10/02/2013

:00:07. > :00:17.This programme contains some strong language and scenes of repetitive

:00:17. > :00:19.

:00:19. > :00:29.This programme contains some strong language and scenes of repetitive

:00:29. > :00:30.

:00:30. > :00:40.This programme contains some strong language and scenes of repetitive

:00:40. > :00:41.

:00:41. > :00:48.Tonight, the Royal Opera House plays host do some of the most

:00:48. > :00:53.celebrated stars in cinema. He is is hugely thrilling for Main.

:00:53. > :00:59.one of the nights in the business that is the pinnacle. The BAFTAs

:00:59. > :01:05.are a great events. And the red carpet is where it starts, the fans.

:01:05. > :01:09.Very passionate! To have people who love music -- movies this match,

:01:09. > :01:14.the love the event, who want to see the people on screen, standing out

:01:14. > :01:19.in the sleet and snow, it says a lot to me, it is really inspiring.

:01:20. > :01:24.We are British, we can handle this! I feel bad for them standing in the

:01:24. > :01:34.wet and cold. This is not bad weather, it is summer rain!

:01:34. > :01:40.No-one does glamour like London. The biggest names in film. Who will

:01:40. > :01:45.be taking home the much coveted BAFTA mask? Django Unchained was

:01:45. > :01:51.probably my favourite. There are so many international nominees tonight.

:01:51. > :01:57.I hope the British take it home! They are all good, that is why they

:01:57. > :02:04.are here. A lot of Bond fans. expect me to say anything but

:02:04. > :02:09.Django?! Ladies and gentlemen, please take your seats for the 2013

:02:09. > :02:19.British Academy Film Awards. Ladies and gentlemen, please welcome your

:02:19. > :02:23.

:02:23. > :02:29.Thank you very much. Thank you very much. Thank you very much indeed.

:02:29. > :02:32.Thank you, thank you. Good evening, my lords, ladies and gentlemen. Yes,

:02:32. > :02:41.sorry about this, but I suspect that I'm not the only actor who's

:02:41. > :02:44.come here tonight with a beard. It gives you great pleasure to welcome

:02:44. > :02:54.me to the Royal Opera House Covent Garden for the EE British Academy

:02:54. > :02:59.

:02:59. > :03:02.Film Awards. The EE British Academy Film Awards, I hear you scream! Now,

:03:02. > :03:05.please, do not become hysterical, I assure you there is no need to

:03:06. > :03:08.panic, you are in the right place, we have simply prefixed a new

:03:08. > :03:14.prefix to our name for reasons. Allah loyal supporters have just

:03:14. > :03:18.had a makeover, we hope the evening will be doubly good. That is the

:03:18. > :03:26.kind of skill for, kidney rupturing hilarious word play you can expect

:03:26. > :03:33.this evening, you lucky people! It is our philosophy here at BAFTA,

:03:33. > :03:38.and I use that word quite wrongly... To focus not on self-congratulation,

:03:38. > :03:42.but on admiration and celebration, so let's get on and be quite

:03:42. > :03:46.unabashed about celebrating what has been based simply magnificent

:03:46. > :03:52.year in film-making. I can honestly say, having presented these awards

:03:52. > :03:55.on many occasions, I cannot remember a roster of films,

:03:55. > :04:05.performances, scripts and productions that I have so admired

:04:05. > :04:11.

:04:11. > :04:14.and more importantly enjoyed. We are bursting at the seams here

:04:14. > :04:18.tonight with more panache, elan, radiance, joy, esprit, verve and

:04:18. > :04:21.obsession than you'd find at a perfume counter. This has been the

:04:21. > :04:23.year of the silent letter with Lincoln, Les Miserables and Django

:04:23. > :04:32.Unchained all benefiting from wholly unnecessary alphabetic

:04:32. > :04:35.incursions. Unlike the stars of those films, who are here tonight.

:04:35. > :04:45.Not a wasted letter amongst their names, just listen to how they

:04:45. > :04:54.

