:00:01. > :00:11.This programme contains some strong language and scenes of repetitive
:00:11. > :00:36.
:00:36. > :00:44.Good evening and welcome to the most prestigious event in British
:00:44. > :00:49.cinema. The Orange British Academy Film Awards.
:00:49. > :00:52.Welcome to the BAFTAS. This is the most important date in British film
:00:52. > :00:56.calendar. There is lots of very exciting people here tonight.
:00:56. > :01:02.Stkpwh for one night only, London's historic Royal Opera House plays
:01:02. > :01:11.host to some of the biggest names in cinema.
:01:11. > :01:20.I feel like a million dollars. crowds this evening, as always in
:01:20. > :01:26.London, absolutely fantastic. crowds tonight are terrifying.
:01:26. > :01:35.Listen. I think that says it all! The stars have dressed in suitable
:01:35. > :01:44.finery for the occasion. Feel suited and booted. I am wearing
:01:44. > :01:49.Givency. My Valentino dress. air is thick with anticipation as
:01:49. > :01:53.we prepare to find out who'll be taking home the much coveted BAFTAS.
:01:53. > :01:57.Oh, man so many good films, I wouldn't know where to begin.
:01:57. > :02:02.Artist will do well, I hope Gary wins for Tinker, Tailor, Soldier,
:02:02. > :02:06.Spy. 11 nominations. Michael Fassbender, Shame was an
:02:06. > :02:10.extraordinary film. You never know. Tinker, Tailor, Soldier, Spy.
:02:10. > :02:15.have to say Drive because I'm in it, film of the year for sure.
:02:15. > :02:21.excited to be in the building. love The Artist. Ladies and
:02:21. > :02:31.gentlemen, please take your seats for the 2012 British Academy Film
:02:31. > :02:41.Ladies and gentlemen, paying homage to 50 years of James Bond, please
:02:41. > :02:41.
:02:41. > :05:32.Apology for the loss of subtitles for 170 seconds
:05:32. > :05:39.CHEERING AND APPLAUSE Thank you. Thank you very much.
:05:39. > :05:49.Thank you. Ladies and gentlemen, your host for this evening, Mr
:05:49. > :06:18.
:06:18. > :06:23.Hello. Thank you. Thank you. Thank you so much. Thank you. Please,
:06:23. > :06:28.please stop. Oh, you have. Ladies and gentlemen, please
:06:28. > :06:36.redirect your thunderous applause to Thunderball, as performed by the
:06:36. > :06:45.red hot smoking Welsh dragon that is Sir Tom Jones!
:06:45. > :06:49.You know, as a rule, we don't do musical song and dance numbers here
:06:49. > :06:55.at BAFTA because, well let's be honest, song and dance numbers at
:06:55. > :06:58.awards shows are usually a toe- curling, ear-wiggling eye-watering
:06:58. > :07:03.embarrassment that make you want to chew your own legs off. But when it
:07:03. > :07:06.comes to a talent like Sir Tom and a celebration of 50 years of James
:07:06. > :07:14.Bond in cinema, well, we have an exception that shaters the rule.
:07:14. > :07:20.But I'm forgetting my manners. My Lords, Iron Ladys, gentlemen,
:07:20. > :07:29.filmmakers, high powered magnets, stars, starlets, starlings and
:07:29. > :07:33.assorted media scum, welcome to the Orange British Academy Film Awards,
:07:34. > :07:40.surely THE most eagerly anticipated event in Britain and indeed London
:07:40. > :07:46.that could ever be hosted in 2012. I can think of no other event that
:07:46. > :07:51.would come close. So half a century of James Bond, we are so proud of
:07:51. > :07:57.it. An enduring collaboration of dashing British style and
:07:57. > :08:01.eccentricity and that very special American quality of oh, what's the
:08:01. > :08:06.word... Money. And whilst banging the British drum,
:08:06. > :08:12.let's bang it a little louder by telling you that last year was a
:08:12. > :08:17.record-breaking one at the UK box office when takings passed �1
:08:17. > :08:20.billion for the first time ever. What's more, eight of the top 20
:08:20. > :08:26.grossing fim films of the year were made here in this country,
:08:26. > :08:36.including the highest grossing of them all, Harry Potter And The
:08:36. > :08:38.
:08:38. > :08:43.And that film of course brought to an end a simply staggering era
:08:43. > :08:48.which has, amongst other things, launched the careers of three young
:08:48. > :08:51.brilliant sexy British actors, something for which I'm sure
:08:51. > :08:55.Michael Gambon Maggie Smith and John Hurt will be eternally
:08:55. > :09:01.grateful for, but we couldn't possibly move on without mentioning
:09:01. > :09:05.the great British icon in our midst, the Right Honourable Baroness Meryl
:09:05. > :09:10.Thatcher. I'm guessing this could be the first time in recorded
:09:10. > :09:15.history that we hear the words, Maggie, Maggie, Maggie, win, win,
:09:15. > :09:21.win, or possibly Meryl Thatcher, trophy snatcher! Who knows, the
:09:21. > :09:24.secrets are locked up in envelopes yet to be slit open by our panoply
:09:24. > :09:28.of distinguished presenters who'll be handing out the coveted BAFTA
:09:28. > :09:35.masks for the likes of actor, actress, director, film and of
:09:35. > :09:40.course the academy's highest honour, the foal lowship. This grand Royal
:09:40. > :09:44.Opera House on whose stage Nijinski sang and Carruso danced has
:09:45. > :09:49.probably never been filmed with so many distinguished people in one
:09:49. > :09:54.single night. If I shade my eyes to look across the footlights, there
:09:54. > :09:59.is no face that I don't recognise and which doesn't fill me with oh,
:09:59. > :10:03.wow, Gary old man, I mean Gary Oldman!
:10:03. > :10:07.Unfortunately, some people couldn't be here in person tonight, namely
:10:07. > :10:11.the television audience, we simply didn't have room to fit you all in
:10:11. > :10:16.here anyway and if we did, who'd be watching. To all of you with your
:10:16. > :10:20.eyes and ears and with some cases lips on the screen, welcome along,
:10:20. > :10:24.in fact to make you feel especially welcome, I wonder, Brad, if you
:10:24. > :10:29.would be a lovely darling and just blow a kiss into the camera for or
:10:29. > :10:39.TV audience. Can you do that? CHEERING AND APPLAUSE
:10:39. > :10:44.
:10:44. > :10:50.Go on. There we are. Thank you very A nation's heart flutters, or is it
:10:50. > :10:53.just mine?! Now now with tongues, no, worth a
:10:53. > :10:59.try anyway! Many, many wonderful films and
:10:59. > :11:05.performances will be honoured here tonight that my nude scene in
:11:05. > :11:10.Sherlock Holmes was overlooked by BAFTA doesn't make me bitter or
:11:11. > :11:15.upset, only really rather grateful that Guy Ritchie decided against
:11:15. > :11:21.making the film in 3D. What a package... Sorry, what a package we
:11:21. > :11:31.have now to show you, as we present a review of 2011 in film, as they
:11:31. > :11:32.
:11:32. > :11:42.used to say in the days of tape and tubes, roll VT. I address you all
:11:42. > :11:56.
:11:56. > :12:06.tonight as you truly are wizards, How's that for a magic trick?
:12:06. > :12:06.
:12:06. > :12:13.I've ever seen. Ready to party! Well, there is discourt, may we
:12:13. > :12:23.bring harmony, where there is error, may we bring truth, where there is
:12:23. > :12:33.
:12:33. > :12:42.doubt, may we bring faith and where Happy endings only happen in the
:12:42. > :12:52.movies. The story's not over yet. You want me to speak? When I point
:12:52. > :13:24.
:13:24. > :13:34.Seriously, it's like your photo Simon, we need to talk. Oh, not
:13:34. > :14:08.
:14:08. > :14:15.APPLAUSE What are we clapping for? For you...
:14:15. > :14:21.APPLAUSE What a year!
:14:21. > :14:26.Now, a final word before we get stuck into it. Let's talk about
:14:26. > :14:32.that dread bitch whore time, as we all know, it's not the winning,
:14:32. > :14:38.it's the taking part... And winning. So if you happen to be one of the
:14:38. > :14:42.lucky ones, don't hang around, rush to the stage, run, run like Usain
:14:42. > :14:48.Bolt and locked manage to keep your afusions of gratituded to a minimum,
:14:48. > :14:53.140 characters usually suffices for me, that would be grand. As I've
:14:53. > :14:57.observed before, no-one in the history of award ceremonies has
:14:57. > :15:00.ever left one saying, it was good, but I thought it was a bit too
:15:00. > :15:05.short. So, bearing that in mind, we must get down to business and when
:15:05. > :15:08.I say we, I mean of course we. Your job is simply to look there and
:15:08. > :15:11.look sumptuous which you are doing very well indeed at the moment. The
:15:11. > :15:17.first award this evening is for Special Visual Effects and to
:15:18. > :15:27.present it, a much-loved Oscar- winning actor so great they named a
:15:28. > :15:30.
:15:30. > :15:40.country, a cigar and a missile crisis after him. Please welcome,
:15:40. > :15:42.
