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And a warning that the programme
does contain some strong language. | 0:00:00 | 0:00:05 | |
CHEERING | 0:00:11 | 0:00:12 | |
CHEERING. | 0:00:12 | 0:00:17 | |
Royal Highness is, my lords, ladies
and gentlemen and everybody watching | 0:00:26 | 0:00:30 | |
at home. A very warm welcome to the
British film Academy awards, Baftas | 0:00:30 | 0:00:38 | |
annual selection of excellence in
film. Original music and make up and | 0:00:38 | 0:00:44 | |
hair now is surrogate parlour in and
Gemma Chen. Is take a look at the | 0:00:44 | 0:00:53 | |
nominations are. | 0:00:53 | 0:00:54 | |
-- Sergei. | 0:00:54 | 0:00:55 | |
-- let's take a look at the
nominations. | 0:00:57 | 0:01:00 | |
And the BAFTA goes to. The shape of
water. APPLAUSE | 0:01:46 | 0:01:56 | |
And the BAFTA goes to. The shape of
water. APPLAUSE. Quite a venue for | 0:01:56 | 0:02:02 | |
music. Thank you, it is marvellous.
Your film is unique and the poetry | 0:02:02 | 0:02:11 | |
that you have given us is amazing.
For music, there is a very good | 0:02:11 | 0:02:19 | |
bonding between music and poetry, so
thank you very much. Is marvellous. | 0:02:19 | 0:02:24 | |
Also, my agent, thank you. With
their incredible skill and attention | 0:02:24 | 0:02:30 | |
to detail, the great hair and
make-up team will bring the look of | 0:02:30 | 0:02:34 | |
the character to life. Is look at
the nominations. -- let's. | 0:02:34 | 0:02:38 | |
And the BAFTA goes to... Darkest
Hour. | 0:03:33 | 0:03:44 | |
Oh my goodness. Well, from all of
us, thank you. Thank you to my | 0:03:50 | 0:04:05 | |
lovely team who helped us on this
film. The amazing cast, very | 0:04:05 | 0:04:10 | |
supportive producers and I have to
say Joe Wright, it is always a | 0:04:10 | 0:04:14 | |
pleasure to follow your lead. Thank
you so much. APPLAUSE | 0:04:14 | 0:04:18 | |
pleasure to follow your lead. Thank
you so much. APPLAUSE. The next | 0:04:18 | 0:04:21 | |
awards are for costume design and
animated film. It is Edward | 0:04:21 | 0:04:25 | |
Holdcroft and from dark Tower, Tom
Taylor. Thank you. The range of | 0:04:25 | 0:04:36 | |
design in this year 's nominations
shows us the incredible combination | 0:04:36 | 0:04:40 | |
of creativity and craft that makes a
truly great designer. The nominees | 0:04:40 | 0:04:45 | |
are... | 0:04:45 | 0:04:48 | |
And the BAFTA goes to... Phantom
Thread, Mark riches. -- bridges. | 0:06:06 | 0:06:17 | |
Hello. First I need to thank Paul
Thomas Anderson for writing a | 0:06:22 | 0:06:27 | |
script, a story about a British coup
to a person and letting the design | 0:06:27 | 0:06:36 | |
it. This is important to me because
British film has always been an | 0:06:36 | 0:06:41 | |
inspiration to me. Something to
admire and something to aspire to as | 0:06:41 | 0:06:45 | |
a level of quality. So I treasure
this, thank you. | 0:06:45 | 0:06:51 | |
The three films nominated this year
are a reminder of what is possible | 0:06:55 | 0:06:59 | |
once a filmmaker leaves behind the
possibilities of the physical world | 0:06:59 | 0:07:03 | |
and it is a universe of limitless
possibility. Here are the | 0:07:03 | 0:07:06 | |
nominations. | 0:07:06 | 0:07:09 | |
-- and enters. | 0:07:11 | 0:07:12 | |
If I want to get to the land of the
living, I need a blessing! That is | 0:07:18 | 0:07:27 | |
really specific. He is my
great-great-grandfather. Later that | 0:07:27 | 0:07:32 | |
summer he would hang around these
rich boys who threw big boating | 0:07:32 | 0:07:35 | |
parties are. -- big boating parties.
