more fond of Trumbo the new, and I like that | :57:01. | :57:06. | |
period of 1950s Hollywood that it recreates, but you're right, it is | :57:07. | :57:09. | |
not the most popular of movies and I don't think Bryan Cranston will win | :57:10. | :57:12. | |
tonight. It is great for him to have broken through from TV, White later | :57:13. | :57:16. | |
his career, to become a movie star, and here's seizing this moment. I'm | :57:17. | :57:21. | |
not sure that will happen for him a lot. There are not that many parts | :57:22. | :57:26. | |
for all directors to come on with and get to award season with. I'm | :57:27. | :57:30. | |
glad he is living it and enjoying it and glad that the audience are | :57:31. | :57:35. | |
really picking up on that. It is what we were talking about, that TV | :57:36. | :57:42. | |
and movie crossover. It really is bubbling under. If you have a TV | :57:43. | :57:49. | |
hits you are suddenly a movie star. If you are in general thrones or | :57:50. | :57:52. | |
down to Gnabry, you suddenly can be in movies. -- game of thrones. It | :57:53. | :58:04. | |
will change the way movies are made. Some of us have been watching Maggie | :58:05. | :58:09. | |
Smith for our whole lives, and you come up with a 20 old who thinks she | :58:10. | :58:20. | |
is only famous for Downton Abbey. And we're still waiting for a few | :58:21. | :58:24. | |
big names. We have not seen Leonardo, but we know he is coming | :58:25. | :58:28. | |
to light. That'll teach me to mention his name... I think you | :58:29. | :58:37. | |
might be in that car. He is apparently somewhere at the far end. | :58:38. | :58:43. | |
There he is, Leonardo DiCaprio, and that might be the man a lot of | :58:44. | :58:46. | |
people are talking about tonight. One thing we can say for sure, that | :58:47. | :58:53. | |
film company has made it clear how horrendously hard it was to make the | :58:54. | :58:57. | |
film, The Revenant, filmed on location in Canada. The only shot | :58:58. | :59:02. | |
for a few hours a day using natural light. It certainly looks beautiful, | :59:03. | :59:08. | |
but the conditions were grim. A bit of an endurance test. It is about | :59:09. | :59:13. | |
Leonardo DiCaprio who gets left for dead, mauled by a bear, left four | :59:14. | :59:18. | |
dead in the town, and makes his way back, the title, The Revenant, is | :59:19. | :59:26. | |
French for back from the dead. It is a survival picture. It has done very | :59:27. | :59:32. | |
well, become a popular film, with big box office. A lot to do with the | :59:33. | :59:39. | |
star power of Leonardo DiCaprio. The people who stayed out all night here | :59:40. | :59:44. | |
at the BAFTAs will know how he felt in that movie. But they have made a | :59:45. | :59:48. | |
lot of how hard and arduous it was to make the movie. I'd treat that | :59:49. | :59:52. | |
with some scepticism. There is a warm trailer and a cup of tea | :59:53. | :59:57. | |
waiting for just off-screen. That said, he is a tremendous movie star, | :59:58. | :00:03. | |
he has been up and down this carpet many times, nominated for times. I | :00:04. | :00:07. | |
think this is the time we will finally see him crowned. He is not | :00:08. | :00:11. | |
just the child star anymore, Romeo and Juliet or Jack from Titanic. He | :00:12. | :00:19. | |
is a bona fide movie star upon which much of this hinges. He is the big | :00:20. | :00:24. | |
name and I think you will go home with the trophy. I think he deserves | :00:25. | :00:28. | |
it. The Revenant perhaps not my favourite film of his, but a | :00:29. | :00:32. | |
tremendous performance full stop he won the Golden Globe and we are a | :00:33. | :00:35. | |
couple of weeks away from the Oscars. Everyone is saying, could it | :00:36. | :00:44. | |
be his year at the Oscars? It would be extraordinary for him not to win | :00:45. | :00:48. | |
it again. And I think he is probably the best star out there. I think the | :00:49. | :00:57. | |
male actor category is not surely. Buttle Fassbender is terrific but | :00:58. | :01:00. | |
not as obvious a winner as Leonardo DiCaprio. I will put my big money on | :01:01. | :01:09. | |
Leonardo tonight, and if I go home poor, that is the perils of this | :01:10. | :01:13. | |
business. Julianne Moore posing for pictures as she goes in. Let's head | :01:14. | :01:19. | |
to Lizo Mzimba, and other star of television. Giving away one of the | :01:20. | :01:26. | |
worst tonight, and Biglia Clark from the series Game Of Thrones. What is | :01:27. | :01:36. | |
it like walking down the red carpet and getting as many screams as the | :01:37. | :01:42. | |
film stars? It is amazing. It is cold, but it is nice to be back. And | :01:43. | :01:48. | |