:15:42. > :15:52.Good evening, ladies and gentlemen. Whitney, I will always love you.
:15:52. > :15:54.
:15:54. > :15:59.APPLAUSE Mr Fry... Mr Fry, your introduction was almost correct,
:15:59. > :16:06.but as you can see, I'm the kind of guy who likes to make a special
:16:06. > :16:13.visual effect. It's unbelievable isn't it? In reality I'm George
:16:13. > :16:17.Clooney, yes, but where Michael Fassbender's manliness. So, I have
:16:17. > :16:27.the utmost respect for the people who make it all happen on screen.
:16:27. > :16:27.
:16:27. > :17:54.Apology for the loss of subtitles for 170 seconds
:17:54. > :18:04.Extraordinary achievement in cinema. The BAFTA goes to... Harry Potter
:18:04. > :18:33.
:18:33. > :18:37.And The Deathly Hallows - Part 2. Wow! It's a bit scary being first
:18:37. > :18:47.up. I think we are all just really, really choughed that we've finally
:18:47. > :18:48.
:18:48. > :18:54.won this. We've been trying for a long, long time, so... APPLAUSE
:18:54. > :18:58.I would like to say thank you to Warner Brothers, the three Ds, they
:18:58. > :19:03.know who they are. And everybody who has worked on all of the films.
:19:03. > :19:09.There's so many great films that we've all contributed to. All The
:19:09. > :19:16.Artists, everyone, all the work they've given us. Congratulations.
:19:16. > :19:21.We now leap as lithely as a lightly-luebed leopard to the next
:19:21. > :19:27.award. Outstanding Debut by a British Writer, Director or
:19:27. > :19:33.Producer. To present it two glorious Bridesmaids, whose careers
:19:33. > :19:39.are on such an upwards trajectory they would leave the atmosphere and
:19:39. > :19:49.reach outer space. Please welcome Chris O'Dowd and Kristen Wiig!
:19:49. > :19:54.
:19:54. > :19:58.Hi, thank you. It's an honour to be here. I have to admit I get a
:19:58. > :20:04.little nervous sometimes with presenting with all the awkward you
:20:04. > :20:09.know. Yes, it is all a bit fake. Between two people. But not now.
:20:09. > :20:16.it's natural. I was worried, so I wrote a little scene. OK. It is not
:20:16. > :20:21.a scene. It is just a, I don't wanna... It's on a napkin?
:20:21. > :20:26.could improvise, but I wouldn't. It's pretty good. OK. Man. So far
:20:26. > :20:34.that's good. Yep. Man, you are looking so great tonight they
:20:35. > :20:44.should call you Chris O'Wow! LAUGHTER Good one, Kirsten. They
:20:45. > :20:48.
:20:48. > :20:53.call you Kristen Wiig because your hair is so pretty. LAUGHTER I just
:20:53. > :20:57.want to show you that. I went to the trouble. Let's look at the
:20:57. > :21:07.nominees. For Outstanding Debut by a British
:21:07. > :21:14.
:21:14. > :21:20.Lovely fireworks. Comedian and broader Joe was
:21:20. > :21:29.inspired by his love of '80s fantasy film to make this story of
:21:29. > :21:38.inner city kids versus extraterrestial monsters.
:21:38. > :21:45.I'm quite sweet really aren't I? Paddy Considine, Diarmid Scrimshaw
:21:45. > :21:51.for Tyrannosaur. Building on their BAFTA-winning Short Film Dog
:21:51. > :22:01.Altogether, he befriends a troubled widower played by Peter Mullin.
:22:01. > :22:03.
:22:03. > :22:09.What's your name? De Niro snir. Ralph Fiennes, Coriolanus. He shot
:22:09. > :22:19.his directorial debut in Belgrade. A visceral interpretation of
:22:19. > :22:20.
:22:20. > :22:26.Shakespeare's tragedy about a Will Sharpe, Tom Kingsley and Sarah
:22:26. > :22:30.Brocklehurst. Black Pond. Directors Will and Tom made this a real
:22:30. > :22:34.comedy on a budget of just �25,000,000. The boys also did
:22:34. > :22:41.their own post production and visual effects. It is sheer lunacy
:22:41. > :22:45.to have a banana at this hour. us, and a wonderful evening of
:22:45. > :22:52.love-making. Richard Ayoade. Submarine. As well as starring in
:22:52. > :22:59.the Channel 4 comedy The IT Crowd Richard has directed videos for the
:22:59. > :23:09.Arctic Monkeys and Vampire Weekend. Set in Wales Submarine is a stylish
:23:09. > :23:15.
:23:15. > :23:23.APPLAUSE No bias at all. OK. And the BAFTA
:23:24. > :23:33.goes to... Paddy Considine and Diarmid Scrimshaw for Tyrannosaur!
:23:34. > :24:03.
:24:03. > :24:09.I love yous too. I'm Rocky Balbao. That was quite a good impression. I
:24:09. > :24:14.surprised myself then! Thank you very much to Eric Wilton, the
:24:15. > :24:23.editor of the film, Nadia Stacey, Danny Gulliver, Dan Winch,
:24:23. > :24:31.everybody who worked on the crew. Samuel Bottomley, Sian break kin,
:24:31. > :24:37.Shali Carmen and the principal cast, Eddie Marzan, my hero party Mullin.
:24:37. > :24:47.Gary Oldman was there at the beginning of this journey, and the
:24:47. > :24:51.irrepressible and brilliant Olivia Colman. Thank you. APPLAUSE This is
:24:51. > :24:55.great. I don't feel this BAFTA belongs to me. I feel like it
:24:55. > :25:01.belongs to everybody who helped make Tyrannosaur. I probably will
:25:01. > :25:05.keep it, but I would like to thank Paddy for being an amazing writer
:25:05. > :25:14.and director to work with and I'm proud to count him as a friend.
:25:14. > :25:18.Thank you very much. APPLAUSE
:25:18. > :25:23.What an amazing film, Tyrannosaur. If you haven't seen it I do urge
:25:23. > :25:27.you to. Still to come, the awards for film, actor, actress and the
:25:27. > :25:33.Fellowship. Of course, this evening is one of celebration. As well as
:25:34. > :25:38.lauding the nominated films it is my great pleasure to congratulate
:25:38. > :25:45.BAFTA in Los Angeles on reaching the ripe old age of 256789 I'm sure
:25:45. > :25:50.they'll be partying wildly with macrobiotic brown rice and lashings
:25:50. > :25:54.of green team. We spend fraternal greetings. Here in the UK we are
:25:54. > :25:59.not light on celebrations ourselves. It is going to be a great year for
:25:59. > :26:03.Great Britain. Later on we shall be street partying like there's no
:26:03. > :26:07.tomorrow for the Queen's Diamond Jubilee, and running, hurdling and
:26:07. > :26:11.vaulting on to the sofa to watch the summer Olympics held here in
:26:11. > :26:17.the metropolis. It is with those great Games in mind that I embarked
:26:17. > :26:22.on a film pentathlon or film Athlon if you will, and took a closer look,
:26:22. > :26:26.in no special order, at the five great works nominated this year for
:26:26. > :26:35.Best Film. My first treat was the quite brilliant and much talked
:26:35. > :26:40.about tur deforce which has ravaged everyone who has seen it. Caps
:26:41. > :26:50.speaks in French I WEPT TO SEE NIT MY LOCAL CINEMA.
:26:51. > :27:14.
:27:14. > :27:19.UNFORTUNATELY THE NIGHT I WENT THE it's the story of a silent movie
:27:19. > :27:27.actor and he is a huge star. He meets a young lady. He is going to
:27:27. > :27:34.fall and she will become a huge star of the talkies.
:27:34. > :27:41.He is a joker, naive, a seducer. Sometimes arrogant. A nice guy. No
:27:41. > :27:46.instinct for the future. George Valentine cannot make the
:27:46. > :27:56.adaptation into talkies and resists. And he hits bottom. Parallel is the
:27:56. > :28:05.rise of a young actress who is going to become very famous. This
:28:05. > :28:14.girl Pepe Miller has got what was known as "it". She's definitely got
:28:14. > :28:24.star quality, which you nights her and George. It's a love story not
:28:24. > :28:44.
:28:44. > :28:52.only for a man and a woman. It is a APPLAUSE
:28:52. > :28:58.If the great Louis Prima hadn't written Sing, Sing, Sing the story
:28:58. > :29:00.would have been poorer. It proved that silence is indeed golden? We
:29:01. > :29:05.shall see. Spank me twice, ladies and gentlemen. If we haven't
:29:05. > :29:08.already chanced upon the award for Production Design. Making the
:29:08. > :29:12.presentation the quite brilliant actress who has made the transition
:29:12. > :29:22.from stage acting to screen acting almost as the they were more or
:29:22. > :29:25.
:29:25. > :29:31.less in some way related. Her most recent performance as able even --
:29:31. > :29:41.Abaileen forced them to recalibrate the critical claim innator. Ladies
:29:41. > :29:48.
:29:48. > :29:53.and gentlemen, the astonishing Creating the overall look of a film
:29:53. > :29:57.is a huge responsibility and something that requires the utmost
:29:57. > :30:02.dedication, creativity and vision. The Production Design teams working
:30:02. > :30:06.on the nominated films have all shown that those are qualities they
:30:06. > :30:16.possess in abundance. Let's take a look at their amazing
:30:16. > :30:16.
