Browse content similar to The Results. Check below for episodes and series from the same categories and more!
Line | From | To | |
---|---|---|---|
Hello. Welcome to the Royal Albert
Hall in | 0:00:20 | 0:00:23 | |
Hello. Welcome to the Royal Albert
Hall in London. We are about to | 0:00:23 | 0:00:26 | |
bring you the results of the British
Academy film awards which have taken | 0:00:26 | 0:00:31 | |
place here tonight. There has been
quite a striking move in the results | 0:00:31 | 0:00:38 | |
tonight because Martin McDonagh's
film Three Billboards Outside | 0:00:38 | 0:00:40 | |
Ebbing, Missouri has unusually, in
our recollection, taking the award | 0:00:40 | 0:00:46 | |
for Best film and Best British film.
Some very interesting revelations. | 0:00:46 | 0:00:52 | |
Let's discuss all of tonight's
events with Jason Solomons who was | 0:00:52 | 0:00:58 | |
with me on the red carpet earlier
and has been watching the ceremony. | 0:00:58 | 0:01:01 | |
We have been racking our brains and
we certainly can't remember a time | 0:01:01 | 0:01:05 | |
where the same film wins both
categories. It's very unusual. They | 0:01:05 | 0:01:13 | |
invented that formats are the
British film did not miss out they | 0:01:13 | 0:01:15 | |
got own line-up. We have had
Atonement, and then the best film | 0:01:15 | 0:01:21 | |
going to an American one. Sky full a
few years ago. The main film usually | 0:01:21 | 0:01:26 | |
goes to a Hollywood film. I'm
usually a film about small-town | 0:01:26 | 0:01:34 | |
America are produced here and with
London Irish director has carried | 0:01:34 | 0:01:38 | |
off best outstanding British film
and Best film in Three Billboards | 0:01:38 | 0:01:42 | |
Outside Ebbing, Missouri. It is
extremely unusual and I am slightly | 0:01:42 | 0:01:45 | |
surprised because I thought it was a
film that divided people but it has | 0:01:45 | 0:01:49 | |
united the BAFTAs. It is a very
divisive, deliberately so, | 0:01:49 | 0:01:54 | |
controversial film. It's one of the
edgiest most indie films they have | 0:01:54 | 0:01:58 | |
ever voted their best picture. It is
striking. Martin McDonagh not just | 0:01:58 | 0:02:05 | |
the right, a prolific playwright as
well as a screenwriter. He has taken | 0:02:05 | 0:02:09 | |
the award for screenplay, he
directed it as well. We spoke to him | 0:02:09 | 0:02:13 | |
on the red carpet earlier.
How was its juggling all the | 0:02:13 | 0:02:21 | |
elements of pain, anger, and
incredibly document? Writing wise | 0:02:21 | 0:02:27 | |
it's most of my stuff like that. --
incredibly dark humour. | 0:02:27 | 0:02:33 | |
That stuff is natural for me but
when you cast the best actors around | 0:02:33 | 0:02:37 | |
and let them get on with it, they
take care of that for you. Where did | 0:02:37 | 0:02:42 | |
the inspiration come from? I saw
something similar to what we see on | 0:02:42 | 0:02:47 | |
our billboards 20 years ago when I
was going to the southern states of | 0:02:47 | 0:02:51 | |
America, it stuck in my mind. I
thought of a really angry mother who | 0:02:51 | 0:02:56 | |
might have goes up, what story would
develop from there. Of course the | 0:02:56 | 0:03:03 | |
part was written with Frances
McDormand in mind. Could you imagine | 0:03:03 | 0:03:07 | |
anyone else in that role? If she had
said no, we would have been screwed. | 0:03:07 | 0:03:13 | |
She's perfect. An offstage she is
perfect for the part. She has so | 0:03:13 | 0:03:19 | |
much integrity and intelligence, and
range and rage. She is just perfect. | 0:03:19 | 0:03:27 | |
Especially in a year like this, a Me
Too and times a year, it's great to | 0:03:27 | 0:03:33 | |
have someone like that who is so
brilliant and strong. Such an | 0:03:33 | 0:03:37 | |
ambassador for all these issues.