Vincent seemed shy around them. You | 0:07:35 | 0:07:48 | |
never did have much luck with women. | 0:07:48 | 0:07:52 | |
And the BAFTA goes to... Coco. | 0:08:07 | 0:08:12 | |
Thank you to the British Academy for
this award, it is an incredible | 0:08:22 | 0:08:26 | |
honour. I would like to share it
with legions of talented and | 0:08:26 | 0:08:30 | |
passionate people on my crew. That
the people of Mexico, your culture | 0:08:30 | 0:08:35 | |
and traditions inspired me to make
cocoa and it would not exist without | 0:08:35 | 0:08:38 | |
you and your endlessly beautiful
celebration of the day of the dead. | 0:08:38 | 0:08:42 | |
With Coco we try to take a step
forward towards a world where | 0:08:42 | 0:08:46 | |
nonwhite children can grow up to see
characters in movies that live and | 0:08:46 | 0:08:50 | |
talk like they do. Representation
matters. Marginalised people deserve | 0:08:50 | 0:08:54 | |
to feel like they belong. I hope
that we have made a difference and I | 0:08:54 | 0:09:07 | |
hope it is just a beginning. Muchos
gracias. Please welcome Haley | 0:09:07 | 0:09:15 | |
Squires and Natalie Dormer. Sydney
Pollack said that editing feels like | 0:09:15 | 0:09:23 | |
Scott in. Well now we get to honour
our sculptors. | 0:09:23 | 0:09:28 | |
-- scultping. | 0:09:28 | 0:09:28 | |
Are you out of your mind? | 0:09:53 | 0:09:56 | |
And the BAFTA goes to... | 0:10:31 | 0:10:33 | |
80 Driver. | 0:10:37 | 0:10:42 | |
-- Baby Driver. | 0:10:45 | 0:10:46 | |
Thank you to after, of course. You
know, I think you are very lucky as | 0:10:48 | 0:10:55 | |
an editor if you get the opportunity
to work with someone of the calibre | 0:10:55 | 0:10:59 | |
of of a go right. For me, it is the
doing of it, it is its own reward, | 0:10:59 | 0:11:04 | |
so for something like this it just
makes it extra special, so thank you | 0:11:04 | 0:11:08 | |
so much indeed. Documentary makers
cannot rewrite reality. They must | 0:11:08 | 0:11:15 | |
forge their stories from the world
as they find it, although, to be | 0:11:15 | 0:11:19 | |
fair, it must be easier to find
crazy stories from real life these | 0:11:19 | 0:11:22 | |
days. Here are the nominations. | 0:11:22 | 0:11:26 | |
Were you the mastermind of a
statewide system that cheated the | 0:11:35 | 0:11:38 | |
Olympics? | 0:11:38 | 0:11:39 | |
The future of the Negro in this
country is precisely as right or as | 0:11:45 | 0:11:51 | |
dark as the future of the country. | 0:11:51 | 0:11:53 | |
There is a wake-up call here and
that is climate change and our | 0:11:56 | 0:12:01 | |
vulnerability to get. It was true
ten years ago, it was true five | 0:12:01 | 0:12:06 | |
years ago, it was undeniable today. | 0:12:06 | 0:12:09 | |
I could hardly believe it. Four
months the chimps had been running | 0:12:28 | 0:12:34 | |
off when they saw me, now one had
actually visited my camp. And the | 0:12:34 | 0:12:43 | |
BAFTA goes to... I am not your
Negro. | 0:12:43 | 0:12:49 | |
Thank you very much. I want to thank
the British Academy for this award, | 0:13:02 | 0:13:10 | |
I am very honoured and humble. I
need to thank the great James | 0:13:10 | 0:13:14 | |
Baldwin. APPLAUSE | 0:13:14 | 0:13:16 | |
need to thank the great James
Baldwin. APPLAUSE. James Baldwin, | 0:13:16 | 0:13:23 | |
who is the perfect, the perfect
image of a great humanist and he | 0:13:23 | 0:13:32 | |
left us with words that are today
urgently necessary in a world of | 0:13:32 | 0:13:43 | |
unapologetic ignorance. Thank you so
much to all. APPLAUSE | 0:13:43 | 0:13:46 | |
unapologetic ignorance. Thank you so
much to all. APPLAUSE. We now move | 0:13:46 | 0:13:52 | |
on to outstanding British
contribution to cinema in honour of | 0:13:52 | 0:13:55 | |
Michael Balkan. To present it is a
brilliant actress, a great friend | 0:13:55 | 0:14:00 | |
and a consummate professional. Celia
Emery. The National film and | 0:14:00 | 0:14:06 | |
television School has been a
collaboration between the government | 0:14:06 | 0:14:09 | |
and the industry since 1971. And
just look at the winners it can | 0:14:09 | 0:14:15 | |
boast. Here are the sparkling names
that have come through. Nick Park, | 0:14:15 | 0:14:18 | |
Molly Dineen and Rajan, Roger Deakin
's. And here to receive the award, | 0:14:18 | 0:14:28 | |
please welcome John Ward will and
Nick Powell. | 0:14:28 | 0:14:34 | |
It is a tremendous honour to | 0:14:44 | 0:14:46 | |
It is a tremendous honour to collect
this award on behalf of the | 0:14:47 | 0:14:49 | |
students, staff, governance and
graduates of our school. For almost | 0:14:49 | 0:14:54 | |
five decades we have been at the
forefront of developing food film, | 0:14:54 | 0:14:59 | |
television and games makers who are
not only highly valued members of | 0:14:59 | 0:15:03 | |
the industry and widely in demand
but who also have the skill, talent | 0:15:03 | 0:15:07 | |
and social conscience to lead it.