:04:54. > :04:59.resound, Daniel Day-Lewis, Samuel L Les Miserables, from the French

:04:59. > :05:07.novel, featuring stand-out American and Australian performances is, of

:05:07. > :05:09.course a British film! It was a remarkable experience, quite

:05:09. > :05:14.astonishing, not least seeing Helena Bonham Carter burst in to

:05:14. > :05:23.spontaneous song before she'd had a drink. I am joking, of course, she

:05:23. > :05:25.was drunk every day on set! Banging the drum a little more, our very

:05:25. > :05:29.own 007, James Bond, came up against his most formidable

:05:29. > :05:33.adversary yet last year, a steely foe who sat at the head of a shady

:05:33. > :05:36.operation hell-bent on world domination. Of course, as ever, he

:05:36. > :05:45.emerged victorious when in the final scene he threw Her Majesty

:05:45. > :05:55.out of the helicopter. Talking of old queens, oh, no, I promised the

:05:55. > :05:59.

:05:59. > :06:03.BBCi would not do that one! 2012 was the year of the film franchise

:06:03. > :06:07.With the likes of The Hobbit: An Unexpected Journey, a film I don't

:06:07. > :06:10.mind telling you I played a small part in, though it remains in the

:06:10. > :06:13.cutting room, thus making it for me, more of The Hobbit: A Wasted

:06:13. > :06:18.Journey. In fact, I think my scenes will be shown next year in the

:06:18. > :06:21.second Hobbit film. Or if they can squeeze, by which I mean of course,

:06:21. > :06:24.lovingly craft another six films out of the slim volume Tolkien

:06:24. > :06:32.wrote, expect to see me in The Hobbit 9: Are We Nearly Home Yet,

:06:32. > :06:35.Gandalf? There was also Men In Black 3, The Twilight Saga:

:06:36. > :06:38.Breaking Dawn Part 2, The Bourne Legacy and the latest in the Batman

:06:38. > :06:42.series, The Dark Knight Rises, where the caped crusader works

:06:42. > :06:44.tirelessly for the good of his beloved city. Interestingly, I

:06:44. > :06:47.believe they based it on London's very own superhero, Boris Johnson,

:06:47. > :06:57.though he doesn't keep his alter- ego as a millionaire quite as

:06:57. > :07:04.

:07:04. > :07:07.hidden. Then there was the first in The Hunger Games trilogy, where

:07:07. > :07:10.children are forced to fight to the death in a simulated arena, an idea

:07:10. > :07:13.we were very keen on to determine tonight's winners, but Quentin

:07:13. > :07:16.Tarantino was just a bit too keen on the idea. Most marvelously,

:07:16. > :07:19.though, the young shining star of The Hunger Games, the mesmeric

:07:19. > :07:25.Jennifer Lawrence, is with us tonight hoping to bag a BAFTA for

:07:25. > :07:28.her simply sublime performance in Silver Linings Playbook. Now,

:07:28. > :07:32.Jennifer, last year a certain Brad Pitt was here and did us the great

:07:32. > :07:42.honour of blowing a kiss to our audience at home, a joyous moment

:07:42. > :07:45.

:07:45. > :07:49.that I replay in my mind often and 18 times a day on YouTube. It is a

:07:49. > :07:54.tradition we had started, and we would be delighted if you would

:07:54. > :08:04.continue the contrition down the barrel of camera nine... Gone, blow

:08:04. > :08:08.

:08:08. > :08:11.a kiss! Wonderfully kind! A nation's hunger has been sated! We

:08:11. > :08:14.also welcome along one of my all time heroines Sally Field, star of

:08:14. > :08:24.Lincoln and of course amongst so many other things, Forrest Gump's

:08:24. > :08:24.