Martin McDonagh paying tribute to | 0:03:37 | 0:03:45 | |
his leading lady Frances McDormand
who perhaps no surprise to the award | 0:03:45 | 0:03:49 | |
here tonight for best actress. We
would have been very surprised had | 0:03:49 | 0:03:54 | |
she not taken that award. Whilst it
is a fantastic performance and a | 0:03:54 | 0:04:00 | |
fantastically written role, this
character of Mildred Hayes, it also | 0:04:00 | 0:04:06 | |
a woman who takes politics into her
own hands, stands no nonsense from | 0:04:06 | 0:04:11 | |
anyone though they use a rather
strong a word in the acceptance | 0:04:11 | 0:04:13 | |
speech earlier. In this year, a
year, particularly tonight, female | 0:04:13 | 0:04:22 | |
empowerment, there is no more
powerful a figure than Mildred Hayes | 0:04:22 | 0:04:25 | |
as embodied by Frances McDormand. An
apt choice. It's that performance | 0:04:25 | 0:04:30 | |
and element of this film that has
powered to success. I loved the | 0:04:30 | 0:04:35 | |
film, hilarious, very moving, with a
fantastic performance for a female | 0:04:35 | 0:04:39 | |
role. Tick boxes as well as
billboards. I enjoyed it hugely bats | 0:04:39 | 0:04:47 | |
against expectation which is the
sign of a remarkable film. Martin | 0:04:47 | 0:04:54 | |
McDonagh made reference to Time's
Up, we can't talk about the BAFTAs | 0:04:54 | 0:04:59 | |
without referencing that. Frances
McDormand was practically the only | 0:04:59 | 0:05:02 | |
person we saw tonight who was not
wearing black in solidarity. I | 0:05:02 | 0:05:06 | |
should stress she reference that
immediately in her acceptance | 0:05:06 | 0:05:11 | |
speech, she did not like to be told
what to do but she said she stood | 0:05:11 | 0:05:14 | |
wholeheartedly behind the movement.
It has been an interesting evening | 0:05:14 | 0:05:18 | |
with a political undertone.
Certainly on the red carpet there | 0:05:18 | 0:05:23 | |
was the political undertone, the
ceremony was less political than it | 0:05:23 | 0:05:26 | |
was hosted by a woman, Joanna
Lumley, for the first time in its | 0:05:26 | 0:05:31 | |
history. There is a subtle shift.
The evening went by without many | 0:05:31 | 0:05:36 | |
hitches or huge surprises or
statements, but in its subtlety and | 0:05:36 | 0:05:41 | |
the award for free billboards and
Frances McDormand have meant there | 0:05:41 | 0:05:44 | |
has been a shift. People have taken
note and the laziness which | 0:05:44 | 0:05:52 | |
previously BAFTA may have been
accused for, stories of white | 0:05:52 | 0:05:55 | |
privileged men and all that, time is
certainly up on that. Three | 0:05:55 | 0:06:00 | |
billboards is not that type of
movie. It is equal opportunities | 0:06:00 | 0:06:03 | |
offensive but it is equal. Sam
Rockwell took the award for Best | 0:06:03 | 0:06:11 | |
supporting actor, a very positively
received award in the hall. We will | 0:06:11 | 0:06:17 | |
stay with acting. We say we would
not have been surprised had Frances | 0:06:17 | 0:06:23 | |
McDormand 's walked away with that
award, the same for Gary Oldman and | 0:06:23 | 0:06:31 | |
Winston Churchill. Yes, he thanked
Winston Churchill in his speech. | 0:06:31 | 0:06:38 | |
This stand that he took against the
march of Hitler and the speeches he | 0:06:38 | 0:06:42 | |
gave in that movie have been so well
received by everyone here, he has | 0:06:42 | 0:06:47 | |
been getting standing ovations in
cinemas up and down the land for | 0:06:47 | 0:06:50 | |
those speeches. That has really
struck a chord this year. There is a | 0:06:50 | 0:06:53 | |
freedom there, a unity that those
speeches have brought. It's a | 0:06:53 | 0:07:00 | |
fantastic performance from Gary
Oldman. I always think doing | 0:07:00 | 0:07:04 | |
Churchill, it's a bit of a town.
Everyone has their favourite | 0:07:04 | 0:07:07 | |
Churchill in a way. The casting of
Gary Oldman when that was announced, | 0:07:07 | 0:07:13 | |
people were flabbergasted. How could
this guy who has been Dracula, the | 0:07:13 | 0:07:15 | |
guy who was in Lyon, a punk in Sid
vicious, how could he play Winston | 0:07:15 | 0:07:22 | |
Churchill? He plays it with the same
maverick spirit, a defiant spirit. | 0:07:22 | 0:07:30 | |
Of all the actors of the last 30
years from that generation that came | 0:07:30 | 0:07:33 | |
up in 80s he is the one flying the
flag for working-class actors in | 0:07:33 | 0:07:37 | |
Britain and always has done. I think
it's an inspirational win finally, | 0:07:37 | 0:07:41 | |
his first win in all those years as
an actor at BAFTA. Let's turn to | 0:07:41 | 0:07:47 | |
best supporting actress, we were
saying that's a strong category. I | 0:07:47 | 0:07:50 | |
was rooting for a favourite British
actress of mine, Leslie Mandell in | 0:07:50 | 0:07:56 | |
Phantom thread but it went to
Allison Janney who I must say is | 0:07:56 | 0:08:01 | |
sensational insight on you. It is
her film as far as I'm concerned. I | 0:08:01 | 0:08:05 | |
am a big fan. -- who is sensational
in I Tania. | 0:08:05 | 0:08:12 | |
She is one of the tallest people who
has ever won the award. She said she | 0:08:12 | 0:08:18 | |
came to rather here for a two-week
summer cause and that inspired her | 0:08:18 | 0:08:23 | |
with the gift of the theatre and to
get onto because she is on, so it | 0:08:23 | 0:08:27 | |
really means something she is
awarded here. She plays Tonya | 0:08:27 | 0:08:34 | |
Harding's mother, this hard-bitten,
hard smoking, parrots loving mother | 0:08:34 | 0:08:37 | |
who has given up what she feels her
life and her heart for her | 0:08:37 | 0:08:42 | |
daughter's success on the ice rink.
