Browse content similar to 2017. Check below for episodes and series from the same categories and more!
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Ladies and gentlemen, welcome to the majestic Royal Albert Hall for the | :00:00. | :00:19. | |
EE British Academy Film Awards. Join us now, as we meet some of the most | :00:20. | :00:24. | |
celebrated stars in cinema. Welcome to the Baftas. | :00:25. | :00:29. | |
It's just a lovely place to be be and to be able to show up and just | :00:30. | :00:31. | |
say thank you to people. The fun of the moment. This red | :00:32. | :00:46. | |
carpet and seeing all the fans and everybody arriving, all looking | :00:47. | :00:50. | |
dapper. My mum and step dad are hugely excited. It is a really | :00:51. | :00:54. | |
special evening for me. And tonight, we're in the presence of royalty. | :00:55. | :00:59. | |
Very exciting. Overwhelming. Cold, you know. All the bested a jectives. | :01:00. | :01:14. | |
-- all the best adjectives. It is insane. You go from your normal life | :01:15. | :01:19. | |
and you are like - oh, people are nuts. It is my first time at the | :01:20. | :01:26. | |
Baftas. It is such an honour. It is always so wonderful and strange. | :01:27. | :01:33. | |
Well, I don't know if they are fans, but it is good to have a crowd, yes. | :01:34. | :01:38. | |
I just think it is a state of madness Such a huge honour and | :01:39. | :01:41. | |
achievement to be here and considered with such talent. But who | :01:42. | :01:47. | |
will be taking home a beloved Bafta mask? We are about to find out I'm | :01:48. | :01:53. | |
just so excited to be here. I've got my whole family. It's time for the | :01:54. | :01:57. | |
British Academy Film Awards. Ladies and Gentlemen, | :01:58. | :02:02. | |
please welcome Cirque du I can't tell you how long we had to | :02:03. | :02:10. | |
rehearse that. Dance is my life. I haven't been surrounded by so many | :02:11. | :06:30. | |
thrillingly lithe and muscular bodies since - | :06:31. | :06:37. | |
well, since last night. So the warmest welcome ladies | :06:38. | :06:39. | |
and gentlemen to the Magnificent Royal Albert Hall | :06:40. | :06:41. | |
for the EE British beasts we have found | :06:42. | :06:43. | |
for our annual celebration of all that is wonderful | :06:44. | :06:48. | |
in the world of filmed So wonderful that we cut it down to | :06:49. | :06:58. | |
a healthy two minutes for you to watch. As my dear grandma used to | :06:59. | :07:03. | |
say. Cop of load of this, bitches. You had a guy with a case | :07:04. | :07:12. | |
full of monsters, huh? APPLAUSE | :07:13. | :07:34. | |
A great year in film. We are delighted that | :07:35. | :09:17. | |
their Royal Highnesses the Duke and Duchess of | :09:18. | :09:19. | |
Cambridge are here for In fact, we're especially | :09:20. | :09:21. | |
pleased that the Duchess is here as she'll be such | :09:22. | :09:24. | |
a support to her husband who, after watching | :09:25. | :09:27. | |
a recent episode of Who Do You Think You Are? | :09:28. | :09:29. | |
is still recovering from the devastating news that | :09:30. | :09:31. | |
he's related to Danny Dyer. Now, I look down on row | :09:32. | :09:33. | |
after row of the most in their beautiful, | :09:34. | :09:36. | |
borrowed evening wear, by the force of her sheer | :09:37. | :09:39. | |
magnetism, I'm instantly attracted to Emma Stone - | :09:40. | :09:40. | |
star of one of the nominated films, the | :09:41. | :09:43. | |
entrancing La La Land. Hers was a quite | :09:44. | :09:44. | |
brilliant performance singing, dancing, and most | :09:45. | :09:46. | |
astonishingly of all, pretending Also here is master film-maker Ken | :09:47. | :09:59. | |
Loach. APPLAUSE | :10:00. | :10:03. | |
Now Ken Loach could have been influenced by | :10:04. | :10:05. | |
La La Land to capture the glitz, glamour and fun, | :10:06. | :10:08. | |
fun, fun of the British social welfare benefits | :10:09. | :10:09. | |
But instead he went the other way and produced a passionate | :10:10. | :10:16. | |
masterpiece of realism, wrath and outrage. | :10:17. | :10:19. | |
I see two of its stars here, the magnificent Hayley | :10:20. | :10:21. | |
The arrival of Arrival made us all wonder if we | :10:22. | :10:35. | |
could ever find a rival to rival Arrival's arrival. | :10:36. | :10:37. | |
Here is its star, and the star of course of the stunning | :10:38. | :10:41. | |
In Arrival, Amy plays a linguist employed to decipher | :10:42. | :10:50. | |
unintelligible utterings that make no apparent | :10:51. | :10:51. | |
She will be standing by in the wings all | :10:52. | :10:57. | |
evening to help us out as the winners leap up to | :10:58. | :11:00. | |
Now ladies and gentlemen, we applied to the | :11:01. | :11:05. | |
Royal Borough of Kensington Chelsea for | :11:06. | :11:08. | |
planning permission to seat two huge stars next | :11:09. | :11:11. | |
to each other, and, wouldn't you know it, they | :11:12. | :11:13. | |
triumph in the ear-shatteringly brilliant Florence | :11:14. | :11:19. | |
Cary and Student, Hugh Grant. and unquestionably one | :11:20. | :11:26. | |
of the greatest actresses of all time - what kind of | :11:27. | :11:29. | |
Now Miss Streep, I want to call you Dame Merrell, if you were British | :11:30. | :11:56. | |
you would have been Damed five times over. | :11:57. | :12:01. | |
It is a little tradition here at Bafta to ask an | :12:02. | :12:04. | |
esteemed member of our audience to give me a kiss. | :12:05. | :12:05. | |
Oh, thank you, bless you. You know what... Wow. Never in the field of | :12:06. | :12:18. | |
human conflict has my left cheek been so jealous of my right. | :12:19. | :12:27. | |
Now it's time to howl in appreciation of the | :12:28. | :12:30. | |
masterful Moonlight and its luminescent star, | :12:31. | :12:31. | |
This brutal, yet tender gem of a film left me strangely | :12:32. | :12:38. | |
unsettled and I couldn't quite put my finger on why. | :12:39. | :12:45. | |
I didn't know whether to blame it on the moonlight, blame it on the good | :12:46. | :12:49. | |
Eventually, I settled on the boogie. | :12:50. | :12:52. | |
And show my atheism the door, there must be a | :12:53. | :12:54. | |
God because my radar has picked up the | :12:55. | :13:05. | |
wonderful stars of Manchester-by-the-Sea, | :13:06. | :13:07. | |
Michelle Williams and Casey Affleck. | :13:08. | :13:15. | |
Casey is without doubt one of the most | :13:16. | :13:17. | |
And flay my undercarriage and grill my innards if | :13:18. | :13:26. | |
it isn't the breathtaking star of Girl On A Train, | :13:27. | :13:28. | |
Some incredible and unbelievable scenes, | :13:29. | :13:33. | |
particularly for commuters in southern England | :13:34. | :13:36. | |
And look Andrew Garfield is here. | :13:37. | :13:43. | |
Andrew, welcome. What a year you have had. | :13:44. | :13:52. | |
This astonishing true story of a conscientious | :13:53. | :13:56. | |
objector who saved countless lives in World War Two | :13:57. | :13:58. | |
without once picking up a weapon has received | :13:59. | :14:00. | |
rave reviews, with one notable exception. | :14:01. | :14:09. | |
Rifle Association didn't like it at all. | :14:10. | :14:14. | |
Well, I'm afraid we've now reached the legal limit | :14:15. | :14:17. | |
of sycophantic fawning, which is just as well | :14:18. | :14:19. | |
because it's time to reduce the entire year's filmic | :14:20. | :14:29. | |
Let's see who the Russians have decided have won, and the first | :14:30. | :14:33. | |
award. Outstanding British Film, | :14:34. | :14:40. | |
in honour of legendary And to present it the radiant | :14:41. | :14:42. | |
and dazzling stars of the wonderful Lion, the true | :14:43. | :14:47. | |
story of a young boy who gets lost in India, | :14:48. | :14:49. | |
finds his way to Australia, yet has a constant yearning | :14:50. | :14:51. | |
for his mother - what Please welcome, the Lion | :14:52. | :14:54. | |
King and Lion Queen, Hello, I'm so excited to be | :14:55. | :14:57. | |
here, in the wonderful Royal Albert Hall to present | :14:58. | :15:18. | |
this the first Bafta of Yup, to kick off things off | :15:19. | :15:22. | |
we are here to honour this year's Outstanding | :15:23. | :15:27. | |
British Films. I've created this? | :15:28. | :15:28. | |
No, mate... If I was going to create a scene, | :15:29. | :15:34. | |
you'd know about it. I'm sorry, love, but you're | :15:35. | :15:38. | |
going to have to go. Jesus Christ! Who's first | :15:39. | :15:41. | |
in this queue? I am. Do you mind if this young | :15:42. | :15:44. | |
lass signs on first? Now you can go back to your | :15:45. | :15:46. | |
desk and let her sign on and do the job the | :15:47. | :15:51. | |
taxpayer pays you for. What's your name? | :15:52. | :15:54. | |
Destiny. Destiny, I'm Jake. | :15:55. | :15:55. | |
Nice to meet you. This is my younger sister, Star. | :15:56. | :15:56. | |
You want my mom? No, but can you do me a favour? | :15:57. | :15:59. | |
Do one favour. Can you feel this material? | :16:00. | :16:02. | |
Just feel it. What does that feel like to you? | :16:03. | :16:04. | |
I don't know about that. You know what kind | :16:05. | :16:07. | |