Thank you, BAFTA. This means a huge | 0:15:07 | 0:15:12 | |
amount. British short animation and
British short film. The star of | 0:15:12 | 0:15:28 | |
Black Panther is here to present.
Let's see some short highlights of | 0:15:28 | 0:15:35 | |
some short films. | 0:15:35 | 0:15:40 | |
And the award goes Poles Apart.
Paloma Baeza, Ser En Low to... | 0:16:10 | 0:16:15 | |
Thank you so much. Just to be
nominated alongside Will was | 0:16:24 | 0:16:32 | |
incredible enough. Thank you so much
to the National film and television | 0:16:32 | 0:16:39 | |
School and to each and every member
of our team who are here tonight who | 0:16:39 | 0:16:43 | |
should be up here on stage. They are
committed and the most incredible | 0:16:43 | 0:16:49 | |
collaborators we could have wished
to have. Without them we would just | 0:16:49 | 0:16:53 | |
not be here and we feel
fantastically lucky. Thank you, | 0:16:53 | 0:16:58 | |
BAFTA. Thank you so much. With
solidarity to the creators of the | 0:16:58 | 0:17:11 | |
short films, we are giving this
award a very short introduction. | 0:17:11 | 0:17:16 | |
Here other nominations. | 0:17:16 | 0:17:28 | |
That these books are not worth
bothering with. Your dad is an | 0:17:37 | 0:17:41 | |
idiot. I'm going to stay in my room
tonight and literally work. Do you | 0:17:41 | 0:17:51 | |
give a...? Yes! | 0:17:51 | 0:17:55 | |
What? | 0:18:10 | 0:18:15 | |
And the Bafta goes to... Cowboy
Dave. | 0:18:23 | 0:18:30 | |
Cowboy Dave is a film about the
choices we make, some good, some bad | 0:18:39 | 0:18:44 | |
and it is also a about inspiration
and hope. I would like to thank | 0:18:44 | 0:18:51 | |
these men behind me as well as
Catherine, Quincy, Christine, Chris, | 0:18:51 | 0:19:00 | |
Miley, Chris Joyce, Green Mathie,
Matt, Claire and many others who | 0:19:00 | 0:19:08 | |
made the storm a reality. Thank you
very much. | 0:19:08 | 0:19:13 | |
To present the award for film not in
the English language, the | 0:19:19 | 0:19:26 | |
sensational Andrea Rice broke. The
films nominated Irene Persian, | 0:19:26 | 0:19:33 | |
Japanese, French, Russian, Korean
and Max Remak. -- Khmer. | 0:19:33 | 0:19:46 | |
And the Bafta goes to The
Handmaiden. Unfortunately the | 0:21:39 | 0:21:51 | |
directors could not be here tonight
but we will make sure this gets to | 0:21:51 | 0:21:55 | |
them. Cinematography is the next
award. The never not brilliant | 0:21:55 | 0:22:09 | |
Dennis Quaid. Cinematographers are
masters of showing this world in | 0:22:09 | 0:22:20 | |
detail we could never imagine. This
year's nominees have shown us the | 0:22:20 | 0:22:23 | |
real-life past most of us never
knew, a stark presence and a pair of | 0:22:23 | 0:22:31 | |
imaginary world. Their audiences
lived in them and will never four | 0:22:31 | 0:22:36 | |
get them. Denominations are... -- of
the nominations are. And the winner | 0:22:36 | 0:23:57 | |
is, of the Bafta, Roger Deakins,
Blade Runner 2049. | 0:23:57 | 0:24:06 | |
Unfortunately Roger Deakins can not
be with us tonight. He is shooting a | 0:24:18 | 0:24:22 | |
movie in New York right now. He
asked me to thank his crew and his | 0:24:22 | 0:24:29 | |
wife. As the director of the movie I
would like to just say thank you to | 0:24:29 | 0:24:42 | |
our producer and others involved
especially Ridley Scott. Thank you | 0:24:42 | 0:24:45 | |
for the freedom, we never have
enough freedom. Ridley, thank you | 0:24:45 | 0:24:50 | |
also for the inspiration. I would
also like to say thank you to the | 0:24:50 | 0:24:54 | |
Bafta for honouring my friend
tonight who is truly a master of our | 0:24:54 | 0:25:00 | |
times and I earned him a lot. We
made this movie together. And that | 0:25:00 | 0:25:08 | |
is it for the Bafta awards tonight.
Thank you to everyone who played | 0:25:08 | 0:25:18 | |
their part to. And Stephen, Stephen
Fry, if you are watching, I hope | 0:25:18 | 0:25:25 | |
this is OK. Until next year, good
night. | 0:25:25 | 0:25:51 |