An embittered performance, not full | 0:08:42 | 0:08:46 | |
of love but it has been shown love
tonight. A lot of goodwill for | 0:08:46 | 0:08:51 | |
Allison Janney for all the good work
she has done over the years | 0:08:51 | 0:08:54 | |
including her brilliant CJ in the
West Wing, with Aaron Sorkin tonight | 0:08:54 | 0:08:59 | |
here to clap when she won. We must
talk about a young man we spoke | 0:08:59 | 0:09:05 | |
about a lot on the red carpet a
fewer hours ago, a wonderful warm | 0:09:05 | 0:09:11 | |
reception when it was announced that
Daniel Kaluuya, a young man from | 0:09:11 | 0:09:15 | |
north London, had taken the rising
Star award, the only award here at | 0:09:15 | 0:09:19 | |
the BAFTAs voted for by the public.
He has had an astonishing rise. An | 0:09:19 | 0:09:27 | |
astonishing career already, he is
29, 30? | 0:09:27 | 0:09:30 | |
A very positive results. He said I'm
a product of arts funding in this | 0:09:33 | 0:09:39 | |
country, he has benefited from
grants, worked his way up from a | 0:09:39 | 0:09:43 | |
School of theatre where we know many
actors have cut their and gone on to | 0:09:43 | 0:09:47 | |
be in is for example but he went on
to the Royal Court in theatre, roles | 0:09:47 | 0:09:52 | |
in Skins on Channel 4, and has
really grown. The performance he is | 0:09:52 | 0:09:57 | |
nominated for here is Get Out, an
extraordinary American film also | 0:09:57 | 0:10:03 | |
nominated for Best actor at the
Oscars. He is also in Black Panther | 0:10:03 | 0:10:08 | |
which we should say is tearing up
the box office as we speak, people | 0:10:08 | 0:10:12 | |
crowding to see this incredible
watershed moment black superhero | 0:10:12 | 0:10:15 | |
movie where he plays a fine role. He
is representing a new face of | 0:10:15 | 0:10:18 | |
Britain. Abroad, in Hollywood and
here as well. The fact he is winning | 0:10:18 | 0:10:24 | |
a prize, he is aware of this, it's
inspirational for a lot of young | 0:10:24 | 0:10:29 | |
black children to see him there, I
can do this too. He has spoken to me | 0:10:29 | 0:10:34 | |
about how he wanted to see that, and
now it's incumbent upon him to do | 0:10:34 | 0:10:38 | |
so. He thanked his mum and his
sister and his mum cried. I now use | 0:10:38 | 0:10:43 | |
it to me, his American accent is not
bad either but apparently his mum | 0:10:43 | 0:10:47 | |
also thinks it's nearly there.
Getting there! She is his worst and | 0:10:47 | 0:10:54 | |
best critic. A great rising Star
award. He was a real delight and you | 0:10:54 | 0:10:58 | |
can tell he will be a real
favourite. Are there things, films | 0:10:58 | 0:11:03 | |
that missed out tonight perhaps we
might have thought might do a bit | 0:11:03 | 0:11:07 | |
better? I'm thinking perhaps of
Dunkirk. I thought the British crowd | 0:11:07 | 0:11:12 | |
would rally behind that, the home
bank there with Christopher Nolan, | 0:11:12 | 0:11:15 | |
who has been a great director for
Britain over many years, of course | 0:11:15 | 0:11:20 | |
doing the. Night Trilogy, bringing
Blockbuster ethics. Then at the very | 0:11:20 | 0:11:30 | |
British story of Dunkirk. It got a
nod for sound but in terms of the | 0:11:30 | 0:11:35 | |
direction, Christopher Nolan
marshals a whole army and brings it | 0:11:35 | 0:11:37 | |
all together. I thought that might
get recognised. Buatsi has been | 0:11:37 | 0:11:42 | |
unlucky to come up against another
Churchill movie. -- perhaps he has | 0:11:42 | 0:11:47 | |
been unlucky. In the end, three
billboards, it's more of a nod to | 0:11:47 | 0:11:53 | |
the modern than the classic heritage
British cinema. In a sense, I feel | 0:11:53 | 0:11:58 | |
he is slightly out of time with the
period. I thought Dunkirk would have | 0:11:58 | 0:12:02 | |
got better at the Oscars, I am
delighted for the outstanding | 0:12:02 | 0:12:06 | |
British debut which I should mention
as well, which went to I am not a | 0:12:06 | 0:12:15 | |
Which, her family came from Zambia,
she told the story about witches in | 0:12:15 | 0:12:18 | |
Zambia who have been cast out of
their town. Female empowerment. We | 0:12:18 | 0:12:25 | |
see those diverse stories which
people make a lot of noise about, we | 0:12:25 | 0:12:28 | |
are seeing them all to do into the
choices the BAFTA membership are | 0:12:28 | 0:12:32 | |
making. People are listening, time
is up. A quick thought because we | 0:12:32 | 0:12:37 | |
have not mentioned best director.