:30:16. > :31:15.Apology for the loss of subtitles for 170 seconds
:31:15. > :31:25.work. Harry Potter And The Deathly
:31:25. > :31:25.
:31:25. > :32:39.Apology for the loss of subtitles for 170 seconds
:32:39. > :32:43.APPLAUSE On behalf of Dante Ferreti,
:32:43. > :32:49.unfortunately he couldn't be here tonight, I would like to thank all
:32:49. > :32:56.of you for this amazing award and with all my heart, with all my
:32:56. > :33:06.heart, I like to thank Martin Scorsese because it's a huge honour
:33:06. > :33:09.
:33:09. > :33:14.to have been working with him. Congratulations.
:33:14. > :33:18.Well, we now come to the award for supporting actor and to present it,
:33:18. > :33:25.last year's winner of supporting actress, a pulsating and breath-
:33:25. > :33:28.taking British star, who is acting Royalty, in a lot of her films she
:33:28. > :33:34.acts Royalty, Alice, Queen Elizabeth, King's Speech or the
:33:34. > :33:39.Queen of the Death Eaters. She infuses every role with her unique
:33:39. > :33:46.energy, passion, passionate energy and energetic passion. Ladies and
:33:46. > :33:56.gentlemen, some people think that the world is going to Helena
:33:56. > :34:02.
:34:02. > :34:05.Hancarte, I would say it's going to APPLAUSE.
:34:05. > :34:10.Thank you. I think you are doing very well too and I also want to
:34:10. > :34:14.thank the Queen. OK, so the bigger the pot, the easier it is to act
:34:14. > :34:17.well because you can have some bad days and you can kind of get away
:34:17. > :34:20.with it -- the bigger the part. It won't make that much of a
:34:20. > :34:24.difference but when the part is smaller, you have to come in and
:34:24. > :34:34.nail it and pray you are not cut too much. So, the five actors who
:34:34. > :34:42.
:34:42. > :34:48.really nailed it this year in best Wonderfully loud music. Boom, boom,
:34:48. > :34:58.boom, boom... What kind of music's that? Probably house music.
:34:58. > :35:07.
:35:07. > :35:10.Who do you want? You, me and the governor, that's it. He's a fund-
:35:10. > :35:20.raiser. Won't be late. Tell him if he doesn't offer Thompson the
:35:20. > :35:20.
:35:20. > :35:26.Cabinet position, he's not going to Don't call it my duty. It's my
:35:26. > :35:36.duty... Ambition. The rest of us, me, the children, we can all go to
:35:36. > :35:45.
:35:45. > :35:55.hell. Don't worry about me. Where OK, thank you very much, we'll call
:35:55. > :35:57.
:35:57. > :36:01.you back. Thank you. Come on! Come They wouldn't stand for this
:36:01. > :36:05.nonsense at the Hippodrome in Eastbourne. You have to be patient
:36:05. > :36:10.with Marilyn. Trying to teach her to act is like trying to teach Urdu
:36:10. > :36:18.to a badger! APPLAUSE
:36:18. > :36:24.And the BAFTA goes to Christopher Plummer for Beginners. APPLAUSE OK,
:36:24. > :36:30.he's not here, I'll give it to him, but he's got this little message
:36:30. > :36:35.thank God, it says that BAFTA's spoken now and I feel more at home
:36:35. > :36:45.here than ever. My deepest thanks for your generosity, faith and
:36:45. > :36:49.
:36:49. > :36:54.wisdom. I'll get it to him. Thank Up ahead, the awards for actor,
:36:54. > :36:58.actress and director and we'll present the academy's greatest
:36:58. > :37:02.honour, the Fellowship. Now time for the second event in my film
:37:02. > :37:08.pentathlon, the superb emotional challenging journey set in Hawaii
:37:08. > :37:12.which is The Descendents, as I prefer to call it, my American
:37:12. > :37:17.cousins. My Twitter feed went ballistic for this film. I kept one
:37:17. > :37:25.which said "who in reality gets to live on a tropical island while
:37:26. > :37:31.plotting their next multibillion dollar deal?" from an at Richard
:37:31. > :37:35.Branson. Ladies and gentlemen, The Descendents. I'm ready to talk,
:37:35. > :37:44.ready to change. I'm ready to be a real husband and a real father.
:37:44. > :37:48.Just wake up. Please, Liz, just wake up. What you been going
:37:48. > :37:53.through, that's a tough deal. Trying to keep my head above water.
:37:53. > :37:57.A story about mat King, a father and a husband, who's not really
:37:58. > :38:05.great at either one of those things. I don't know what to do with her.
:38:05. > :38:09.Maybe if you spent more time with her, she wouldn't act like such a
:38:09. > :38:14.complete jazz. He is now forced to be in charge of these two girls who
:38:14. > :38:19.he doesn't know very well. Shut up, you motherless whore. Easy, half-
:38:19. > :38:24.pipe. Where'd you learn to talk like that?! It's kind of like a lot
:38:24. > :38:29.of teenagers' relationships with their fathers. I'll be more civil
:38:29. > :38:32.with him around. Don't ever do that to me again. She loves him and
:38:32. > :38:38.knows he has a lot to offer but she looks at him as kind of the child
:38:38. > :38:40.and she kind of takes on the parenting role and has her whole
:38:40. > :38:50.entire life. You really don't have a clue do you.
:38:50. > :38:52.
:38:52. > :38:58.Dad, mom was cheating on you. would like to know who the guy was
:38:58. > :39:03.that my wife was seeing. He's still in his own minutiae and Brian's
:39:03. > :39:13.able to pay attention to her. might not be able to hear this
:39:13. > :39:14.
:39:14. > :39:24.right now, but she was lonely. are you? This is a story of his
:39:24. > :39:40.
:39:40. > :39:44.A marvellous film, will The Descendents of The Descendents
:39:44. > :39:50.December have a BAFTA mask to take each other to court over? Only the
:39:50. > :39:56.presenter who opens the envelope will be automobile to tell. The
:39:56. > :40:03.legendary producer, Alexander Corder. Two exceptional actresses
:40:03. > :40:08.soon to be seen together playing bond girls in the new Bond film
:40:08. > :40:18.Skyfall, but even sooner that that, they'll be seen here. Please
:40:18. > :40:24.
:40:24. > :40:29.Good evening. As Bond women, we are here to celebrate British film.
:40:29. > :40:39.it's a huge honour to present this award for the Outstanding British
:40:39. > :40:50.
:40:50. > :40:58.Could be the real thing. If it's genuine, it's gold dust. Its topic
:40:58. > :41:08.ality makes it suspect. Smiley and suspicious, Percy. The circuit for
:41:08. > :41:18.me was a turnoff. I realised I was going, going, going, and I was way
:41:18. > :41:42.
:41:42. > :41:52.Listen, buddy, it's easy to misunderstand something when you
:41:52. > :41:53.
:41:53. > :42:03.hear it out of context. I didn't not know the context. I am the
:42:03. > :42:19.
:42:19. > :42:29.context. Shall I be her? Are you APPLAUSE
:42:29. > :42:29.
:42:29. > :43:10.Apology for the loss of subtitles for 170 seconds
:43:10. > :43:16.And the BAFTA is awarded to Tinker, Thank you. It's easy to be talented
:43:16. > :43:21.when you're surrounded by talented people and thank you so much for
:43:21. > :43:26.letting me do this. Tim. You are very welcome. First big thanks has
:43:26. > :43:32.to go to John Le Carre for a magnificent novel, then entrusting
:43:32. > :43:38.us with it to turn it into movie 30 years later. Thank you to Peter and
:43:38. > :43:44.Bridget for a beautiful screen play, a fantastic crew put together by
:43:44. > :43:48.Robin, fantastic cast led by the beautiful Gary Oldman. And thank
:43:48. > :43:51.you to Studio Canal for backing this picture, you came in and were
:43:51. > :43:56.there all the way, thank you to Olivier and Ron and all the others
:43:56. > :44:00.who work there. It wouldn't have been possible without brilliant
:44:00. > :44:05.direction and we are very fortunate to have a man who's forensic in
:44:05. > :44:15.detail and totally inspiring as a director. This award really belongs
:44:15. > :44:22.
:44:22. > :44:28.to him. Thank you so much. APPLAUSE Well, as we presented the award for
:44:28. > :44:31.supporting actor a short while ago, we must now maintain the
:44:31. > :44:36.equilibrium and present the supporting actress award. To
:44:36. > :44:41.perform the duties required of a presenter, we've got ourselves a
:44:41. > :44:46.bona fide global phenomenon. We've watched him grow from a boy into a
:44:46. > :44:50.man. He's bucked the child star trend and somehow avoided
:44:50. > :44:55.brattishness, eating disorders, addiction, bankruptcy and long-term
:44:55. > :45:02.incarceration to become a hugely successful and talented adult, a
:45:02. > :45:12.first in cinema history. Now starring in the chilling Woman
:45:12. > :45:14.