of material it is? I'm not a Holocaust historian. | :16:08. | :16:09. | |
I'm a Hitler historian. Then why don't you keep your mouth | :16:10. | :16:17. | |
shut about the Holocaust? The truth is, as usual, Mr Irving, | :16:18. | :16:19. | |
you jump in off the board, spouting whatever rubbish comes | :16:20. | :16:24. | |
into your head in order to avoid This is not because you | :16:25. | :16:26. | |
are a rotten historian. It's because you are | :16:27. | :16:33. | |
a bent one as well. Why should this experience | :16:34. | :16:37. | |
strike one as being beautiful? I, Daniel Blake. | :16:38. | :16:56. | |
CHEERING Well, wow. This is extraordinary. A | :16:57. | :18:35. | |
huge thank you to the academy. And, from all of us, from all who made | :18:36. | :18:41. | |
the film, starting with Paul, Rebecca, who wrote this script and | :18:42. | :18:47. | |
produced, to those who made it, the people in Newcastle, and the | :18:48. | :18:52. | |
distributors, and thank you to the academy for endorsing the truth of | :18:53. | :18:56. | |
what the film says, which hundreds of thousands of people in this | :18:57. | :19:02. | |
country know, and that is that the most vulnerable and the poorest | :19:03. | :19:06. | |
people are treated by this government with a callous brutality | :19:07. | :19:09. | |
that is disgraceful. APPLAUSE | :19:10. | :19:18. | |
And its... It's a brutality that extends to keeping out refugee | :19:19. | :19:22. | |
children that we promised to help, and that's a disgrace. | :19:23. | :19:28. | |
CHEERING But films can do many things. They | :19:29. | :19:33. | |
can entertain, they can terrify, they can take us to worlds of the | :19:34. | :19:37. | |
imagination, they can make us laugh, and they can tell us about the real | :19:38. | :19:44. | |
world we live in, and, in that real world, it's a bit of a difficult | :19:45. | :19:48. | |
speech, sorry! In that real world and it's getting darker, we know. | :19:49. | :19:52. | |
And in the struggle that coming between the rich and the powerful, | :19:53. | :20:00. | |
wealth and privilege, and the big corporations and the politicians who | :20:01. | :20:04. | |
speak for them, on the one hand, and the rest of us on the other, | :20:05. | :20:11. | |
film-makers, and we are all film-makers here, film-makers know | :20:12. | :20:16. | |
which side they are on and, despite the glitz and glamour of occasions | :20:17. | :20:22. | |
like this, we are with the people. Thanks for this. | :20:23. | :20:23. | |
CHEERING The next award is for EE Rising Star | :20:24. | :20:42. | |
and is given in honour of legendary It has the unique distinction of, | :20:43. | :20:48. | |
well, its name, and the fact that it is the only award voted | :20:49. | :20:53. | |
for by the public. Though the way things have been | :20:54. | :20:56. | |
lately, I'm not entirely sure To present it, a beguilingly | :20:57. | :20:59. | |
brilliant and powerful actress, so wonderful in the extraordinary | :21:00. | :21:05. | |
Fences, I am considering having one built around her | :21:06. | :21:07. | |
to keep her all to myself. It's great to be here to present the | :21:08. | :21:14. | |
Rising Star Award. Looking out into the | :21:15. | :21:30. | |
audience, I can see many former nominees | :21:31. | :21:32. | |
of this wonderful accolade - people whose stars | :21:33. | :21:38. | |
most definitely have risen and whose glow | :21:39. | :21:40. | |
we can all now thankfully And that they have all gone | :21:41. | :21:42. | |
on to such wonderful things is testament to these | :21:43. | :21:46. | |
special awards, for recognising, encouraging | :21:47. | :21:49. | |
and nurturing talent, so Something I know each of those | :21:50. | :21:53. | |
nominated tonight will be incredibly Now are you going to come | :21:54. | :21:59. | |
along peacefully or not? Why can't you help me out a little | :22:00. | :22:11. | |
bit for once instead of dragging me to the lawyers and a funeral parlour | :22:12. | :22:15. | |
and a morgue? We're looking for you. | :22:16. | :22:18. | |
Why? One second, I've | :22:19. | :22:21. | |
just got to log off. Hello, hello, my name is Casey Cook. | :22:22. | :22:27. | |
I'm being held in a basement. I've been abducted | :22:28. | :22:40. | |
with two other girls. I'm going to break the rules. | :22:41. | :22:43. | |
I'm going to write the rules. The car is not going on. | :22:44. | :22:57. | |
The car isn't fucking going on! If another wave catches us down here | :22:58. | :23:15. | |
we will die. We have to climb | :23:16. | :23:26. | |
that tree right now. You have a metal arm? | :23:27. | :23:35. | |
That is awesome, dude. We may lose the small battles | :23:36. | :23:41. | |
but win the big war. Tom Holland. | :23:42. | :24:14. | |
CHEERING Wow, wow! It's amazing to be up | :24:15. | :24:57. | |
here. Two thank yous right off the bat, Bafta for nominating me and the | :24:58. | :25:00. | |
British public for voting and showing your support. It's tough | :25:01. | :25:09. | |
voting online. Believe me, I know. I obviously have a large list of | :25:10. | :25:12. | |
people I need to thank. Don't worry, I won't do that here, but please let | :25:13. | :25:18. | |
me thank to people sorry, mum and dad, not you. It's not an actor, | :25:19. | :25:23. | |
director or producer or an agent, because we get thanked all the time. | :25:24. | :25:31. | |
I want to thank two acting coaches, because this is a profession that | :25:32. | :25:35. | |
isn't praised enough, because actors don't like to admit that we need | :25:36. | :25:39. | |
help sometimes suddenly Evans and Ben curfew, nick, you helped me | :25:40. | :25:44. | |
become the best video that I could be and you coached me to be Lucas in | :25:45. | :25:51. | |
The Impossible Is. Without those roles, I wouldn't be holding this. " | :25:52. | :25:57. | |
Nick, thank you very much. Everybody else, check your phones. I will | :25:58. | :26:00. | |
shoot you a text. To present the award | :26:01. | :26:12. | |
for Adapted Screenplay a pair of adored actors who met | :26:13. | :26:14. | |
when they both appeared in The Devil Wears Prada | :26:15. | :26:16. | |
and became not just friends, but relatives, when she introduced | :26:17. | :26:18. | |
him to her older sister, Iit really is quite | :26:19. | :26:21. | |
the exclusive dating Please welcome, the | :26:22. | :26:25. | |
indescribably incredible in-laws, Stanley Tucci | :26:26. | :26:28. | |
and Emily Blunt. It's lovely to be here to present | :26:29. | :26:53. | |
the award for adapted screenplay. I can't believe you slept with my | :26:54. | :26:59. | |
wife. We shared a bedroom. We were children growing up together. | :27:00. | :27:01. | |
Anyway, let's hear the nominations. When you love someone, | :27:02. | :27:05. | |
you work it out. I can't do this with | :27:06. | :27:08. | |
you any more, Edward. We're orbiting the Earth | :27:09. | :27:17. | |
at what speed now? 17,544 mph at the time the rocket | :27:18. | :27:30. | |
delivers the capsule That's one hell | :27:31. | :27:38. | |
of a speeding ticket. There wasn't a day I | :27:39. | :27:49. | |
didn't want to tell you. She needs to see how | :27:50. | :27:51. | |
beautiful you are. I was told I don't have | :27:52. | :28:12. | |
to carry a weapon. There are a lot of ways you can | :28:13. | :28:18. | |
interpret what he said? I don't need an interpreter | :28:19. | :28:34. | |
to know what this means. Russia just executed one | :28:35. | :28:37. | |
of their own experts "Many become one" could just | :28:38. | :28:39. | |
be their way of saying Why hand it out in pieces? | :28:40. | :28:42. | |
Why not just give it all over? What better way to force us | :28:43. | :28:46. | |
to work together for once. Thanks to the Academy and the | :28:47. | :29:35. | |
voters. A few quick thanks, I guess I'll start at the beginning with our | :29:36. | :29:44. | |
producers Ian and Mel and Andrew and Harvey Weinstein who championed this | :29:45. | :29:50. | |
film all the way through, including the championing of its unusual | :29:51. | :29:54. | |
structure. Speaking of that structure, to the incredible | :29:55. | :30:03. | |
five-year-old non-professional actor... | :30:04. | :30:08. | |
APPLAUSE A five-year-old non-professional | :30:09. | :30:12. | |
actor who carried this entire film for its first half and is a | :30:13. | :30:18. | |
discovery for the agents. And to Dev Patel, a professional actor who then | :30:19. | :30:24. | |
takes the film and makes it his own for the second half. To all of our | :30:25. | :30:38. | |
other cast and crew, Nicole Kidman, and David and the others, for making | :30:39. | :30:43. | |
this film grow so much and finally and most importantly of all, this is | :30:44. | :30:51. | |
for Gus Davis, our beloved director, who, whatever the merits of the | :30:52. | :30:55. | |
screenplay, it is Gus who took the screenplay and made it into the | :30:56. | :31:00. | |
Butism film about love and sensitivity that it is and to you, | :31:01. | :31:04. | |
Gus, thank you for doing that. Thank you very much. | :31:05. | :31:05. | |
APPLAUSE We must now immediately trigger | :31:06. | :31:11. | |