Guillermo Del Toro for the Shape of | 0:12:37 | 0:12:42 | |
Water, again tier strong e-mail
central performances, excellent | 0:12:42 | 0:12:46 | |
performances. -- two strong female
performances. Sally Hawkins plays a | 0:12:46 | 0:12:53 | |
mute woman, again that's a curious
one. Shape of Water winning best | 0:12:53 | 0:13:01 | |
director but three billboards taking
the other categories. If you say all | 0:13:01 | 0:13:05 | |
the surprises and disappointments,
Shape of Water coming and had the | 0:13:05 | 0:13:10 | |
surge behind it, 12 nominations,
sheep of water has been reduced to a | 0:13:10 | 0:13:14 | |
bit of a trickle, only winning
three. But everyone for Guillermo | 0:13:14 | 0:13:18 | |
Del Toro and as you say it's a
strange and curious film company of | 0:13:18 | 0:13:22 | |
this director's vision, all his
fantasy elements, a mute cleaner | 0:13:22 | 0:13:28 | |
having a love affair with an aquatic
creature. An everyday story! It is | 0:13:28 | 0:13:35 | |
an odd one. Ultimately two oddball
BAFTA to get a handle on but the | 0:13:35 | 0:13:40 | |
production design was definitely
rewarding, just deserved. And the | 0:13:40 | 0:13:43 | |
music is well rewarded. Sally
Hawkins can count herself unlucky, | 0:13:43 | 0:13:48 | |
coming up against a force of nature
in Frances McDormand. The Shape of | 0:13:48 | 0:13:52 | |
Water will be a bit bedraggled and
wet as it leads to might, with its | 0:13:52 | 0:13:56 | |
tail slightly between its legs, if
fishes have tails, if they do? This | 0:13:56 | 0:14:01 | |
one doesn't... It's very hard to
tell what that creature has, to be | 0:14:01 | 0:14:07 | |
honest? All very peculiar. Fokine
award season watches, we wait to see | 0:14:07 | 0:14:11 | |
whether a film written by a Brit,
directed by a Brit about small-town | 0:14:11 | 0:14:17 | |
America will do well at the Oscars.
If the BAFTAs are a marker of what | 0:14:17 | 0:14:22 | |
happens on much the fourth in the
Oscars, Oscar votes starts tomorrow. | 0:14:22 | 0:14:27 | |
The positioning of the BAFTAs is
interesting. Oscar voters will take | 0:14:27 | 0:14:32 | |
note. BAFTA voters represent quite a
watch of Oscar voters, about 100 who | 0:14:32 | 0:14:37 | |
also vote at the Oscars. Will that
mean Three Billboards has a cleaner | 0:14:37 | 0:14:42 | |
run? Or is there room for a novel
surprise yet? Don't forget Lady Bird | 0:14:42 | 0:14:47 | |
is still my little pic to comment at
the last minute. It didn't feature | 0:14:47 | 0:14:52 | |
here apart from its for Saoirse
Ronan but Lady Bird is my pick | 0:14:52 | 0:14:56 | |
still. It could still happen. Good
to have you here tonight. Thank you | 0:14:56 | 0:15:02 | |
very much. That is all from the
while Albert Hall here in central | 0:15:02 | 0:15:06 | |
London. If you detect the hubbub
that is because everyone is making | 0:15:06 | 0:15:10 | |
their way down the grand staircases
here, the ceremony is over and the | 0:15:10 | 0:15:15 | |
Fellowship awarded to Ridley Scott,
that is it from the British Academy | 0:15:15 | 0:15:19 | |
film awards for another year. Thanks
for being with us. | 0:15:19 | 0:15:23 |