:45:14. > :45:18.APPLAUSE Thank you very much. I'm delighted
:45:18. > :45:21.to be here tonight to announce the winner of this award. I've had the
:45:21. > :45:26.pleasure of working with one of these actresses but I'm glad I
:45:26. > :45:36.don't have to choose the winner out of such anout standingly talented
:45:36. > :46:01.
:46:01. > :46:07.No hugging. I'm sorry. It's the A great actress like you has many
:46:07. > :46:11.other things on her mind. You think I'm a great actress? None of the
:46:11. > :46:21.rest of us know how to act for the camera. But you do. It's a rare
:46:21. > :46:37.
:46:37. > :46:47.That's his father? Where is he? I need to see you square on at all
:46:47. > :46:57.
:46:57. > :47:07.times. I get to come up with the I need the toilet. I need the
:47:07. > :47:24.
:47:24. > :47:34.APPLAUSE And the BAFTA is awarded to Octavia
:47:34. > :47:55.
:47:55. > :48:05.CHEERING Well, this is a surprise. Thank you
:48:05. > :48:06.
:48:06. > :48:12.to the BAFTAs. This is a dream and I have to say, Taylor and Branson
:48:12. > :48:21.Green, Michael and everybody at Disney, everybody at DreamWorks, my
:48:21. > :48:28.co-stars, I share this with Jessica Chastain, Viola, all of my scene
:48:28. > :48:33.partners. Wow! It's been said that The Help is an American movie about
:48:33. > :48:40.American problems and American history. I am so grateful so you
:48:40. > :48:45.for seeing past that, because surely oppression and strife knows
:48:45. > :48:49.no gender, no age, no sexual orientation, and in our case
:48:50. > :48:59.country, so I appreciate this. So much.
:49:00. > :49:12.
:49:12. > :49:15.Well, now, round three of my film Athlon saw me skipping along to see
:49:15. > :49:20.the chillingly subline Tinker Tailor Soldier Spy, which has
:49:21. > :49:24.already won an award for best British film. The twists and turns
:49:24. > :49:29.of this narrative roller coaster kept me on the edge of my seat,
:49:29. > :49:35.though others did find the plot hard to follow. Again I received a
:49:35. > :49:43.tweet. Please explain what it is all I'm about that, was from Gary
:49:43. > :49:49.Oldman. Ladies and gentlemen, Tinker Tailor Soldier Spy.
:49:49. > :49:57.There's a mole right at the top of the circus. He's been there for
:49:57. > :50:03.years. You are not talking about this kind of fantasy spies or Bond.
:50:03. > :50:09.It's a completely different thing, a different genre altogether.
:50:09. > :50:14.are no gadgets, no gizmos or Aston Martins. Have you got clearance for
:50:14. > :50:19.that? I'm not bloody chaining it up outside. I know it is one of five
:50:19. > :50:23.men. All I want from you is one code name. Smiley has to figure out
:50:23. > :50:31.these people based on how he understands them. It brings out the
:50:31. > :50:36.human element in all of this. did you make of it, Jim? The theory.
:50:36. > :50:46.He's a fascinating character because of his discretion, sobriety,
:50:46. > :50:47.
:50:47. > :50:53.self control. You don't see celebrated in other action spies.
:50:53. > :50:58.He lets everything come to him. The room temperature changes to him. He
:50:58. > :51:06.completely and utterly beGiles people into thinking he is harmless.
:51:06. > :51:10.I will do my utmost. In life you wouldn't notice him but under the
:51:10. > :51:19.microscope of the drama you scrutinise him and find that this
:51:19. > :51:29.man is seriously intelligent, wise and cool. I know who he is.
:51:29. > :51:30.
:51:30. > :51:35.APPLAUSE Tinker Tailor Soldier Spy, ladies
:51:35. > :51:38.and gentlemen, making a mountain of a film out of a mole. Hopeful of
:51:38. > :51:43.smiley faces all round come the end of the night, but there is no way
:51:43. > :51:47.of telling, unlike the British Secret Service security at BAFTA is
:51:47. > :51:51.unbreechable. We now stand at the brink of the award for Original
:51:51. > :51:55.Screenplay. To present it, two dynamite actors who would you
:51:55. > :52:00.believe are polar opposites when it comes to gender. He has galloped
:52:00. > :52:05.into the limelight with a sublime leading role in War Horse. While
:52:05. > :52:10.aged 11 she dived into it at Merhaids and has remained at the
:52:10. > :52:20.front of the pack ever since. Jeremy Irvine and Christina Ricci!
:52:20. > :52:23.
:52:23. > :52:27.APPLAUSE It begins with a blank page. In
:52:27. > :52:32.time those words become the dialogue you hear, the settings you
:52:32. > :52:36.see and the emotions you feel when they are brought to life on screen.
:52:36. > :52:40.Hundreds of drafts and years of rewrites can go into perfecting
:52:40. > :52:44.every line and stage direction that we as actors can destroy in a
:52:44. > :52:54.moment just by thinking that we know best. Here are the nominees
:52:54. > :53:08.
:53:08. > :53:18.Watch out. She's on the prowl. Eat your egg.
:53:18. > :53:19.
:53:19. > :53:23.Goodness. There you are. It's fine for your father and I to
:53:23. > :53:27.disagreement that's what a democracy is. He defends the right-
:53:28. > :53:31.wing of the party and I think you have to be like a demeanted lunatic,
:53:31. > :53:41.but it doesn't mean we don't respect each other's views, am I
:53:41. > :53:44.
:53:44. > :53:49.Excuse me. Street fighting. Your lads are seizing drugs with a
:53:50. > :53:59.street value of $10 million. I wonder what street it is you are
:54:00. > :54:26.
:54:26. > :54:32.buying your cocaine on as it is not This is your husband? No. No. I
:54:32. > :54:39.don't know him, I'm sorry. Do you want to go for a walk later?
:54:39. > :54:49.can't. I can't, I'm sorry. APPLAUSE
:54:49. > :54:49.
:54:49. > :54:59.And the BAFTA goes to... Michel Hazanavicius.
:54:59. > :55:12.
:55:12. > :55:18.Thank you. Thank you for the BAFTA. I'm very surprised, because so many
:55:18. > :55:24.people thought there was no script, because there was no dialogue.
:55:24. > :55:29.English people are very clever. LAUGHTER Congratulations to you.
:55:29. > :55:33.And I want to thank all the people who worked on that movie, all the
:55:33. > :55:35.cast, the crew, the producer, everyone. Everybody made that movie
:55:35. > :55:45.for a good reason. Thank you very much.
:55:45. > :55:49.
:55:49. > :55:53.APPLAUSE Well, we come now to the
:55:53. > :56:01.Outstanding British Contribution to Cinema award, which is named in
:56:01. > :56:07.honour of Sir Michael Walcombe. To make the presentation an Oscar-
:56:07. > :56:14.winning writer, director, who attacks everything he does with
:56:14. > :56:24.unstoppable drive and unquenchable enthusiasm. I'm delighted to
:56:24. > :56:24.
:56:24. > :56:30.welcome the almost mythical Billy Bob Thornton. APPLAUSE
:56:30. > :56:34.OK, the moment you've all been waiting for. An inarticulate guy
:56:34. > :56:44.who can see about four feet in front of him, with an IQ of just
:56:44. > :56:48.under 50 to present an award. LAUGHTER And here we go. The re
:56:48. > :56:53.sipper... I told you. For Outstanding British Contribution to
:56:53. > :56:58.Cinema is a supremely talented man who is very much an actor's actor,
:56:58. > :57:05.someone who clearly loves what he does and would be just as happy
:57:05. > :57:11.performing in a room above a pub than performing in the biggest
:57:11. > :57:15.films. A Man For All Seasons, Midnight Express, Alien, the
:57:15. > :57:21.Elephant Man, Nineteen Eighty-Four, the Harry Potter films and Tinker
:57:21. > :57:25.Tailor Soldier Spy. Those roles alone can give you an indication of
:57:25. > :57:29.his incredible versatility. He brings a distinction and quality
:57:29. > :57:33.that takes him out of the ordinary and into the extraordinary. I've
:57:33. > :57:37.known this guy for 20-odd years and recently had the pleasure and
:57:37. > :57:43.honour of directing him. Here is how you do it. You do a couple of
:57:43. > :57:48.takes and you say, "John, are you OK?" He says, "Are you happy?" And
:57:48. > :57:58.I say, "I'm astounded." That's the way you direct him. Let's watch the
:57:58. > :58:04.
:58:05. > :58:14.work of a guy who is ridiculously I think it is clear that we can
:58:15. > :58:17.
:58:17. > :58:21.I want this country to realise that we stand on the edge of oblivion. I
:58:21. > :58:31.want every man woman and child to understand how close we are to
:58:31. > :58:39.
:58:39. > :58:46.chaos. I want everyone to remember Is this how we fail? Something will
:58:46. > :58:53.defeat you. The best thing to do is get your ass out of here. Yeah, but
:58:53. > :59:03.how. Catch the Midnight Express. am not an animal.
:59:03. > :59:04.
:59:04. > :59:08.I am a human being. I think it's a bleeding miracle
:59:08. > :59:18.that man should have planted love into every man and every woman,
:59:18. > :59:21.
