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