Article 50 so we can leave the last award and get on with the next, | :31:12. | :31:14. | |
which is for Supporting Actress. And who better to present it | :31:15. | :31:17. | |
than the actor who gets all the parts Vin Diesel | :31:18. | :31:20. | |
and Dwayne Johnson turn down - WHISTLE # | :31:21. | :31:52. | |
so kind. My school was so kind and when it | :31:53. | :31:59. | |
came it drama, theatre, I played almost exclusively female parts. I | :32:00. | :32:03. | |
should say female roles. It sounds better. I played almost exclusively | :32:04. | :32:10. | |
female roles and that's why I've always felt a great solidarity with | :32:11. | :32:17. | |
actresses because basically I was one for quite a long time and it is | :32:18. | :32:22. | |
a great honour tonight for revealing the nominees in the category of Best | :32:23. | :32:26. | |
Supporting Actress. Here they are: It's not easy for me to admit | :32:27. | :32:35. | |
that I've been standing I've been right here | :32:36. | :32:37. | |
with this, right. I gave 18 years of my life to stand | :32:38. | :32:42. | |
in the same spot as you! Don't you think I ever | :32:43. | :32:47. | |
wanted other things? Don't you think I had | :32:48. | :32:49. | |
dreams and hopes? What about my life? | :32:50. | :32:51. | |
What about me? Don't you think I ever | :32:52. | :32:58. | |
wanted other things? It's not... | :32:59. | :33:08. | |
Let me finish. That bitch over there | :33:09. | :33:12. | |
ain't no kin of you. If you can't deal with it any more, | :33:13. | :33:37. | |
I can't tell you any more. I've got to go back inside, | :33:38. | :34:02. | |
do you understand? I don't want to speak | :34:03. | :34:05. | |
to you any more. And one day you'll | :34:06. | :34:08. | |
tell me all about it. You'll tell me everything, | :34:09. | :34:29. | |
who you are, everything. And to all the other wonderful | :34:30. | :35:43. | |
nominees Naomie, Nicole, whom am I forgetting, shit, I'm so sorry, and | :35:44. | :35:54. | |
my shell. August Wilson, you know my father groomed horses at the | :35:55. | :35:59. | |
racetrack and he had a fifth grade education and he was a janitor | :36:00. | :36:04. | |
towards the end of his life when he died at cancer, at a MacDonalds. And | :36:05. | :36:10. | |
the reason why I say that is when he took his last breath one of the most | :36:11. | :36:14. | |
devastating things that went through my mind is - did his life matter? | :36:15. | :36:24. | |
And August answers that question so brilliantly because what he did is | :36:25. | :36:30. | |
he said that our lives mattered as African-Americans. The horse | :36:31. | :36:35. | |
groomer, the sanitation worker. The people who grew up under the heavy | :36:36. | :36:41. | |
brute of Jim Crowe. APPLAUSE | :36:42. | :36:48. | |
The people who did not make it into history books, but they have a story | :36:49. | :36:56. | |
and those stories deserve to be told. Because they lived. And, so, | :36:57. | :37:05. | |
thank you August, thank you Denzel Washington. Thank you for honouring | :37:06. | :37:17. | |
actors and not the sky, because sometimes you know we're sacrificed | :37:18. | :37:21. | |
for great cinematic vision, which is not bad, but it's nice to be the | :37:22. | :37:28. | |
centre and the focus as an actor and to Michael Williamson and Steven | :37:29. | :37:33. | |
McKinley Henderson and Joe and Rustle, and Sydney and all the | :37:34. | :37:43. | |
wonderful, you know actors and Paramount, Macros Browne, Scott, | :37:44. | :37:49. | |
Molly, Todd, Black. To my beautiful husband Julius of 13 years and my | :37:50. | :37:54. | |
daughter General he is Is, who every time I tell her a story at night -- | :37:55. | :38:04. | |
Genesis. She says the most important phrase, "mummy, please put me in the | :38:05. | :38:06. | |
story." And I do. Thank you. Buzz Lightyear, Kung Fu Panda | :38:07. | :38:14. | |
and Lightening McQueen couldn't be here tonight, instead, | :38:15. | :38:25. | |
to make the presentation a couple She was genetically engineered to be | :38:26. | :38:29. | |
superb in Jurassic World Which call me pedantic included | :38:30. | :38:40. | |
dinosaurs from many other eras. Please welcome Bryce Dallas | :38:41. | :38:54. | |
Howard and Riz Ahmed. For me, the true gift | :38:55. | :39:04. | |
of the Animated Film is that they have absolutely no | :39:05. | :39:06. | |
boundaries to creativity or vision. Whatever the writer or director can | :39:07. | :39:09. | |
dream up, the hugely talented animators can deliver - | :39:10. | :39:12. | |
and this creates an environment where imagination | :39:13. | :39:14. | |
truly can run wild. And I don't trust cartoons because | :39:15. | :39:21. | |
nothing's real. Oh, here are the nominations: | :39:22. | :39:32. | |
How are you going to find your parents? | :39:33. | :39:34. | |
I'm a bit new to the memory thing so I can't say for sure | :39:35. | :39:39. | |
but something tells me they were mostly blue | :39:40. | :39:41. | |
with maybe yellow. That sounds right. | :39:42. | :39:42. | |
I'm pretty sure I'm going to know them when I see them. | :39:43. | :39:49. | |
So, no matter what type of animal you are, from the biggest | :39:50. | :40:06. | |
elephant to our first fox, I implore you, try, try to make | :40:07. | :40:09. | |
Just tell me of our quest and I'll quickly demonstrate my | :40:10. | :40:23. | |
You've got my attention. I promise I won't even blink. | :40:24. | :40:30. | |
I actually don't think I even can blink. Do I have eyelids? | :40:31. | :40:39. | |
Wow. I'm not going to lie. I did not see this coming. You know this film | :40:40. | :41:27. | |
was a whole hearted labour of love, over five years in the making and | :41:28. | :41:31. | |
over the course we tried to get to a a dissolution of childhood. I came | :41:32. | :41:37. | |
across a quote by a great film-maker who said "Every boy wants either a | :41:38. | :41:42. | |
train set or to make a martial arts movie." I never had a train set so I | :41:43. | :41:47. | |
made a movie. Hopefully one that showcases the power of family, | :41:48. | :41:52. | |
imagination and love and above all else, empathy. I believe Hal David | :41:53. | :41:58. | |
and Burt Bacharach when they said "What the world needs now is love, | :41:59. | :42:02. | |
sweet love." But there is another thing there is just too little of | :42:03. | :42:05. | |
and it is empathy, which is what this film is about. So that's why | :42:06. | :42:10. | |
this award means a lot to me and our entire crew. Thanks to the academy | :42:11. | :42:19. | |
for awarding us and to the studio and to my producer, I love you and | :42:20. | :42:25. | |
to our entire cast and crew. You are the best. This was about family. To | :42:26. | :42:29. | |
our familiar lanes loved ones, I love you. Mum and dad, I love you. | :42:30. | :42:34. | |
My world, my partner in crime, my dream team, I love all of you. And | :42:35. | :42:43. | |
tonight with this exquisite shiny metal cudgle non-hand, I'm pretty | :42:44. | :42:46. | |
fond of you guys, too. So, cheers, thank you. | :42:47. | :42:56. | |
On we trot now to Special Visual Effects and to present it, | :42:57. | :42:59. | |
I have issued an executive order for two outstanding actors who, | :43:00. | :43:01. | |
having appeared in Star Wars: The Force Awakens and The Hobbit, | :43:02. | :43:04. | |
respectively, will both have spent plenty of time working | :43:05. | :43:06. | |
with various peculiar, hairy little creatures. | :43:07. | :43:13. | |
Please welcome the English Rose that is Daisy Ridley and the Welsh | :43:14. | :43:17. | |
For me the true magic of Special Visual Effects | :43:18. | :43:31. | |
is creating something that simply couldn't be conjured | :43:32. | :43:33. | |
Yeah, funny you should say that Daisy, | :43:34. | :43:39. | |
'conjuring' right now as I've forgotten the envelope. | :43:40. | :43:43. | |
Well, luckily enough I can sort that, I've got | :43:44. | :43:45. | |
Not bad. Upstaged, much. OK, let's have a look at the | :43:46. | :44:11. | |
nominees. The Jungle Book. | :44:12. | :45:22. | |
CHEERING Thank you so much to the British | :45:23. | :45:55. | |
academy and the UK in general for allowing us in the country. We | :45:56. | :46:01. | |
really appreciate that. Also, I guess I have to thank the UK for | :46:02. | :46:06. | |
Kipling, a good story we had to work from, and if I can introduce the | :46:07. | :46:13. | |
people most responsible, besides Disney, these three geniuses behind | :46:14. | :46:22. | |
me. Thanks. We wanted to say thanks to Bafta for recognising the over | :46:23. | :46:27. | |
800 artists at MPC film who filmed every blade of grass and tuft of | :46:28. | :46:33. | |
hair made by our designs, so this is for you guys. Cheers. I want to | :46:34. | :46:40. | |
thank my team back in New Zealand. Very talented. Lastly, I'd like to | :46:41. | :46:50. | |
thank all the fathers, mothers, spouses and families of all the | :46:51. | :46:53. | |
others. Without your love and support, we couldn't do it. Thank | :46:54. | :46:54. | |
you very much. Now, much like one of our Trident | :46:55. | :47:01. | |