what are you giving away tonight? Special effects denied, with Matt | :01:49. | :01:54. | |
Smith. And a little film called Star Wars in their? I think it might get | :01:55. | :02:04. | |
it, but I'm just guessing! Game Of Thrones at huge success, any chance | :02:05. | :02:12. | |
of a Game Of Thrones movie? There are rumours. It makes sense, we will | :02:13. | :02:19. | |
have two wait-and-see. Is a crude was your first big audition out of | :02:20. | :02:24. | |
drama school? Pretty much. Has it changed your life? It has changed my | :02:25. | :02:29. | |
life entirely, in the best way, in an amazing way. Dragons, they are | :02:30. | :02:37. | |
life changing! A pleasure, thank you. Immediate Clark from Game Of | :02:38. | :02:47. | |
Thrones. Not wearing a necklace, did she not get the memo? Wearing a | :02:48. | :02:53. | |
plunging neckline and a very bold colour which is on trend. She looked | :02:54. | :03:04. | |
very simple, a small and perfectly formed actress. Someone who | :03:05. | :03:10. | |
particularly codger imagination, Julianne Moore we saw just going in. | :03:11. | :03:16. | |
She swept down behind us, wearing Armani. By the time she got here, | :03:17. | :03:24. | |
because it is so cold, she had a beautiful black cape on and looked | :03:25. | :03:28. | |
amazing with the Gjedde earrings she was wearing. Again, I think of her | :03:29. | :03:39. | |
in the Cate Blanchett category of having a good sense of what suits | :03:40. | :03:46. | |
her, having an individual style. What is great about the actresses | :03:47. | :03:49. | |
who are a little older, they have done this for a long time, they know | :03:50. | :03:53. | |
what will work well on the red carpet because they have experience, | :03:54. | :03:57. | |
and they can use that experience in situations like this. They will not | :03:58. | :04:02. | |
experiment. They probably did when they started out. That is really get | :04:03. | :04:08. | |
these very elegant looks on some of these Morris published actresses. | :04:09. | :04:13. | |
And we can just see Dame Maggie Smith in the centre of the crowd, | :04:14. | :04:18. | |
but is our camera at the far end of the red carpet. Expecting quite a | :04:19. | :04:26. | |
big cheer, it is increasingly noisy hearing Covent garden. Mark Ruffalo | :04:27. | :04:31. | |
just went past. Someone we talked about earlier. And great performance | :04:32. | :04:39. | |
in Spotlight as we mentioned. And it is Maggie Smith we hope to hear | :04:40. | :04:44. | |
from. The lady in the van, equipped essential British film, some might | :04:45. | :04:51. | |
say. And added from one of Alan Bennett's fabulous works. And now we | :04:52. | :04:59. | |
can hear from another rising star. I am joined by Dakota Johnson. Or does | :05:00. | :05:03. | |
it like being nominated for something like this? It is | :05:04. | :05:08. | |
incredible. I'm honoured and shocked. It is very exciting to be | :05:09. | :05:14. | |
here and even be considered and surrounded by these incredibly | :05:15. | :05:20. | |
talented people. It is amazing. Yup and working on your career for quite | :05:21. | :05:24. | |
a long time, does it feel as if you have achieved overnight success or | :05:25. | :05:27. | |
does it feel like the end of a long road? Or the start of a long road? | :05:28. | :05:35. | |
The latter. It has been a crazy year, but only really a year. There | :05:36. | :05:40. | |
is a lot going on, but hopefully it is not over. And how important has | :05:41. | :05:46. | |
that movie been for you last 12 months? Amazing. It has changed my | :05:47. | :05:52. | |
life. It is exciting, every day is exciting. And have you seen the | :05:53. | :05:58. | |
other movies tonight? Any particular favourites? I have seen most of | :05:59. | :06:04. | |
them. I am very excited. I have a few friends that are nominated and I | :06:05. | :06:09. | |
am just looking forward to everybody having a good night. Best of luck | :06:10. | :06:22. | |
tonight. Dakota Johnson talking to Lizo Mzimba. And Jill, you were | :06:23. | :06:31. | |
reflecting another peer download, not embellished by jewellery. I | :06:32. | :06:39. | |
think when you do wear a bold colour it is idea to play down. A simple | :06:40. | :06:43. | |
look, very fragile, what Dakota Johnson was wearing. She was wearing | :06:44. | :06:52. | |
strong lips and eyes, so she made up her look in other ways than with | :06:53. | :06:57. | |
jewellery. The trend is very low maintenance make public, but she was | :06:58. | :07:04. | |
wearing almost a red eye shadow. It is fair to say as militaries | :07:05. | :07:12. | |