:59:21. > :59:29.even though in some of us it's as Look. I cut that with a rusty blade
:59:29. > :59:39.before I became an informer. A film can change the way people think.
:59:39. > :59:46.
:59:47. > :59:50.If you must know, how completely, Look inwarned ask yourself not if
:59:50. > :00:00.there's anything inside that you want, but whether there's anything
:00:00. > :00:16.
:00:16. > :00:20.inside that you have not yet APPLAUSE
:00:20. > :00:30.So, ladies and gentlemen, the BAFTA Award for outstanding British
:00:30. > :01:05.
:01:05. > :01:15.contribution for cinema goes to, CONTINUING APPLAUSE
:01:15. > :01:45.
:01:45. > :01:53.What am I to do? I speak? I speak, yes! Thank you.
:01:53. > :02:02.Heaven alone, sit down. Who would have thought all those years ago
:02:02. > :02:12.that I would be sharing the stage of the Royal Opera House Covent
:02:12. > :02:16.Garden with Billy Bob Thornton?! How fabulous. Anyway, one of the
:02:16. > :02:22.difficult things, of course, is my being given an award that you know
:02:22. > :02:31.you are going to get and not having to wait for the envelope to be
:02:31. > :02:38.opened is that you are supposed to have had the time to write a speech.
:02:38. > :02:44.Well, I did but, without giving away too much information, I was
:02:44. > :02:52.getting up one morning last week and, on my way to the bathroom, and
:02:52. > :02:55.passing the end of the bed and my wife said to me, can I say
:02:55. > :03:02.something to you, you remember the other day you read out that speech
:03:02. > :03:05.that you are going to give on Sunday, and I said yes, yes, are
:03:05. > :03:15.you sure you are not going to be cross, she said. I said no, I'm not
:03:15. > :03:19.
:03:19. > :03:26.going to be cross, what about it and she said well, don't. So I
:03:26. > :03:30.thought well, that's all right, clearly you didn't like it but what
:03:30. > :03:37.am I going to do, I've got to say something. She said, what I would
:03:37. > :03:42.like to see you do is stand just as you are standing now in front of
:03:42. > :03:50.all those peers and have been directly or indirectly responsible
:03:50. > :03:57.for giving you this honour and simply say "thank you". I have
:03:57. > :04:03.taken her advice. And I am saying to all of you indirectly and
:04:03. > :04:07.directly, thank you, particularly, however, to all those directors
:04:07. > :04:17.that have given me the opportunity to play some of the most wonderful
:04:17. > :04:20.
:04:20. > :04:28.parts that I would never in a million years have thought of for
:04:28. > :04:31.myself. It is the reason that I'm standing here is because I am the
:04:31. > :04:41.addition basically of their imaginations. So I thank them all
:04:41. > :04:59.
:04:59. > :05:05.from the bottom of my heart and the We come now to the fourth of the
:05:05. > :05:11.five films of my film athlon, the triumph over adversity is is The
:05:11. > :05:14.Help. This tackles the delicate area of racial equality with
:05:14. > :05:22.courage and emotional depth, at least according to my maid whom I
:05:22. > :05:27.sent to see it for me - no, don't be silly, this is - so sorry, this
:05:27. > :05:31.is another work that really does restore one's faith in the future
:05:31. > :05:39.of filmmaking, it's quite something. Ladies and gentlemen, watch this,
:05:39. > :05:45.The Help. The Help is about unlikely women all coming together
:05:45. > :05:50.to create change. The Help was the chance for me to be in a movie that
:05:50. > :05:58.imluem naiting a part of our history that we have a tendency to
:05:58. > :06:03.be silent about -- illuminating. focuses around certain characters.
:06:03. > :06:08.It's very hard for Abileen to tell her story because she's been told
:06:08. > :06:14.she's invisible. All of a sudden someone says, who are you. I want
:06:14. > :06:18.to interview you. Just graduated with a degree in journalism.
:06:18. > :06:23.people from very different worlds and in dangerous circumstances come
:06:23. > :06:30.together and enter each other's lives. I thought I might write my
:06:30. > :06:33.stories down and read them to you. You said you where about what
:06:34. > :06:40.disturbs me. I thought you would write something from the point of
:06:40. > :06:44.view of The Help. I was raised by a coloured woman. We love her and she
:06:45. > :06:50.loves us, but they can't even use the toilets in our houses. Are you
:06:50. > :06:54.in there? You are fired! She's vocal because she refuses to be
:06:54. > :06:59.invisible. It's an interesting dynamic. They start an expose of
:06:59. > :07:05.sorts with all the maids in Jackson, Mississippi. All right, I'm gonna
:07:05. > :07:09.do it. We all are. I got to come up with the questions too? Oh.
:07:09. > :07:19.takes both of the races to work together to get that story out
:07:19. > :07:27.
:07:27. > :07:33.APPLAUSE Magnificent piece of work. Will the
:07:33. > :07:37.Help clean Uptonite and do the dishes, bake the cakes, change the
:07:37. > :07:44.nappies? Anticipation is mounting and all will be revealed soon. Now,
:07:44. > :07:47.we help ourselfs to our next category which is the Orange
:07:47. > :07:52.Wednesday's Rising Star Award created in honour of the legendary
:07:52. > :07:55.casting director Mary Sellway, by far the most prestigious mid-week
:07:55. > :07:59.based accolade you can receive. This award is particularly special
:08:00. > :08:03.because it's the only one in which the great British public are
:08:03. > :08:07.allowed to phone in and vote for the winner. Suffice to say, there
:08:07. > :08:12.are five young actors in this hall whose mothers have very large phone
:08:12. > :08:18.bills. To present the award, we have a star already risen, fresh
:08:19. > :08:28.from her explosive performance in Drive, the very lovely and talented
:08:29. > :08:37.
:08:37. > :08:42.APPLAUSE To be recognised by the industry is amazing but without the
:08:42. > :08:46.cinema-goers, none of us would have a job, so this next award is
:08:46. > :08:56.particularly special because it is the cinema-goers who chose the
:08:56. > :08:59.
:09:00. > :09:05.winner. Let's see who they've been He has great sensitivity and
:09:05. > :09:10.passion. Tenderness. I would do anything to be in a film.
:09:10. > :09:20.talent is so overwhelming. Couldn't imagine anybody better. You can go
:09:20. > :09:26.
:09:26. > :09:31.now, Carl. Oi,... Adam's grown up in areas much like I've grown up in
:09:31. > :09:37.and you have the ability to become what people see as quite vicious or
:09:37. > :09:43.people see as a monster, doesn't mean that's the way you are.
:09:44. > :09:48.mumsy You are an idiot, Kenneth. Don't talk to me like that, man.
:09:49. > :09:53.He's extremely handsome, he looks very, very period. Scott
:09:53. > :09:57.Fitzgerald... Probably tired of people saying that he looked
:09:57. > :10:03.contemporary. I'm no more than an honest stolen relic locked up here
:10:03. > :10:13.until you might have use for me. Can we not discuss my public life
:10:13. > :10:14.
:10:14. > :10:24.in private... I just found the sexy guy with a twinkle in his eye.
:10:24. > :10:31.
:10:31. > :10:36.fun to watch him work. You're big. Hey, guys. He has the ability to do
:10:36. > :10:43.something most of us can't do, which is to be funny and a little
:10:43. > :10:49.sexy. Come on. So charming, nice and funny and a great improviser.
:10:49. > :10:59.In a world of complete darkness, the sight of the Bank of England,
:10:59. > :11:02.
:11:03. > :11:12.The sight of the blind but the blind can see.
:11:13. > :11:35.
:11:35. > :11:40.APPLAUSE Wow. This is mad, this is crazy, I
:11:40. > :11:47.can't believe I'm in the same place as people like Brad Pitt. This is
:11:47. > :11:53.so surreal. Thank you, thank you to everyone out there, you know. My
:11:53. > :11:59.agent, everyone at the management, Danny and Billy, my co-writer, he's
:11:59. > :12:04.in the audience, all the cast and crew. Thank you to BAFTA for this
:12:04. > :12:09.because for me it means acceptance and it's not just a win for me,
:12:09. > :12:12.it's a win for the underdog and it's a win for any young person out
:12:12. > :12:17.there that's trying to better themselves and that has a dream.
:12:17. > :12:27.This means a lot. Thank you so much. And thank you to the general public.
:12:27. > :12:36.
:12:36. > :12:41.APPLAUSE Poor innocent child has yet to
:12:41. > :12:46.learn the price that's paid for his hours in front of the press.
:12:46. > :12:50.Still, we come now face-to-face with our next category, documentary,
:12:50. > :12:55.the genre that each year grows in popularity, status and interest. To
:12:55. > :13:01.present the award, a supremely gifted actor, baker and unit
:13:01. > :13:06.cyclist, starred in a ga still-on and three movies with unforgettable
:13:06. > :13:11.performances in gangster one, A Beautiful Mind, that the Da Vinci
:13:11. > :13:16.Code and he played the voice of Jarvis in the Iron Man, but he's so
:13:16. > :13:26.much more than a voice, he has arms, legs, nipples and ears which give
:13:26. > :13:32.