missiles, I'm going to veer a little off course to celebrate | :47:02. | :47:04. | |
a very important birthday. I'm certain that due | :47:05. | :47:07. | |
to the odd nip here, tuck there and of course, | :47:08. | :47:10. | |
the blatant bottom lift, you'll all be astonished to learn | :47:11. | :47:12. | |
that Bafta is 70 years This world-leading arts educational | :47:13. | :47:15. | |
charity produces literally hundreds range of activities | :47:16. | :47:20. | |
and scholarships, to ensure that talented people, | :47:21. | :47:25. | |
regardless of their background, are identified and encouraged | :47:26. | :47:29. | |
from the very beginning of their careers and how wonderful | :47:30. | :47:31. | |
to see so many beneficiaries And if you at home feel | :47:32. | :47:33. | |
inspired by tonight's awards come 70th birthday bash, | :47:34. | :47:43. | |
please pay a visit And no birthday is complete | :47:44. | :47:45. | |
without a chorus of Happy Birthday, so your Royal Highness, | :47:46. | :47:49. | |
as our President, if you'll lead us Ah, what a shame, I'm told we don't | :47:50. | :47:52. | |
have time. Moving on, the next award, given in | :47:53. | :48:04. | |
honour of the screenwriter and is for Outstanding Debut | :48:05. | :48:07. | |
by a British Writer, Director or Producer | :48:08. | :48:10. | |
and making their debuts as presenters of this award | :48:11. | :48:11. | |
is a brace of brilliance. One is the star of the S classic | :48:12. | :48:14. | |
Fifty Shades of Grey, while the other was wonderful | :48:15. | :48:17. | |
in the S classic, Please applaud sado-masochistically | :48:18. | :48:19. | |
for Jamie Dornan and Rafe Spall. Please spank yourself and your | :48:20. | :48:28. | |
neighbour violently. It's a total honour to be here this | :48:29. | :48:42. | |
evening to present the Bafta for Outstanding Debut by a Producer, | :48:43. | :48:45. | |
Director or Writer. Most of us in this room know how | :48:46. | :48:47. | |
hard it is to get that initial People don't want to give | :48:48. | :49:02. | |
good-looking people opportunities in this industry. But his father was a | :49:03. | :49:09. | |
great live respected actor, so it was hard for him to get through. | :49:10. | :49:13. | |
Couldn't get in the room. Let's look at the nominations. | :49:14. | :49:16. | |
With the human race under threat from a mutant fungus that turns | :49:17. | :49:22. | |
people into zombies, The Girl With All The Gifts | :49:23. | :49:24. | |
is the story of a special young girl called Melanie who may hold the key | :49:25. | :49:28. | |
to humanity's survival, in this original take | :49:29. | :49:31. | |
The Pass follows professional footballer Jason, who begins | :49:32. | :49:43. | |
to struggle with his sexuality after kissing team-mate Ade. | :49:44. | :49:47. | |
As Jason's fame grows, so does his torment, | :49:48. | :49:51. | |
as he's torn apart by a secret he just cannot shake. | :49:52. | :49:56. | |
In an intimate documentary about the police killing | :49:57. | :50:05. | |
of Mark Duggan that sparked riots across the UK in 2011, | :50:06. | :50:08. | |
The Hard Stop features two of Duggan's closest friends | :50:09. | :50:12. | |
as they come to terms with their loss and try to move | :50:13. | :50:14. | |
Where they say that they don't discriminate against you if you've | :50:15. | :50:19. | |
been to prison and that, that's all bollocks. They do. | :50:20. | :50:22. | |
Set against a backdrop of war-torn Tehran in the 1980s, | :50:23. | :50:28. | |
Under The Shadow focuses on a mother and daughter haunted by the presence | :50:29. | :50:35. | |
of something supernatural, in this gripping and original thriller. | :50:36. | :50:53. | |
Featuring original audio tape recordings where | :50:54. | :50:54. | |
Professor John Hull, who became blind at the age of 48, | :50:55. | :50:57. | |
Notes On Blindness captures the fears and emotions of losing one's | :50:58. | :51:01. | |
sight, in a beautiful and inspiring documentary film. | :51:02. | :51:06. | |
I thought, that's it. It's a gift. | :51:07. | :51:15. | |
Under The Shadow. Babak Anvari, Emily Leo, Oliver Roskill. | :51:16. | :51:55. | |
Wow. Breathing now. This is such an honour. It's magnificent. It's a | :51:56. | :52:06. | |
great honour to be in such an auspicious category, with all the | :52:07. | :52:13. | |
great, talented, great debut film-makers. Sorry, I know we don't | :52:14. | :52:19. | |
have much time, so on behalf of my producers and I, we'd like to | :52:20. | :52:24. | |
thank... I did write a little speech, just not to myself. We would | :52:25. | :52:32. | |
like to thank... Brilliant cast members, especially our leads, our | :52:33. | :52:43. | |
great crew, the royal film commission of John Donne, the Bill | :52:44. | :52:48. | |
Hoffman dumb institute and everyone who helped us bring this film to | :52:49. | :52:52. | |
light. -- the Bill Hoffman institute. I'd like to thank my | :52:53. | :53:01. | |
producers for taking a risk on this strange film and my great | :53:02. | :53:03. | |
cinematographer and great friend Kate Fraser, who was on board in | :53:04. | :53:09. | |
this project from day one, who had my back, my family, my brother and | :53:10. | :53:17. | |
my wonderful, wonderful girlfriend, Rihanna, for her nonstop love and | :53:18. | :53:18. | |
support. Thank you, thank you. Dishing out the award | :53:19. | :53:26. | |
for Supporting Actor an astonishing actress who was quite magnificent | :53:27. | :53:29. | |
as Jyn Erso in what my autocue The performances of the five | :53:30. | :53:35. | |
nominated Supporting Actors Let's take a look at some | :53:36. | :54:07. | |
of their incredible work. Do you have any idea | :54:08. | :54:17. | |
what it is like knowing my real brother and mother spent every day | :54:18. | :54:42. | |
of their lives How every day my real | :54:43. | :54:49. | |
brother screams my name? Shut your eyes, | :54:50. | :54:57. | |
I will recite for you. Bright Star, would I, | :54:58. | :55:02. | |
most steadfast as thou art. In lone splender run aloft | :55:03. | :55:13. | |
the night, and watching with eternal In a year's time, it is my teasing | :55:14. | :55:16. | |
you are going to miss. Something to love about when you | :55:17. | :55:39. | |
stand on my grave and wish me well. OK, I'm a Gemini, my favourite | :55:40. | :55:45. | |
colour is pink, I like Well, that just happened. Words, | :55:46. | :57:00. | |
words... Oh, my God. This is so overwhelming. I sit at home and | :57:01. | :57:09. | |
watch this with my family, who are here with me tonight, it is such an | :57:10. | :57:15. | |
overwhelming feeling. My mum and dad, I love you guys so much. This | :57:16. | :57:19. | |
is a film about family but I love that it transcends borders, race, | :57:20. | :57:25. | |
colour, anything. You guys are my driving force and I'd like to thank | :57:26. | :57:32. | |
little Sunny, who led this film with such confidence. He truly is a star. | :57:33. | :57:39. | |
Garth Davis, our incredible director, who is going to be a | :57:40. | :57:43. | |
friend of mine for life. Harvey Weinstein, Christine and Cara, and | :57:44. | :57:49. | |
to my amazing team who had the insane task of trying to get this | :57:50. | :57:54. | |
Indian dude, this noodle with wonky teeth and a lazy eye and floppy hair | :57:55. | :58:00. | |
working in this industry. You guys are my heroes. Stephanie coma, Sarah | :58:01. | :58:09. | |
grace, Christine and Carl... I don't know what to say except that I'm so | :58:10. | :58:13. | |
grateful. I'm terrible at this. Thank you so much. It means so much. | :58:14. | :58:26. | |
I want to thank, of course, the independent judges and, if you | :58:27. | :58:35. | |
didn't win, I am sure you will take it with grace and honour and not | :58:36. | :58:40. | |
reject the result of an independent judiciary, or try and buy another | :58:41. | :58:43. | |
judge to give you a different version. You will take it with grace | :58:44. | :58:49. | |
and decency. Plenty more awards still to come, including leading | :58:50. | :58:53. | |
actor, actress, director and film, as well as a special fellowship. | :58:54. | :58:55. | |
Ladies and gentlemen, you won't need me to remind | :58:56. | :58:57. | |
you what a 12 months of loss we have endured. | :58:58. | :59:00. | |
We now remember and cherish the many friends and colleagues | :59:01. | :59:02. | |
whose lives may be over, but whose legacies will live | :59:03. | :59:05. | |
To play for us we have BBC Young Musician 2016 | :59:06. | :59:12. | |
I think you've made your point, Goldfinger. | :59:13. | :00:29. | |
I'm an actress. What? | :00:30. | :00:44. | |
On the stage. Oh, on the stage! | :00:45. | :00:57. | |
Why, you stuck up, half-witted, scruffy looking nerf-herder! | :00:58. | :01:57. | |
My life is full because I know that I am loved. | :01:58. | :02:52. | |
Thank you to the hugely talented Sheku for that wonderful rendition | :02:53. | :03:11. | |
of the sorely missed Leonard Cohen's Hallelujah. | :03:12. | :03:19. | |
I can't help feeling that the best of us have gone. The people you | :03:20. | :03:27. | |