pictures of Maggie Smith, we have not talked quite as much about the | :07:13. | :07:16. | |
men as we should. We started off the conversation by saying it is just as | :07:17. | :07:21. | |
important when we think of someone like Eddie Redmayne, very strong | :07:22. | :07:26. | |
fashion associations. Has anything I did you with any of the men's | :07:27. | :07:32. | |
outfits? Is that something fashion houses still want to work on? | :07:33. | :07:36. | |
Getting mail brand awareness about their? Absolutely, the male fashion | :07:37. | :07:42. | |
industry has grown, and because of social media and the stars on the | :07:43. | :07:48. | |
carpet, people are paying attention to what they are wearing. I have | :07:49. | :07:56. | |
noticed a lot of velvet tux jacket. Also quite a slim cut in tailoring. | :07:57. | :08:03. | |
The menswear, it is a very important market for designers. And certainly | :08:04. | :08:11. | |
when you have got an amazing looking actors like Michael Fassbender or | :08:12. | :08:15. | |
Eddie Redmayne, it is the perfect mannequin for your designs. And | :08:16. | :08:23. | |
there is the wonderful Idris Elba. Jason, you were explaining the | :08:24. | :08:26. | |
nuances of his film. Another television linkup. That's right it's | :08:27. | :08:36. | |
a film that was made and financed on Netflix. It only had a small release | :08:37. | :08:41. | |
on the big screen here. People were wondering if a qualified even, but | :08:42. | :08:48. | |
he did get a nomination for his role as a warlord. I to cut you off, but | :08:49. | :08:58. | |
Lizo Mzimba has a big star. I'm joined by Eddie Redmayne. Nominated | :08:59. | :09:04. | |
for his film The Danish Girl. How difficult was it externalising the | :09:05. | :09:10. | |
turmoil of the character? You know, I suppose for me the more convoluted | :09:11. | :09:17. | |
site for me was at internal journey. I had a long time to prep for this | :09:18. | :09:21. | |
film and I met a lot of women from the trans community and they were | :09:22. | :09:25. | |
incredibly generous. And historical story that is real relevance in the | :09:26. | :09:31. | |
21st perhaps even more so. It has been extraordinary for us as we made | :09:32. | :09:35. | |
the film as it came out how trans issues have come into the mainstream | :09:36. | :09:39. | |
media. What a shocking to me is that it is most 100 years since her | :09:40. | :09:42. | |
story, and whilst there has been progress in the last year two there | :09:43. | :09:46. | |
were still a long way to go. Hopefully in some way the film helps | :09:47. | :09:53. | |
encourage the conversation. And your co-star Alicia Vikander nominated | :09:54. | :09:57. | |
twice, you must be thrilled for her. Thrilled, she is wonderful I can be | :09:58. | :10:02. | |
more thrilled for. I am presenting the best supporting actress one, so | :10:03. | :10:06. | |
fingers crossed. Thanks, Eddie. Nice to see you. The ever charming Eddie | :10:07. | :10:12. | |
Redmayne, also presenting an award this year. Last year we were all | :10:13. | :10:16. | |
talking about him because of his performance as Stephen Hawking. Yes, | :10:17. | :10:22. | |
he is back in The Danish Girl. A transformative performance. He did | :10:23. | :10:27. | |
that last year and does it again here. Playing one of the first | :10:28. | :10:34. | |
transitioning artists towards a six change operation in the 1920s in | :10:35. | :10:38. | |
Denmark. I preferred his performance last year, The Danish Girl did not | :10:39. | :10:46. | |
do it for me. I found it too much acting. As a film overall I liked | :10:47. | :10:52. | |
The Danish Girl enormously. It is the sort of film at BAFTA likes. It | :10:53. | :11:00. | |
looks very nice and has lovely furniture, Newbiggin looks lovely. | :11:01. | :11:04. | |
Another movie that I would want to see much anymore. We would just | :11:05. | :11:11. | |
knocking about Eddie Redmayne and there he is. He was wearing | :11:12. | :11:17. | |
Valentino which is a very successful brand at the moment. It was the | :11:18. | :11:25. | |
catwalk show that the lander decided to launch, it is a very hot label at | :11:26. | :11:33. | |
the moment, perfect for him to wear. And one assumes that is why we solve | :11:34. | :11:37. | |
Valentino walking up the red carpet half an hour ago. One assumes. | :11:38. | :11:41. | |
Perhaps they will sit at the same table. You know far more about the | :11:42. | :11:48. | |
fashion industry than I do, but Eddie Redmayne seems as if he can do | :11:49. | :11:53. | |
no wrong. In acting terms as well, but to have that crossover, to be | :11:54. | :11:56. | |
used as a model by such big names in the way he is. Do traditional | :11:57. | :12:03. | |