:13:32. > :13:37.you the perfectly formed Paul APPLAUSE
:13:37. > :13:41.Good evening. I'm honoured to be making the presentation for this
:13:41. > :13:51.year's best documentary in what has been an exemplary year for the
:13:51. > :13:54.
:13:54. > :14:04.genre. That's take a look at the remarkable nominations. George got
:14:04. > :14:12.
:14:12. > :14:15.his guitar out and played this It just happened. There was no
:14:15. > :14:25.family discussion about should we, shouldn't we, you know, it was just,
:14:25. > :14:26.
:14:26. > :14:31.oh, we're having a chimp, we are going to teach it sign language.
:14:31. > :14:41.Ranked among the all-time greats. How do you feel about being world
:14:41. > :14:51.
:14:51. > :15:01.champion? It's not a bad feeling at And the BAFTA goes to and I'm
:15:01. > :15:35.
:15:35. > :15:38.really pleased about this, Asif Frustratingly I just used up my
:15:38. > :15:44.witty and pithy speech on Tinker Tailor Soldier Spy. Obviously no-
:15:44. > :15:48.one noticed I didn't say a word but... LAUGHTER I am really, really,
:15:48. > :15:53.really thrilled that you have honoured this film with an award,
:15:53. > :16:01.because this film was made by all of us with love. And all that we've
:16:01. > :16:08.got back from it is love. That deeply cynical word commercialality
:16:08. > :16:14.which I never utter was never even considered in this situation. We
:16:14. > :16:18.made this because we loved it and you showed the love back. Thank you
:16:18. > :16:28.everybody. We want to thank everybody at Working Title. We had
:16:28. > :16:28.
:16:28. > :16:33.never done a documentary before. We want to thank Universal. We want to
:16:33. > :16:39.thank the Formula One and motor racing community and the family and
:16:39. > :16:45.friends of Ayrton Senna for helping us get the film made, and most
:16:45. > :16:52.importantly we want to thank Ayrton Senna for living sadly such a short
:16:52. > :16:57.life. Thank you very much. APPLAUSE
:16:57. > :17:01.This is really, really, really wanted to thank the Senna family
:17:01. > :17:06.for trusting us with his legacy. When your son dies in circumstances
:17:06. > :17:10.like that, and you get a bunch of guys who turn up and say, "Listen,
:17:10. > :17:14.we want to tell the story, we think we are very sensitive, we think we
:17:14. > :17:17.will absolutely tell it right" it takes a lot of guts to support
:17:17. > :17:27.people like that. I would like to thank them for doing that.
:17:27. > :17:32.
:17:32. > :17:38.Believe me, if you know nothing about Formula One racing and you
:17:38. > :17:40.are not vaguely interested in motor sports you will find Senna one of
:17:40. > :17:45.the most interesting documentaries you will ever watch.
:17:45. > :17:49.Ladies and gentlemen, we come now, to take an all too brief few
:17:49. > :17:55.moments to remember those from our industry who've sadly been taken
:17:55. > :17:59.from us this year. Though they may no longer be here it is true, as
:17:59. > :18:04.Cicero said, that memory is the Treasury and guardian of all things.
:18:04. > :18:09.The faces you will see of the men and women who've died this year are
:18:09. > :18:15.of beloved colleagues who have enriched our world beyond measure.
:18:15. > :18:21.We thank them and we bid them sad and fond farewell.
:18:21. > :18:26.How do you put it around your neck? You don't, lovey, you put it around
:18:26. > :18:36.your head. You must think I was born yesterday. Sometimes there is
:18:36. > :18:53.
:18:53. > :19:03.Broken wings mend in time. One day Life has all kinds of things. There
:19:03. > :19:09.
:19:09. > :19:17.Forgive me my dear fellow but I cannot resist the dramatic and the
:19:17. > :19:22.setting was so perfect I succumbed to terch takes. This way, what son.
:19:22. > :19:32.-- temptation, this way, Watson. With great power comes great
:19:32. > :20:04.
:20:04. > :20:10.I love ya. Why did you love me? I want you to get up right now and
:20:10. > :20:20.go to the window, open it and stick your head out and yell, "I'm as mad
:20:20. > :20:26.
:20:26. > :20:36.as hell and I'm not going to take A man needs a little madness or
:20:36. > :20:40.
:20:41. > :20:46.else... Or else? He never dares cut And I'm going to howl it out and
:20:46. > :20:56.I'm not going to give a damn what's I do and I'm going to make the
:20:56. > :21:04.
:21:04. > :21:12.biggest goddamn explosion you ever APPLAUSE
:21:12. > :21:15.So many I had not known that death had undone so many. Our next
:21:15. > :21:18.category is Adapted Screenplay. To present it we have a Hollywood
:21:18. > :21:28.great on screens big and small. Ladies and gentlemen, please
:21:28. > :21:34.
:21:34. > :21:44.welcome star of the Town, Shrek and Sucker Punch. It's mad man John
:21:44. > :21:48.Hamm. APPLAUSE Myriad challenges arrive
:21:48. > :21:54.when attempting to adapt an already successful piece of literature into
:21:54. > :22:01.an equally successful film. Chief amongst these challenges is were
:22:02. > :22:11.you it in all the fart jokes. LAUGHTER It's harder than it sounds.
:22:12. > :22:19.
:22:19. > :22:25.Here are five nominees who live up Hi. I'm Brian. Brian. We may have
:22:25. > :22:35.met before. Matt King. My wife is Elizabeth King. I think you may
:22:35. > :22:36.
:22:36. > :22:46.have met her too. This is our All you do is lie to try to get
:22:46. > :22:46.
:22:46. > :22:52.what you want. You are a Godless woman. And you tried. Ain't you
:22:53. > :22:56.tired? Everybody who turns 18 or graduates
:22:56. > :23:02.High School gives two years of service to their country. For that
:23:02. > :23:06.your education is paid for, period. The beauty is that everybody over
:23:06. > :23:13.18 who is past the age of eligibility will be for it. And all
:23:13. > :23:22.of the others? They can't vote. You survived this long I suppose
:23:22. > :23:27.because of your ato change sides. Serve any master.
:23:27. > :23:33.-- your ability to change sides. What's this about George? It is
:23:33. > :23:38.about which master you've been serving.
:23:38. > :23:44.Moneyball. Be straight with them. No fluff, just facts. "Pete, I have
:23:44. > :23:49.got to let you go. Jack's office will handle the details." That's
:23:49. > :23:55.it? Really? Would you rather get a bullet to the head or five to the
:23:56. > :24:05.chest and bleed to death? Are those my only two options?
:24:06. > :24:07.
:24:07. > :24:17.APPLAUSE And the BAFTA is presented to...
:24:17. > :24:42.
:24:42. > :24:45.Tinker Tailor Soldier Spy. Oh. I would like to thank The
:24:45. > :24:51.Artist for not being adapted from a book. LAUGHTER
:24:51. > :25:00.APPLAUSE There's a lot of other people I
:25:00. > :25:07.need to thank. Everyone at Working Title. Studio Canal, Focus Features,
:25:07. > :25:10.my producers, an incredible cast led by Gary Oldman, and our
:25:10. > :25:15.wonderful director, Tomas Alfredson. Every award for Tinker Tailor
:25:15. > :25:19.Soldier Spy should have your name on it, and everyone standing on the
:25:19. > :25:24.shoulders of a giant, John Le Carre, who was so supportive. I though
:25:25. > :25:29.they will all understand if I accept this award on behalf of
:25:29. > :25:34.another collaborate ore. My wife Bridget O'Connor died before Tinker
:25:34. > :25:39.Tailor Soldier Spy was made. She wrote all the good bits and I made
:25:39. > :25:49.the coffee. Bridget, I love you. I miss you. This is for you. Thank
:25:49. > :25:59.
:25:59. > :26:03.you so much is. APPLAUSE Now, don't forget coming soon to an
:26:03. > :26:09.awards ceremony near you we'll be finding out who will be floating
:26:09. > :26:14.home with the BAFTAs for actor, actress and director, and we'll be
:26:14. > :26:19.presenting the academy's Fellowship. But now the fifth and final. What
:26:19. > :26:23.is so genuinely and excited and enthralled me is the variety on
:26:23. > :26:28.display amongst the five nominees for Best Film this year. They are
:26:28. > :26:32.proof of the continuing biodiversity and richness that
:26:32. > :26:37.characterises today's generation of film makers. Take this, the
:26:37. > :26:43.brutally magnificent and absorbing Drive Less-skilled hands this could
:26:43. > :26:47.be a routine car thriller, the kind of a picture many might think form
:26:47. > :26:52.layic with nothing new to offer. As it is Drive is one of those films
:26:52. > :26:57.whose quality and style never leaves you. Flying Ryanair can be,
:26:57. > :27:04.how shall I put it, an experience, one I shall certainly never have
:27:04. > :27:09.again. But driving Ryan Gosling, well, watch this. You give me a
:27:09. > :27:19.time and a place, I give you a five minute window. If anything happens
:27:19. > :27:23.
:27:23. > :27:29.in that five minutes I'm yours. I don't carry a gun. I drive.
:27:29. > :27:39.Driver is a stuntman. If you put him behind the wheel there is
:27:39. > :27:41.