love, Robertp Montgomery said, the people you love become ghosts inside | :03:28. | :03:30. | |
you and like this, keep them alive. It's now time for the Outstanding | :03:31. | :03:34. | |
British Contribution to Cinema award, given in honour of the great | :03:35. | :03:37. | |
British producer, Michael Balcon. To make the presentation a French | :03:38. | :03:39. | |
actress tres magnifique, who has appeared in over 100 films | :03:40. | :03:43. | |
including The Lacemaker, La Ceremonie and most recently | :03:44. | :03:46. | |
who gave a shatteringly brilliant Mesdames et Messieurs, s'il vous | :03:47. | :03:49. | |
plait, bienvenue, Isabelle Huppert. Can I just say, after receiving | :03:50. | :04:12. | |
a Bafta for most promising newcomer in 1978, I really had no idea I'd be | :04:13. | :04:15. | |
back so soon. I'm incredibly delighted | :04:16. | :04:23. | |
and honoured to be able to present this Outstanding British | :04:24. | :04:35. | |
Contribution Award to an organisation so very | :04:36. | :04:37. | |
close to my heart. As a champion of independent cinema, | :04:38. | :04:43. | |
Curzon hold a unique place not only in our industry, | :04:44. | :04:46. | |
but in our affections. Not least my own, having been lucky | :04:47. | :04:50. | |
enough to have appeared in six films under their banner, | :04:51. | :04:56. | |
I know first hand just how special Constantly devoted between building | :04:57. | :05:12. | |
bridges between countries. Today, we need that more than ever. We will | :05:13. | :05:19. | |
always need the United Kingdom, whatever happens. | :05:20. | :05:23. | |
APPLAUSE Time now to take a look at just some | :05:24. | :05:32. | |
of the highlights, from that wonderful contribution they have | :05:33. | :05:36. | |
made to independent cinema. In 1934, the first Curzon Cinema | :05:37. | :05:49. | |
opened its doors in Mayfair. foreign-language films | :05:50. | :05:52. | |
to a London audience. Today, there are 13 Curzon | :05:53. | :06:04. | |
theatres across the UK. In 2006, distribution | :06:05. | :06:08. | |
label Artificial Eye And now the group has more than 400 | :06:09. | :06:13. | |
films in its collection, furthering the commitment to independent | :06:14. | :06:21. | |
cinema, collecting an impressive 16 Julianne Moore taking | :06:22. | :06:24. | |
the 2015 Best Actress You have been seeing | :06:25. | :06:32. | |
a neurologist, why? It might be early outset | :06:33. | :06:46. | |
Alzheimer's disease. In 2010, Curzon launched a home | :06:47. | :06:48. | |
cinema service, bringing their catalogue of world, | :06:49. | :06:50. | |
independent and arthouse films Offering its 7.5 million customers | :06:51. | :06:52. | |
the chance to enjoy brand-new films from home, often on the same day | :06:53. | :06:59. | |
as their theatrical release. Including the critically | :07:00. | :07:01. | |
acclaimed British You really believe you haven't | :07:02. | :07:03. | |
been enough for me? No, I think I was enough for you, | :07:04. | :07:08. | |
but I'm not sure you do. The Curzon Group is admired | :07:09. | :07:13. | |
and cherished for their unique heritage and pioneering | :07:14. | :07:16. | |
approach to the distribution And with a firm focus | :07:17. | :07:17. | |
on the future, this iconic brand continues to blaze | :07:18. | :07:30. | |
a trail for world cinema. And so to receive the | :07:31. | :07:39. | |
award, please welcome I'll try to keep this short, | :07:40. | :07:51. | |
unlike some of the films What an amazing privilege | :07:52. | :08:23. | |
to be standing here following in the footsteps | :08:24. | :08:28. | |
of so many giants of the This award is for every | :08:29. | :08:32. | |
single person who works at From those who sell | :08:33. | :08:35. | |
the tickets to the wonderful team that buy | :08:36. | :08:41. | |
the films - all 280 of us We are immensely proud | :08:42. | :08:44. | |
and grateful to have a It means more to us | :08:45. | :08:47. | |
than you will ever know. We love what we do but it's | :08:48. | :08:52. | |
the directors that make us who we are, | :08:53. | :08:56. | |
and you just saw a few of From Charlie Chaplin | :08:57. | :08:58. | |
to Michael Haneke and everyone in between, our goal | :08:59. | :09:02. | |
is to I want to thank all the filmmakers | :09:03. | :09:05. | |
who have entrusted us with their work, they are the reason | :09:06. | :09:13. | |
why we're so passionate I will briefly mention | :09:14. | :09:15. | |
three people without whom Roger Wingate who has been chairman | :09:16. | :09:18. | |
of Curzon for 50 of its 80-year Louisa Dent who ensures | :09:19. | :09:26. | |
the quality of And Tony Tabatznik who has been | :09:27. | :09:29. | |
an incredible supporter of Curzon's We celebrate our common | :09:30. | :09:36. | |
humanity through the I believe many of our films have | :09:37. | :09:40. | |
contributed to that. But all of us at Curzon | :09:41. | :09:45. | |
are concerned about the future. But if, after Brexit, | :09:46. | :09:48. | |
the essential EU support we receive stops, or is not replaced, | :09:49. | :09:58. | |
then the risks we take with films | :09:59. | :10:01. | |
that exist outside of the mainstream will become | :10:02. | :10:05. | |
much harder and all But whatever the outcome | :10:06. | :10:09. | |
of Brexit you can rest assured that we will | :10:10. | :10:13. | |
continue to seek out challenging new films | :10:14. | :10:16. | |
with bold, diverse and authentic voices; striving | :10:17. | :10:19. | |
to find news ways of engaging with audiences | :10:20. | :10:25. | |
and screening unforgettable films | :10:26. | :10:27. | |
in great new cinemas and on And finally - and I know she's | :10:28. | :10:28. | |
going to kill me for this - I want to | :10:29. | :10:34. | |
thank my wife Wendy. You have been my rock and it is only | :10:35. | :10:37. | |
your love and patience and understanding | :10:38. | :10:40. | |
that has allowed me, somewhat obsessively, | :10:41. | :10:42. | |
to indulge my passion for And from all of us at | :10:43. | :10:43. | |
Curzon thank you Bafta. The Bafta for Original Screenplay | :10:44. | :10:57. | |
has elbowed its way to the front of the queue now, and waiting | :10:58. | :11:09. | |
there for it an actress soon to be Like Amex, she's gold and she's | :11:10. | :11:12. | |
black. Please raise the roof | :11:13. | :11:21. | |
of the Albert Hall, but then replace it as this is a listed building, | :11:22. | :11:23. | |
and welcome, Thandie Newton. Thank you. It is a privilege to be | :11:24. | :11:42. | |
presenting this award tonight. It has been said that a screenplay is | :11:43. | :11:50. | |
not in itself a work of art, it's an invitation to collaborate on the | :11:51. | :11:55. | |
creation of a work of heart. Tonight's five nominees issued that | :11:56. | :11:58. | |
invitation and the results are extraordinary. Let's take a look at | :11:59. | :12:00. | |
the fruits of their labour. All right, I remember you, | :12:01. | :12:10. | |
I was a little curt that night. All right, I was an ass-hole, I can | :12:11. | :12:13. | |
admit that. But requesting I ran from a serious | :12:14. | :12:16. | |
musician, it is too far. My Lord, did you just | :12:17. | :12:21. | |
say a serious musician? Because I have an audition next | :12:22. | :12:23. | |
week, I am playing serious You could do that anyway, | :12:24. | :12:35. | |
there are plenty of All my friends are here, | :12:36. | :12:41. | |
I'm on the oche team. I have two girlfriends, | :12:42. | :12:55. | |
I'm in a band. You are a janitor, | :12:56. | :13:05. | |
what the hell do you But your heart has not got to be | :13:06. | :13:07. | |
black like mine, baby. We would be obliged | :13:08. | :13:21. | |
if you would provide accommodations, we failed to call | :13:22. | :14:09. | |
ahead. On your last legs in the nursing | :14:10. | :14:11. | |
home, you will think of me Kenneth Mulligan, Manchester By The | :14:12. | :14:16. | |
Sea. This is genuinely overwhelming. I | :14:17. | :15:02. | |
never thought I'd be standing on stage at the Albert Hall. I just | :15:03. | :15:07. | |
want to thank everyone, really, everyone in the room. Thank you, | :15:08. | :15:13. | |
Bafta, so much. Thank you studio Canal, thank you Amazon. I'm very | :15:14. | :15:20. | |
proud to be hit, representing the nominees for original screenplay and | :15:21. | :15:23. | |
all of the screenwriters we have had who have made wonderful films. | :15:24. | :15:31. | |
Screenwriters are in a wonderful position because screenwriters alone | :15:32. | :15:35. | |
understand the thrill of watching an actor become a character that you | :15:36. | :15:40. | |
only imagined. My cast in Manchester By The Sea is among the finest I've | :15:41. | :15:46. | |
ever worked with. It's among the finest casts I've ever seen in a | :15:47. | :15:52. | |
film. Casey, Lucas Hedges, I can't tell you what an honour it is to | :15:53. | :15:57. | |
have worked with you. I'm a single out Casey for one of the most | :15:58. | :16:00. | |
brilliant performances I've ever seen. I'd like to thank my | :16:01. | :16:08. | |
producers, Kimberly Stuart, Chris more. We tried to make a film about | :16:09. | :16:15. | |