models, people who surely make their living out of modelling, do they get | :12:04. | :12:06. | |
upset when actors and actresses come and steal their thunder? I don't | :12:07. | :12:11. | |
think so because it has been going on for quite a long time. We have a | :12:12. | :12:15. | |
lot of faces who are ambassadors for brands. Adding the models are doing | :12:16. | :12:23. | |
all right. And I think it is great when you have a personality like | :12:24. | :12:28. | |
Eddie. He is such a skilled craftsman, it says a lot about their | :12:29. | :12:32. | |
own brand so I had a stand by the ghost of actors. It has been a while | :12:33. | :12:40. | |
since we talked about the film The Big Short. Let's back to Lizo Mzimba | :12:41. | :12:45. | |
for more. I am with the writer and director Adam McKay. Firstly, it | :12:46. | :12:51. | |
would be easy to read a very serious and intense study of the run-up to | :12:52. | :12:55. | |
the crash, you took a different direction. Why was that? I really | :12:56. | :13:01. | |
feel like this information is exciting. It has energy to it, as I | :13:02. | :13:07. | |
think a lot of people think finance has to be boring, part of my goal in | :13:08. | :13:11. | |
this movie was to excite people and give them energy about what this | :13:12. | :13:17. | |
film is about. That's why we chose the path of showing the true story. | :13:18. | :13:25. | |
How challenging wasn't trying to keep audiences and gazed with a film | :13:26. | :13:34. | |
full of financial models in terms. It was tricky. I did a lot of | :13:35. | :13:37. | |
reading and asked a lot of questions. But eventually you | :13:38. | :13:42. | |
realise it is just about moving their money around. We give us a lot | :13:43. | :13:47. | |
of fancy names and try to confuse you, it is not that hard at the | :13:48. | :13:51. | |
root. Once I got that I was able to put the movie together. An | :13:52. | :13:57. | |
incredible cast, denied of course Christian Bale nominated for Best | :13:58. | :14:01. | |
supporting actor. You must be pleased for him. Christian Bale is | :14:02. | :14:05. | |
so amazing. This whole cast is incredible. Some of the best actors | :14:06. | :14:11. | |
working today. And we really needed that for this movie. We did actors | :14:12. | :14:15. | |
who would transform and become real people to draw in the audience. And | :14:16. | :14:20. | |
everyone was on board. I am thrilled for a Christian Bale. The work you | :14:21. | :14:25. | |
did on this movie is amazing. Adam, thank you for talking to us. Thank | :14:26. | :14:36. | |
you so much. The Big Short. Will that be one of the winners here | :14:37. | :14:39. | |
tonight? We will know in the next few hours. And it will not surprise | :14:40. | :14:45. | |
you to learn that a very large scream has been going on for | :14:46. | :14:49. | |
Leonardo DiCaprio. Jason, you describe him as the ultimate, | :14:50. | :14:55. | |
Bournemouth Ideye film star, -- bona fides on star. And that is borne out | :14:56. | :15:02. | |
by people queuing for a 36 hours for him. That is one of the men they | :15:03. | :15:06. | |
wanted to see. I hope you took a few minutes to sign autographs because | :15:07. | :15:13. | |
he really is very popular indeed. We are edging up to the end of our time | :15:14. | :15:18. | |
here on the red carpet. There will be more later because beatified out | :15:19. | :15:22. | |
who has won. Let's get some closing thoughts. What has stood out for you | :15:23. | :15:28. | |
tonight on the red carpet? What stays in your mind? | :15:29. | :15:33. | |
The amount of drama in some of the outfits. Cate Blanchett looked so | :15:34. | :15:39. | |
beautiful, she glided down the plaque form, absolutely amazing. | :15:40. | :15:49. | |
Jason, as we leave with these images of Leonardo DiCaprio, your very | :15:50. | :15:55. | |
quick guesswork. I think it will be his night tonight, I don't know | :15:56. | :16:01. | |
which film will win. The only thing I am disappointed about is there | :16:02. | :16:05. | |
will be a different British film and won Best film, one is American and | :16:06. | :16:09. | |
one is British, we should say we are good enough to take on the Americans | :16:10. | :16:15. | |
in the Best film category. I am hoping 45 years wins the Britain. I | :16:16. | :16:20. | |
think Amy for best documentary is a shoo-in. I cannot tell you for sure | :16:21. | :16:26. | |
what will happen. There are some very good films here tonight. Many | :16:27. | :16:33. | |
thanks for being here tonight. We will find out more in the next few | :16:34. | :16:38. | |
hours, from London's Covent Garden, that is all for now. | :16:39. | :16:43. |