:27:41. > :27:51.nothing he can't do. Driver gets involved in more neverarious things.
:27:51. > :27:58.
:27:58. > :28:04.He doesn't understand the difference until he realises that
:28:04. > :28:09.he falls in love and it is through that process that the machine
:28:09. > :28:15.eventually takes over the human side. Driver is quite an enigmatic
:28:15. > :28:19.character. We all have theories who he is but it is best to leave it up
:28:19. > :28:25.to the audience. You have this family dram ma. At the same time
:28:25. > :28:33.you've got this intense, violent, visceral revenge film. It is like a
:28:33. > :28:39.dream that turns into a nightmare. APPLAUSE
:28:39. > :28:44.Just when you think that a genre has become tired, along comes a
:28:44. > :28:50.piece of film making like Drive and you remember why you love cinema so
:28:50. > :28:55.much. Five more to come ladies and gentlemen, in the shape of awards
:28:55. > :29:00.for actress, actor, film and the Fellowship. The first is the award
:29:00. > :29:09.for director. It is named in honour of the great Sir David Lean. To
:29:09. > :29:19.present it is a man I wrote ten paragraphs to express my feelings
:29:19. > :29:27.
:29:27. > :29:32.for you. But what's the point? Sod Thank you. The director is the most
:29:32. > :29:39.important force on any film. We gather in support of their vision
:29:39. > :29:49.because they are our authors. Here are this year's nominees in Best
:29:49. > :30:19.
:30:19. > :30:29.Got half a story on the table in my club. Tell me? He's been shot.
:30:29. > :30:32.
:30:32. > :30:37.What's this about? You know where you are spending the afterlife?
:30:37. > :30:47.yes, I do, as a matter-of-fact. I'm going straight to hell. Eternal
:30:47. > :30:47.
:30:47. > :31:28.Apology for the loss of subtitles for 170 seconds
:31:28. > :31:38.damnation, the whole bit. Thank you APPLAUSE
:31:38. > :32:02.
:32:02. > :32:12.And the BAFTA goes to... Thank you again. I'm so proud that
:32:12. > :32:12.
:32:12. > :32:17.Brad Pitt pronounced my name so well. Thank you. The recognition of
:32:17. > :32:22.this is the most important and I know that I will have some bad days
:32:22. > :32:32.because I'm a director so I'll have some bad days, but I will remember
:32:32. > :32:35.
:32:35. > :32:41.this day, today, as a good day and to thank you very much, thank you.
:32:41. > :32:45.APPLAUSE Well, women who act for
:32:45. > :32:49.understandable reasons prefer usually to be called actors, not
:32:49. > :32:53.actresses, that is until it's awards time and they are prepared
:32:53. > :32:58.to make an exception and be nominated into the category Best
:32:58. > :33:03.Actress. We have now arrived at that category. In an ideal world,
:33:03. > :33:11.to present the award, I would have been able to introduce last year's
:33:11. > :33:14.winner of Best Actor, the star of a sing Single Man, the King's Speech,
:33:14. > :33:18.so successful that we would have been bowled over by his presence
:33:18. > :33:28.with us. But ladies and gentlemen, it turns out we do live in an ideal
:33:28. > :33:36.
:33:36. > :33:40.world because behold, the Colin Good evening. It's my great
:33:40. > :33:45.privilege to present in a category in which I've been grievously
:33:45. > :33:55.overlooked. Actress in a leading role. Let's have a look at the
:33:55. > :34:26.
:34:26. > :34:33.Just 24 years old, the best part of a person's life. Anniversary of his
:34:33. > :34:39.death comes every year and I can't breathe. But to everyone else, it's
:34:39. > :34:44.just another day in Bridge. Perhaps the Right Honourable gentleman
:34:44. > :34:49.could attend more closely to what I'm saying, rather than how I am
:34:49. > :34:59.saying it. He may receive a valuable education in spite of
:34:59. > :34:59.
:34:59. > :36:33.Apology for the loss of subtitles for 170 seconds
:36:33. > :36:38.And the BAFTA goes to... Meryl Oh, my God. Thank you so much. That
:36:38. > :36:44.couldn't be worse, that couldn't have gone worse!
:36:44. > :36:50.Oh, gosh. Somebody once said, I think it was Margaret Atwood,
:36:50. > :36:56.actually I always say it was her but I don't even know if he said
:36:56. > :37:05.this, but somebody once said, the fate of the well known is to be
:37:05. > :37:13.misunderstood. The ambition of this film, The Iron Lady, was to look at
:37:13. > :37:20.the life of The Iron Lady from the inside out and to locate something
:37:20. > :37:27.real. Something real maybe hidden but truth NFL the life of someone
:37:27. > :37:37.that we've all decided we all know everything about already. I'm very
:37:37. > :37:41.
:37:41. > :37:48.proud of the film and I owe so much to Abi Morgan, Pathe, Damian Jones,
:37:48. > :37:55.for sticking with this, for asking and expecting so much of me. I want
:37:55. > :38:00.to thank the soulful Jim Broadbent, the divinely gifted Olivia Coleman,
:38:00. > :38:07.my beloved moths, all 300 beautiful actors and crew that worked on this
:38:07. > :38:12.Bonn derful film. Half of me is Streep but the other half is win
:38:12. > :38:22.kin son from Lincolnshire, so I come by it, honestly this part,
:38:22. > :38:31.
:38:31. > :38:34.thank you very much. I'm so APPLAUSE
:38:34. > :38:39.Oh, Prince Charming tried the slipper on and it fitted Cinderella
:38:39. > :38:43.at once. What a happy ending! It follows as the night, the Dame that
:38:43. > :38:47.if there is to be an award for Best Actress, there should also be one
:38:47. > :38:52.for Best Actor. To remind us of the nominees and announce the chosen
:38:52. > :38:56.one, a true Hollywood superstar just knowing she's standing back
:38:56. > :39:03.there clutching the BAFTA mask and golden envelope makes me all
:39:03. > :39:10.fluttery, if I say Vanilla Sky, Pirates of the Caribbean, you will
:39:10. > :39:20.know who I mean. She's so popular, they've even named a popular beach
:39:20. > :39:30.
:39:30. > :39:40.heath and leisure type common after Good evening. Let's take a look at
:39:40. > :39:41.
:39:41. > :39:51.the work that the amazing actors nominated for lead actor have done.
:39:51. > :39:58.
:39:58. > :40:08.What's your longest relationship? Four months. To commit, you would
:40:08. > :40:13.actually have to give it a shot. did.
:40:13. > :40:18.We spend our lives looking for the whacknesss in one another's systems.
:40:18. > :40:28.Don't you think it's time to recognise there is this Little
:40:28. > :40:42.
:40:42. > :40:52.worse on your side as there is on This is a process, it's a process,
:40:52. > :40:58.
:40:58. > :41:08.it's a process. OK. I hate losing, I hate it. I hate losing more than
:41:08. > :41:18.
:41:18. > :41:28.I even want to win. George Clooney, Goodbye, my love., my friend, my
:41:28. > :41:36.
:41:36. > :41:46.pain, my joy. Goodbye. APPLAUSE And the BAFTA goes to... Jean
:41:46. > :42:18.
:42:18. > :42:28.Thank you. Michelle, what have you done to me? It's your fault. To be
:42:28. > :42:28.
:42:28. > :42:34.in the company of such illustrious and talented nominees, Brad Pitt,
:42:34. > :42:39.Gary Oldman, Michael Fassbender, George Clooney, I'm very, very
:42:39. > :42:49.proud and I'm sorry, I'm shocked. To receive this award from the
:42:49. > :42:52.
:42:52. > :42:59.country of Sir Laurence Olivier, William Webb-Ellis and Benny Hill,
:42:59. > :43:08.it's great. Thank you to those who took the risk of picking a black-
:43:08. > :43:18.and-white silent movie. You know who you are. Thank you to Nigel and
:43:18. > :43:21.
:43:21. > :43:31.of course to BAFTA and, as... Sorry And as Buster keeton would say,,
:43:31. > :43:41.
:43:41. > :43:47.thank you, thank you very much, thank you. Time for the penultimate
:43:47. > :43:50.award of the evening, Best Film. I don't mind telling you, we went
:43:50. > :43:54.insane when we thought about who might present this award. We could
:43:54. > :44:02.have chosen one of the greatest film stars on earth, but we didn't.
:44:02. > :44:08.As I say, we went mad, we chose two of the greatest film stars on earth,
:44:08. > :44:13.like really good coffee, great surfing beaches and frankly
:44:13. > :44:23.mediocre cricket, they come from the land Down Under. Ladies and
:44:23. > :44:37.
:44:37. > :44:43.gentlemen, Hugh Jackman and Russell G' day everyone. Very brave of them
:44:43. > :44:50.to give over this stage to a couple of Aussies. We might start saying
:44:50. > :44:57.things like, call this a locking opera house?! Perish the thought,
:44:57. > :45:07.all right. Now, I am quivering with irrepressible mouth-watering
:45:07. > :45:09.