looking grief and sorrow in the face and we found that, when you do that, | :16:16. | :16:19. | |
you find love and duty coming with it. Wherever in the world you find | :16:20. | :16:26. | |
loss and sadness, you find love and strength as well. If I may indulge | :16:27. | :16:31. | |
in a personal anecdote, the morning after the presidential election in | :16:32. | :16:35. | |
the United States, my daughter woke up in tears, she didn't want to go | :16:36. | :16:40. | |
to school. My wife insisted that she go. She said, there are children at | :16:41. | :16:44. | |
school who might be frightened and you could help them. She turned 15 | :16:45. | :16:49. | |
two weeks ago. She's been to five protests and demonstrations in that | :16:50. | :16:52. | |
time. I'm very proud of her. APPLAUSE | :16:53. | :17:01. | |
I'm very grateful to my wife, I love her very much. Nelly Lonergan, if | :17:02. | :17:09. | |
you are watching this in New York, are you, too. Thank you all very | :17:10. | :17:11. | |
much. -- I love you, too. To present the next award | :17:12. | :17:17. | |
for Leading Actor over 1.5 million people signed a petition | :17:18. | :17:20. | |
demanding a State Visit from one of And after very little debate, well, | :17:21. | :17:23. | |
none, we sent out the invitation. So please welcome, | :17:24. | :17:27. | |
the gifted Penelope Cruz. Let's take a look at | :17:28. | :17:45. | |
the nominees for Leading Actor. To her, they were the most | :17:46. | :17:56. | |
dangerous fairy tales ever invented, designed to elicit | :17:57. | :18:21. | |
blind obedience, and strike fear Clearly there anything worse | :18:22. | :18:24. | |
than death would be the knowledge that her rotting flesh will be | :18:25. | :18:32. | |
trapped for all eternity inside a rotting box, | :18:33. | :18:34. | |
and buried in the middle of a They pulled Randy out, she's passed | :18:35. | :18:37. | |
out on the stairs. And then the furnace blew, | :18:38. | :18:53. | |
they could not get back in again. And I want to know if they knew it | :18:54. | :18:58. | |
was happening. I hear what you are saying, | :18:59. | :19:14. | |
but I don't think That is what you're saying, | :19:15. | :19:35. | |
but that is not what The room looks very different from | :19:36. | :20:38. | |
here. My heart is beating. It's an exciting moment. These clips that we | :20:39. | :20:46. | |
see of the actors are always such moments of heightened emotion, and | :20:47. | :20:54. | |
that so often celebrated. I think it's because they are the hardest to | :20:55. | :20:59. | |
understand in our lives, and the reason that I act is because, when I | :21:00. | :21:09. | |
was a young kid, my mother would take me to meetings for children of | :21:10. | :21:15. | |
alcoholics and there would be lots of kids there and they'd re-enact | :21:16. | :21:19. | |
the person at their home who they were trying to understand. And it | :21:20. | :21:26. | |
was acting, and acting as sort of been there for me ever since. It's a | :21:27. | :21:31. | |
privilege to get to do it for a living. So, if you were wondering, | :21:32. | :21:41. | |
that's why I act. That said, if I had an ounce of the talent of these | :21:42. | :21:47. | |
composers or animators or the acrobats and we saw earlier, I would | :21:48. | :21:54. | |
probably be doing that. But the reason I'm here right now tonight is | :21:55. | :21:59. | |
because of Kenneth Lonergan and his sublime screenplay. It really | :22:00. | :22:07. | |
dignifies everyday lives and their rules with great compassion. I will | :22:08. | :22:15. | |
never be able to express my gratitude to him. And I accept this | :22:16. | :22:21. | |
as a representative of the entire cast, Michelle and Kyle, because | :22:22. | :22:27. | |
that's really how it works. We are all together. This is an honour I | :22:28. | :22:32. | |
will never forget. And cute the academy. Thank you very much. -- | :22:33. | :22:39. | |
thank you to the academy. Thank you so much. | :22:40. | :22:48. | |
Gliding on now with all the grace of a generously moisturised kipper, | :22:49. | :22:51. | |
we come to the award for Director in honour of David Lean. | :22:52. | :22:55. | |
And to enlighten you as to the recipient, | :22:56. | :22:57. | |
a giant of the acting profession, in fact, a big friendly giant. | :22:58. | :23:03. | |
Well, actually, he's a big, friendly, prodigiously talented, | :23:04. | :23:05. | |
Please welcome the utterly untouchable, Sir Mark Rylance. | :23:06. | :23:36. | |
Good evening. All of our work in film, whether you are an actor, | :23:37. | :23:43. | |
designer, producer, whatever you do, all of that is channelled and | :23:44. | :23:46. | |
communicated to the audience through the consciousness of the director. | :23:47. | :23:52. | |
They have the interesting job of holding the audience in their mind | :23:53. | :23:57. | |
and heart. They must ask the question, what does an audience need | :23:58. | :24:03. | |
to know? What do they need to feel? How do they need to know that? How | :24:04. | :24:08. | |
do they need to feel it? Perhaps most interestingly, when do they | :24:09. | :24:13. | |
need to know it and feel it is Tremarco I don't know how you feel | :24:14. | :24:18. | |
these days, but I certainly feel that so many stories in society that | :24:19. | :24:23. | |
I took for granted are being challenged, stories I learned from | :24:24. | :24:26. | |
my grandparents and parents, such as the kindness -- be kind to | :24:27. | :24:32. | |
strangers, love other people more than yourself. Stories I learned | :24:33. | :24:37. | |
from films like It's A Wonderful Life, that people are more important | :24:38. | :24:41. | |
than money, that love is the greatest thing you can experience. | :24:42. | :24:46. | |
In a time when these stories are being challenged, I can think of no | :24:47. | :24:49. | |
time that a film director is more needed in society. These five | :24:50. | :24:53. | |
directors have made wonderful films and have been nominated tonight for | :24:54. | :24:55. | |
a Bafta. Let's look at their work. Sitting there with | :24:56. | :25:12. | |
your name tag on your chest, Anne, in front of a sick man | :25:13. | :25:35. | |
offering jobs I can't take anyway. Wasting my time, | :25:36. | :25:42. | |
your employer's time, my time, all it does is humiliate | :25:43. | :25:46. | |
me, grind me down. How do you give up | :25:47. | :25:51. | |
on becoming an artist? Because I'm too cynical | :25:52. | :26:25. | |
to be an artist. I think that to be really, | :26:26. | :26:28. | |
really good you have to come from someplace inside that | :26:29. | :26:32. | |
I'm not sure I have. # It's another day | :26:33. | :26:35. | |
of sun, sun, sun, sun Congratulations. Thank you. Thank | :26:36. | :27:41. | |
you so much. Thank you to the academy. This is an incredible | :27:42. | :27:49. | |
honour. One of the biggest pleasures to actually being here tonight is to | :27:50. | :27:52. | |
be with and to sit with some of the people I made the movie with, tom | :27:53. | :28:02. | |
cat Mike Ross, Selina, Mary, David, my producers, Fred, Jordan, Mark. | :28:03. | :28:10. | |
It's just an honour to make a movie with you and to get to celebrate | :28:11. | :28:13. | |
this with you. I also want to give a special shout out to my friend, | :28:14. | :28:19. | |
former roommate, collaborator of, I think, 12 plus years, Justin, for | :28:20. | :28:28. | |
inspiring me and inspiring all of us with the most beautiful music I | :28:29. | :28:32. | |
could imagine. I want to thank Lions gate UK for all of your work and | :28:33. | :28:44. | |
finally I want to thank Olivia, my love, for inspiring me everyday. | :28:45. | :28:46. | |
Thank you, so, so much. The next award is made | :28:47. | :28:52. | |
up of two parts. Leading and Actress, | :28:53. | :28:54. | |
and in temporary charge of it, a sublime actor who recently | :28:55. | :28:56. | |
smuggled a suitcase of fantastic beasts in to America, | :28:57. | :28:58. | |
and in so doing, inadvertently as I'm sure many of tonight's | :28:59. | :29:00. | |
nominees will have done I give you, the stupendous, | :29:01. | :29:06. | |
Eddie Redmayne. For me, it's impossible to separate | :29:07. | :29:26. | |
the wonderful performances made by each of the truly exceptional | :29:27. | :29:39. | |
talents nominated in the Leading I'm utterly thrilled I don't have to | :29:40. | :29:45. | |
you make the choice. Let us take a look. | :29:46. | :29:52. | |
Death has been my constant companion for almost 50 years. | :29:53. | :29:54. | |
I've been living day-to-day with my body, never | :29:55. | :29:57. | |
knowing whether my mind will desert me. | :29:58. | :30:09. | |
But I have fought, and I have fought and I have fought. | :30:10. | :30:11. | |
Believe it or not, I know something that is going to | :30:12. | :30:21. | |
I cannot explain how I know, I just do. | :30:22. | :30:27. | |
And when I told your daddy he got really mad. | :30:28. | :30:29. | |
The same thing happens every time, I get | :30:30. | :30:44. | |
interrupted because someone wants to get a sandwich. | :30:45. | :30:46. | |