:45:09. > :45:13.delirium at the undulating prospect of this most splendifirous. That's
:45:13. > :45:16.Stephen's script. Thank God, I didn't auns bloody word. Nobody
:45:16. > :45:23.does. All right. I think that's yours. Thank you. So, strewth,
:45:23. > :45:33.cobbers, there's some fair dinkum films nominated in this bopbz
:45:33. > :45:33.
:45:33. > :45:37.Erekat glory, yes. Great script. Thanks -- bopbzer -- bonzer
:45:37. > :45:41.category. We have had a look at the five great movies nominated before
:45:41. > :45:51.Best Film. Before we find out which one will be taking home the BAFTA,
:45:51. > :46:18.
:46:18. > :46:28.let's remind ourselves of them once You can write my obituary. Dead,
:46:28. > :46:48.
:46:48. > :46:58.Who is he? Big Gar man? Thief. -- And the BAFTA for Best Film goes
:46:58. > :47:30.
:47:30. > :47:35.Wow! A beautiful room. Thank you, thank you very much. Thank you
:47:35. > :47:40.Michel for doing such a great picture. I want to thank Nigel
:47:40. > :47:45.Green for doing this movie here. I want to give a special thanks to
:47:45. > :47:53.someone who transformed the silence into a King's speech, Mr Harvey
:47:53. > :48:00.Weinstein. He's been very good for this movie. We will never forget it
:48:00. > :48:03.was silent and black and white. Thank you to Berenice Bejo. She's a
:48:03. > :48:06.great actress. And we are grateful that all the people who helped us
:48:06. > :48:13.in this movie are here in this room. Thank you so much.
:48:13. > :48:19.APPLAUSE Oh, goodness graish use me, ladies
:48:19. > :48:22.and gentlemen. Before we go -- goodness gracious me, ladies and
:48:22. > :48:29.gentlemen, before we go there is the Fellowship. To present the
:48:29. > :48:38.award we have a quite extraordinary Oscar nominated actor in a career
:48:38. > :48:46.spanning an age-defying 60 years of film making in an ocean of roles
:48:46. > :48:51.which include Ming the Merciless, and Shutter Island. If those
:48:51. > :48:57.weren't enough he is ensured immortality with his incredible 13
:48:57. > :49:02.collaborations with the imperishable Ingmar Bergman. Not
:49:02. > :49:08.only that, for those who know Sweden there is a traditional Chris
:49:08. > :49:17.drink called Glug. I was given the other day this great man's
:49:17. > :49:27.legendary recipe. It is called UN Max's Glug. It is unsurpassably
:49:27. > :49:44.
:49:44. > :49:53.magical and remarkable. Please Max Max Von Sydow Thank you very
:49:53. > :49:59.much. Ladies and gentlemen, to be awarded
:49:59. > :50:06.the Fellowship, the highest honour bestowed by this academy, you need
:50:06. > :50:11.to have made a unique ground- breaking and extraordinary
:50:11. > :50:20.contribution to the art of film making. Well, tonight's recipient,
:50:20. > :50:24.ladies and gentlemen, has done just that and much, much more. He is
:50:24. > :50:33.unquestionably the greatest American film maker of his
:50:33. > :50:37.generation. A director whose technical mastery and innovation
:50:37. > :50:45.are unparalleled. His astonishing body of work contains some of the
:50:45. > :50:50.most iconic movies of all time. Earning him the overwhelming
:50:50. > :50:57.admiration, respect and love of his friends and peers within the
:50:57. > :51:04.industry. Two of whom we can hear from now.
:51:04. > :51:12.Marti, many, many congratulations on this award. To me, you will
:51:12. > :51:22.always be a very dear friend and a cinematic genius. And I will always
:51:22. > :51:24.
:51:24. > :51:31.think of you with great respect and affection. Have a wonderful evening.
:51:31. > :51:38.Hey Marty we spent 20 years making movies, from Taxi Driver, Raging
:51:38. > :51:43.Bull, and Cape Fear. In the 20 years we've stopped making movies
:51:43. > :51:46.together we've moved on to attending awards ceremonies. Each
:51:46. > :51:52.one was a unique experience. I'm sorry I can't be there to be with
:51:52. > :51:55.you tonight to receive this very special award, the BAFTA Fellowship
:51:55. > :51:58.award, celebrating you and your extraordinary body of work. It's a
:51:58. > :52:08.great honour for a great artist and a great friend. Congratulations. I
:52:08. > :52:09.
:52:09. > :52:17.love you. APPLAUSE
:52:17. > :52:22.Thank you to Sir Christopher Lee and Robert de Niro. I don't have to
:52:22. > :52:32.say that I share their opinions and feelings from the bottom of my
:52:32. > :52:33.
:52:33. > :52:39.Just before I invite this year's recipient up on stage, let us take
:52:39. > :52:49.a look at some of the titbits of his extraordinary impressive
:52:49. > :53:17.
:53:17. > :53:27.As far back as I can remember I Come out, come out wherever you are.
:53:27. > :54:03.
:54:03. > :54:13.You talking to me. I'm here to # I was born in a cross-fire
:54:13. > :54:13.
:54:13. > :54:57.Apology for the loss of subtitles for 170 seconds
:54:57. > :55:06.Who the lock do you think you're CHEERING AND APPLAUSE
:55:06. > :55:16.Ladies and gentlemen, the recipient of this year's BAFTA Fellowship is
:55:16. > :55:41.
:55:41. > :55:51.of course the great incomparable Please. Thank you. Thank you so
:55:51. > :55:52.
:55:52. > :55:57.much. APPLAUSE Really. Sit. Thank you.
:55:57. > :56:04.Thank you. Thank you so much BAFTA and thank you Max for being here
:56:05. > :56:10.and presenting this to me tonight. It's such an honour. I think just
:56:10. > :56:14.holding this award is an honour. Actually getting it is like a dream.
:56:14. > :56:18.For me British cinema was something that was formative. Italian and
:56:19. > :56:25.British movies were the first movies that I ever saw that weren't
:56:25. > :56:31.made in America. The Italian films were familiar to me, closer to home.
:56:31. > :56:38.Closer to what I knew and lived in New York. The British films were
:56:38. > :56:43.more exotic. More foreign. And they seemed to be in a language that was
:56:43. > :56:48.familiar but enigmatic. Intriguingly enigmatic. British
:56:48. > :56:54.films then were what they are still to me now, a mystery and a great
:56:54. > :57:01.marvel. The rich tradition of British cinema also embraces more
:57:01. > :57:05.me the peerless craftsmanship of the British crews who help me with
:57:05. > :57:10.dedication and extraordinary imagination. When making Hugo here
:57:10. > :57:14.at Shepperton, a film which all of us who worked on it can I hope be
:57:14. > :57:19.proud. I'm particularly honoured to have worked alongside them, as I am
:57:19. > :57:24.to be here tonight holding this award. I would like to hope this
:57:24. > :57:30.BAFTA Fellowship gives me visiting privileges to that same rich
:57:30. > :57:38.tradition of British cinema that inspired your poets. The BAFTA has
:57:38. > :57:44.a personal resonance as it is the first award I've shared with
:57:44. > :57:49.Michael Powell. I think of them as poets and the Knights Templar of
:57:49. > :57:56.the British cinema. The archers of the tradition actually. It's the
:57:56. > :58:06.highest, most profound honour for me to stand among them tonight and
:58:06. > :58:22.
:58:22. > :58:26.with you. I thank you. Well, this magical night of
:58:26. > :58:33.celebration has ended. Congratulations to you all for
:58:33. > :58:36.winning, for being nominated, props - it's a thing young people say -
:58:36. > :58:41.for continuing to advance this great art form of the motion
:58:41. > :58:46.picture. It has always been true to say that we live in difficult and
:58:46. > :58:51.dark times. But it has never been truer than today. In times of
:58:51. > :58:56.austerity, doubt, darkness and fear, films can allow us to escape from
:58:56. > :59:01.the burdens and hardships of life. And they can shine a light on
:59:01. > :59:07.injustice. Film can reduce us to quivering wrecks with laughter to
:59:07. > :59:12.help us forget. And it can stun us with truth to help us remember.
:59:12. > :59:16.There is no right or wrong genre or style of film. Next year more
:59:17. > :59:22.stories will have been put together to remind us that the art of movie
:59:22. > :59:25.storytelling is more alive than ever. And blessed with as much
:59:25. > :59:28.creative talent as it ever has been in its history. I'm so proud to
:59:29. > :59:33.have been allowed to stand here tonight as your host. Let's all
:59:33. > :59:41.keep lining up for tickets and sitting in the dark, support your
:59:41. > :59:51.local cinema. Live and love film. From us all, thank you and
:59:51. > :59:52.
:59:52. > :00:02.goodnight. Thank you very much. Presented earlier: Pitch Black
:00:02. > :00:39.
:00:39. > :00:49.I would just like to say I've dreamed of this moment ever since I
:00:49. > :00:51.
:00:51. > :01:01.Editing: Senna. It was pure driving. It was real
:01:01. > :01:16.
:01:16. > :01:22.racing. Guillaume isn't here. He's in Los
:01:22. > :01:32.Angeles. He didn't give me a note, so I guess if he was here he would
:01:32. > :01:32.
:01:32. > :02:24.Apology for the loss of subtitles for 170 seconds