Or I am crying and they start laughing. | :30:47. | :30:49. | |
Or there are people sitting in the waiting room, | :30:50. | :30:55. | |
like me, but prettier and better because maybe I'm not good enough. | :30:56. | :31:03. | |
You think you will control everything, that you have the world | :31:04. | :31:05. | |
Even ridiculous, and I let myself believe it. | :31:06. | :31:10. | |
This parade, who is it really for, Jack? | :31:11. | :31:12. | |
One more campaign stop along the way to the grave. | :31:13. | :31:21. | |
When I saw that woman kissing someone else... | :31:22. | :31:23. | |
Um, oh, well. Thank you so much for this. This is just an unbelievable | :31:24. | :32:18. | |
honour and thank you to Bafta. At the risk of sounding a little | :32:19. | :32:23. | |
redundant between us and Damien, one of the greatest parts about tonight | :32:24. | :32:26. | |
is sitting with all of these incredible people that made this | :32:27. | :32:31. | |
film. We became such a family. So thank you to them on, to Tom, David, | :32:32. | :32:38. | |
sap sandy, Mary, and Justin and Mandy Moore and Gillian and Mike and | :32:39. | :32:44. | |
the list goes on and on, our producers, Fred, Jordan, mark and | :32:45. | :32:48. | |
Ryan who el vats everything he touches and Damien for this | :32:49. | :32:50. | |
incredible opportunity. Thank you so much. This was one of the greatest | :32:51. | :32:55. | |
working experiences of my life and such a joy. And I don't know if you | :32:56. | :33:02. | |
realise this but right now this and country and the US and the world | :33:03. | :33:09. | |
seems to be going through a bit of a time, just a bit and in a time | :33:10. | :33:14. | |
that's so divisive, I think it's really special that we were all able | :33:15. | :33:20. | |
to come together tonight, thanks to Bafta, to celebrate the positive, | :33:21. | :33:25. | |
the positive - I'm losing my words, I'm sorry, this happens. The | :33:26. | :33:31. | |
positive gift of creativity and how it can transcend borders and how it | :33:32. | :33:36. | |
can help people to feel a little less alone. I'm very grateful to be | :33:37. | :33:40. | |
in this room. I feel very, very lucky. Thank you so much for this, | :33:41. | :33:43. | |
this is a huge honour, thank you. APPLAUSE | :33:44. | :34:01. | |
And so to the award for Best Film, and to tell us where it will be | :34:02. | :34:04. | |
residing, a delicious Swede and a mouth-watering Brit. | :34:05. | :34:09. | |
They need no introduction, other than this. | :34:10. | :34:15. | |
Welcome, if you will, Noomi Rapace and Tom Hiddleston. | :34:16. | :34:24. | |
Good evening. Good evening. This room is filled with great, | :34:25. | :34:34. | |
beautiful, brave artists who have collectively created unique, amazing | :34:35. | :34:39. | |
and breathtaking films. Films that connect us, that will put a stamp on | :34:40. | :34:47. | |
history. These times, when hate, fear and walls rise, our artform is | :34:48. | :34:50. | |
more important than ever. And we are honoured to be | :34:51. | :34:57. | |
here to recognise and celebrate the creative talent making up | :34:58. | :35:03. | |
the Best Film category. # In somebody's eyes | :35:04. | :35:06. | |
To light up the skies # To open the world | :35:07. | :35:17. | |
And send me reeling # I'll be here | :35:18. | :35:20. | |
And you'll be all right # I don't care if I know | :35:21. | :35:29. | |
Just where I will go # Cos all I need's that | :35:30. | :35:36. | |
Sweet, sweet feeling Did you stop even for a second | :35:37. | :35:40. | |
to think about the consequences Until I get my appeal date, | :35:41. | :36:08. | |
I'll be here every day doing this. I can't let you freak out | :36:09. | :36:19. | |
with the door closed. If you're going to freak out every | :36:20. | :36:30. | |
time you see a frozen chick then I just don't like him | :36:31. | :36:33. | |
being in the freezer. You have expressed | :36:34. | :36:42. | |
that very clearly. You've just home, | :36:43. | :36:43. | |
and hit the highway. Thank you. We want it thank the | :36:44. | :38:27. | |
academy for this massive honour. -- to thank. It means so much. We have | :38:28. | :38:32. | |
admiration for the British film community who challenges us and sets | :38:33. | :38:36. | |
the bar it tell original stories. The joy of tonight is sharing this | :38:37. | :38:40. | |
with the extraordinary family of artists who poured their hearts out | :38:41. | :38:47. | |
on this film every day, led by Emily and Emma and Ryan. Thank you guys. | :38:48. | :38:50. | |
Above all, if you have seen this film, you know this belongs to | :38:51. | :38:55. | |
Damien Chazelle whose passion and reckless ambition are surpassed only | :38:56. | :38:58. | |
by his great humility and generosity. We are so lucky to be on | :38:59. | :39:06. | |
this special journey wi Damien. We love you, thank you all. I want to | :39:07. | :39:13. | |
congratulate and acknowledge everyone in the room. We have spent | :39:14. | :39:18. | |
a lot of time with each other over the last couple of weeks, months, | :39:19. | :39:23. | |
and it has been a pleasure getting to know many of you. There is love | :39:24. | :39:27. | |
in the community and I think it is our responsibility as creators to | :39:28. | :39:32. | |
take it and harness it and take work that inspires joy, hope, empathy and | :39:33. | :39:36. | |
challenges people to dream bigger and bolder. Inspires people to | :39:37. | :39:42. | |
drink. Inspires people to dream, bigger and | :39:43. | :39:47. | |
bolder and in technicolour. I think film, when it is at its best and | :39:48. | :39:52. | |
most inspiring, reveals the fundamental human truth, that there | :39:53. | :39:55. | |
is more tying us together than tearing us apart. Lastly, ladies and | :39:56. | :39:59. | |
gentlemen, what we tried to do and what the all the films that you have | :40:00. | :40:03. | |
honoured to try to do, is demonstrate the great power of art, | :40:04. | :40:10. | |
the great power of artists, the greater power of cinema, that knows | :40:11. | :40:13. | |
no boundaries, no borders. Our language is universal. Our music is | :40:14. | :40:19. | |
transcendent and our passion is the glue that binds all of using | :40:20. | :40:24. | |
together in our collective humanity and we thank you and wish you a good | :40:25. | :40:26. | |
night. APPLAUSE. | :40:27. | :40:28. | |
Thank you. cl Congratulations to La La Land. It | :40:29. | :40:49. | |
is time now for the highest honour that Bafta can bestow, the | :40:50. | :40:50. | |
Fellowship. To introduce it, ladies | :40:51. | :40:56. | |
and gentlemen, His Royal Highness, Our President, big it up for Prince | :40:57. | :41:08. | |
skal Bill. -- Prince Bill. Thank you. | :41:09. | :41:18. | |
Good evening, ladies and gentlemen. Bafta has sadly run out of actors, | :41:19. | :41:24. | |
so therefore I have been roped in. As President of Bafta, | :41:25. | :41:27. | |
it gives me great pleasure The Fellowship is the highest honour | :41:28. | :41:29. | |
the Academy can bestow, and is presented to an individual | :41:30. | :41:34. | |
who has made an outstanding and The recipient of this year's | :41:35. | :41:36. | |
Fellowship is an extremely talented actor, comedian, filmmaker, | :41:37. | :41:42. | |
composer and songwriter and, to tell you more | :41:43. | :41:47. | |
about his remarkable career, Thank you, your Royal Highness. | :41:48. | :42:08. | |
Ladies and gentlemen, it is a great honour to be here to talk about a | :42:09. | :42:12. | |
comedy genius. Oh, that's very kind of you, Simon, | :42:13. | :42:16. | |
but tonight is about Mel Brooks. Legend, icon, innovator, | :42:17. | :42:22. | |
and here's something you may not have heard - | :42:23. | :42:33. | |
Jewish. Very, very Jewish. You think you | :42:34. | :42:42. | |
know someone. Mel has won every award known | :42:43. | :42:49. | |
to man, with the possible exception of the Latin Grammy, | :42:50. | :42:52. | |
and I'm sure if he put his mind to it he could salsa his | :42:53. | :42:55. | |
way to that one too. A comic genius who singlehandedly | :42:56. | :42:57. | |
raised flatulence to an art form. He's brilliantly spoofed | :42:58. | :43:00. | |
show business, westerns, horror films, Hitchcock films, | :43:01. | :43:02. | |
silent films, and even This is the man who gave us singing | :43:03. | :43:03. | |
and dancing Nazis - hey, He gave us Hitler on ice, | :43:04. | :43:13. | |
Hitler on dry land, He's definitely got a thing | :43:14. | :43:17. | |
about Hitler. But that's the thing | :43:18. | :43:27. | |
with Hitler, they never tell Back to Mel - this man has | :43:28. | :43:31. | |
influenced generations of comedians and writers with his work | :43:32. | :43:40. | |
on the television classic Your Show Of Shows and his 2000 Year | :43:41. | :43:43. | |
Old Man recordings with Carl Reiner. No, that was Sir Alexander | :43:44. | :43:46. | |
Fleming from Scotland. But could Sir Alexander | :43:47. | :43:57. | |
Fleming do a spit take? I'm pretty sure, if we gave Mel | :43:58. | :43:59. | |
a lab coat, test tubes and the right chemicals, | :44:00. | :44:06. | |
he could come up with something just Jewish pencilin. Chicken soup. | :44:07. | :44:08. | |
Absolutely. Always worked for me. Because there is also | :44:09. | :44:16. | |
a serious side to Mel Brooks. He has been the producer | :44:17. | :44:19. | |
of many wonderful films, such as The Elephant Man, | :44:20. | :44:21. | |
Frances and The Fly, to name a few. He also went on to conquer Broadway | :44:22. | :44:24. | |
in 2001 with his musical version of The Producers that won the most | :44:25. | :44:27. | |
Tony Awards in theatrical history, a record even | :44:28. | :44:30. | |
Hamilton couldn't beat. Cheer up, folks. It's like you have | :44:31. | :44:31. | |
been at an awards show all night. The Producers was a life-changing | :44:32. | :44:44. | |
experience and one of the major high Thank you, Mel, for giving me | :44:45. | :44:47. | |
the opportunity to play the one and only Max Bialystock | :44:48. | :44:51. | |
and for being such a great For me, it was a print of Young | :44:52. | :45:06. | |
Frankenstein that meet me a Mel Brooks fan at age nine. Years later, | :45:07. | :45:12. | |
that was the film that resonated as the key inspiration, a shining | :45:13. | :45:15. | |
example of how comedy can be in love with what it is signing up. | :45:16. | :45:21. | |
And, now that Mel has finally reached the ripe old age of 2000, | :45:22. | :45:24. | |
and he doesn't look a day over 1500, folks, it's fitting that | :45:25. | :45:27. | |
Bafta are honouring him with their Fellowship. | :45:28. | :45:29. | |
Let's remind ourselves of his remarkable and extraordinary career. | :45:30. | :45:33. | |
For what you are about to see next, we must enter quietly, | :45:34. | :45:36. | |
I have one question, Doctor Frankenstein. | :45:37. | :45:53. | |
It's very fascinating, I'm afraid I'm going to have to hurt you. | :45:54. | :46:00. | |
Springtime for Hitler, a gay romp with Adolf and Eva. | :46:01. | :46:26. | |
You will never know how much this project excites me. | :46:27. | :46:53. | |
Master, how can you feel that anyone would betray you? | :46:54. | :47:07. | |
You who we will follow until our death. | :47:08. | :47:09. | |
I see your Schwartz is as big as mine. | :47:10. | :47:25. | |
Igor, would you give me help with the bags? | :47:26. | :47:30. | |
You take the blonde, I'll take the one with a turban. | :47:31. | :47:34. | |
And now, let's end this meeting on a high note. | :47:35. | :47:42. | |
Please welcome to the stage, Mel Brooks. | :47:43. | :48:36. | |
I think it's... The Bafta... I think Bafta has made on the Ringley good | :48:37. | :49:01. | |
choices tonight, especially me. -- on the Ringley good choices. But, I | :49:02. | :49:07. | |
want to tell you, to choose an American, why didn't I say it? I | :49:08. | :49:16. | |
want to thank Harvey Weinstein for having nothing to do with this award | :49:17. | :49:24. | |
tonight. Thanks for nothing. I want to apologise to the Duke and Duchess | :49:25. | :49:30. | |
and Prince Philip for the American Revolution. We were young. | :49:31. | :49:45. | |
Seriously, let me confide a little truth that occurred less than 40 | :49:46. | :49:54. | |
hours ago. I went to the airport. They asked for my passport. I forgot | :49:55. | :50:05. | |
it. Really. And, er, it wasn't because of old age. I personally can | :50:06. | :50:11. | |
tell you, I've seen Stephen Fry makes three appearances before the | :50:12. | :50:19. | |
show began. I know... And, if I have any rewards for tonight, I would | :50:20. | :50:25. | |
love to meet the girl in the blue dress that came down from the | :50:26. | :50:34. | |
ceiling. I'm still alive. But, seriously, folks,... Er, having an | :50:35. | :50:48. | |
American here is very moving, and getting this a special honour, | :50:49. | :50:58. | |
having been given to people like Hitchcock and Olivier and | :50:59. | :51:05. | |
Pressburger and Powell, you know, champions and idols of my life, is a | :51:06. | :51:15. | |
singular and August honour, and I am very grateful. This is one of the | :51:16. | :51:23. | |
awards that you will not see an eBay, I promise you. EBay has all | :51:24. | :51:30. | |
the others, but not this one. Not this one. Anyway, I thank you from | :51:31. | :51:36. | |
the bottom of my heart. It's... It's been wonderful to be here. Thank | :51:37. | :51:43. | |
you. Oh, by the way, by the way, just a thought, the reason I forgot | :51:44. | :51:52. | |
my passport is because I don't think of England, seriously, I don't think | :51:53. | :51:56. | |
of this place as a foreign country. I think of it is like a vast | :51:57. | :52:01. | |
Brooklyn that just speaks better. That's all. Anyway, less you, thank | :52:02. | :52:06. | |
you, that's all. -- bless you. Ladies and gentlemen, we were here | :52:07. | :52:27. | |
the night that Mel Brooks came to London. No one can ever take that | :52:28. | :52:37. | |
away from us. In closing, I was trying to think, when looking at | :52:38. | :52:42. | |
many films that seem to rise to the top this year, and how pleasing | :52:43. | :52:47. | |
there is such a spread of awards for them, do they have anything in | :52:48. | :52:50. | |
common, some connection between them, and I could only see how | :52:51. | :52:54. | |
different they were. Then I remembered a story David Niven used | :52:55. | :53:00. | |
to tell about a dinner he was at the playwright and screenwriter Charles | :53:01. | :53:04. | |
MacArthur and Charlie Chaplin. MacArthur said Charlie Chaplin, I've | :53:05. | :53:08. | |
got a scene and I want a grand and pompous lady to slip on a banana | :53:09. | :53:13. | |
skin. I get a laugh from such a low-key setup? Do I show the banana | :53:14. | :53:19. | |
skin and then the lady, do I show them together? How do I do it? Can I | :53:20. | :53:25. | |
get a laugh? Charlie Chaplin said, is simple. You showed the lady | :53:26. | :53:28. | |
walking down the street is that you the banana skin. You see the lady | :53:29. | :53:34. | |
and banana skin in the same shot. Then the lady stepped over the | :53:35. | :53:37. | |
banana skin and disappears down a manhole. And I think that's the | :53:38. | :53:41. | |
point about the films that when hold us. They defy expectation and | :53:42. | :53:50. | |
formula. They step over the banana skin and down the manhole. I can | :53:51. | :53:57. | |
only quote the line from Mel Brooks, drive me off this picture. That's | :53:58. | :54:02. | |
it, from EE British Academy Film Awards, thank you and good night. | :54:03. | :54:05. | |
Thank you so much. J Roy Helland and Florence Foster | :54:06. | :54:12. | |
Jenkins! Thank you, Meryl. You keep coming up | :54:13. | :54:28. | |
with interesting characters that are so much fun to put together. La La | :54:29. | :54:43. | |
Land. Thank you to everybody who made the movie and thanks to the | :54:44. | :54:47. | |
academy. This is a very cool druggie, by the way. It's beautiful. | :54:48. | :54:51. | |
-- cool trophy. Jackie. Thank you for all the talented | :54:52. | :55:10. | |
people who supported and accompanied me in this adventure, and thank you | :55:11. | :55:16. | |
of course to Natalie Portman who gave life and grace to these | :55:17. | :55:24. | |
costumes. Thank you. The Bafta is awarded to Arrival. | :55:25. | :55:35. | |
The story of the sound of Arrival is a bit, like the film, it ended up | :55:36. | :55:43. | |
being an international collaboration. A love story. | :55:44. | :55:58. | |
Today is an amazing day. I hope it's like changing. -- life changing. | :55:59. | :56:06. | |
Home. Being British, our heart is love. | :56:07. | :56:28. | |
Our soul is compassion. And I think that we need that to be reflected | :56:29. | :56:31. | |
within our government, so thank you for this. I really appreciate it. | :56:32. | :56:47. | |
Hacksaw Ridge. Unfortunately John can't be here so we will ensure he | :56:48. | :56:55. | |
receives this award. Fantastic Beasts And Where To Find Them. | :56:56. | :57:05. | |
I'm proud to be collecting this award on behalf of Stuart Greg, who | :57:06. | :57:11. | |
unfortunately can't be here. This incredible and devotion and hard | :57:12. | :57:17. | |
work of so many talented people, the seemingly impossible was achieved. | :57:18. | :57:29. | |
The Bafta goes to 13. That isn't the problem in and of itself. It's a | :57:30. | :57:34. | |
reflection of a much larger, brutal system of racial and social control | :57:35. | :57:42. | |
known as mass incarceration. My name is Lisa and I had the honour of | :57:43. | :57:45. | |
working with the director to produce 13th. She is so heartbroken not be | :57:46. | :57:53. | |
here, but please know how important this specific award is to her and to | :57:54. | :58:02. | |
all of us. And the Bafta goes to... Son of salt. | :58:03. | :58:12. | |
I'd like to thank the lead actor of the film, and it was a great | :58:13. | :58:21. | |
opportunity to meet the British public. Thank you very much. And | :58:22. | :58:30. | |
thanks to the academy. Linus Sandgren for La La Land. | :58:31. | :58:43. | |
This is overwhelming and extremely generous of you. | :58:44. | :59:41. | |
CROWD CLAMOURS Karen! | :59:42. | :59:42. | |
Hey, Julie. JULIE LAUGHS | :59:43. | :59:45. |