:08:24. > :08:29.mother. Just to be in the same room as her makes my heart beat a tiny

:08:29. > :08:36.bit faster. Also here is the director of the incredible Life of

:08:36. > :08:45.Pee, Ang Li. Hang on, went astray there somehow. He knows what I mean,

:08:45. > :08:48.a brilliant film and director! Star of The Master, the masterful

:08:48. > :08:51.Joaquin Phoenix is with us, he's hoping to join the BAFTA winners'

:08:51. > :09:01.club and become a Baftologist, where he could reach Thetan level

:09:01. > :09:01.

:09:01. > :09:11.and... I'm being told by the voice, I think it is Tom Cruise telling me

:09:11. > :09:14.to stop! I will leave it there. Yes, a terrifically terrific year all

:09:14. > :09:17.round, so let's take a trawl, and who better to take a look through

:09:17. > :09:20.such a wonderful year in film with than the ravishingly brilliant

:09:20. > :09:26.young British singer-songwriter who has penned hits aplenty, as well as

:09:26. > :09:30.appearing in St Trinian's and The Imaginarium Of Doctor Parnassus. To

:09:30. > :09:40.take us through this year in film, who better than the radiant Paloma

:09:40. > :09:40.

:09:40. > :11:18.Apology for the loss of subtitles for 97 seconds

:11:18. > :11:28.# And they could never tear us # And they could never ever tear us

:11:28. > :11:28.

:11:28. > :12:26.Apology for the loss of subtitles for 97 seconds

:12:26. > :12:36.# And they could never tear us # And they could never ever

:12:36. > :12:56.

:12:56. > :13:01.# Ever tear us apart Brilliant! Thank you. Ladies and

:13:01. > :13:07.gentlemen out front, as much as I am a-quiver to see all of you here

:13:07. > :13:12.in your finery and in some cases your onesies, this is not some

:13:12. > :13:17.exclusive A-list superstar Party, that is later! Tonight we will come

:13:17. > :13:22.along our beloved television audience, you are as welcome as

:13:22. > :13:30.George Clooney at a hen party. And we all hope you have a wonderful

:13:30. > :13:35.I know people like to bet on who is going to win in various categories,

:13:35. > :13:40.but let me assure you that the only match that is fixed here is my

:13:40. > :13:45.dance with Jeremy Irvine at the after party. A final word before we

:13:45. > :13:50.immerse ourselves, Lord knows, if I was ever to beat awarded one of

:13:50. > :13:54.these, I would need a restraining order to prevent me from thanking

:13:54. > :13:59.everyone had anything to do with it, the cats, the magistrate who gave

:13:59. > :14:03.me one final chance... But you are not me, and I feel certain that

:14:03. > :14:08.when your name is called out, your production is called out, he will

:14:08. > :14:13.leave your feet like a startled gazelle, he will not French Kiss Or

:14:13. > :14:17.hug anyone around you, you will run like a freak in Giselle to the

:14:17. > :14:21.stage, and you will collect your mask and you will keep your gushing

:14:21. > :14:26.to the barest minimum. Let me put down the needle of insinuation and

:14:26. > :14:36.pick up the club of statement, the swift, the damnably swift, and you

:14:36. > :14:44.

:14:44. > :14:54.Led me prong of the award for into the cast-iron cauldron of this

:14:54. > :14:58.

:14:58. > :15:00.likely -- lightly bubbling fondu of film. We're kicking off with

:15:00. > :15:05.outstanding British film presented in honour of Alexander Korda. As

:15:05. > :15:08.this is the first award of the evening, the award genie granted us

:15:08. > :15:10.three wishes. So, first I wished for eternal youth, which as you can

:15:10. > :15:15.see, was indeed granted. And then I wished for two of the biggest, most

:15:15. > :15:20.talented stars of the moment. And would you believe it? Those wishes

:15:20. > :15:23.also came true. Ladies and gentlemen, please welcome the star

:15:23. > :15:30.of Silver Linings Playbook, Bradley Cooper, and the director and star

:15:30. > :15:40.of Argo, Ben Affleck. His home city is currently under three feet of

:15:40. > :15:45.

:15:45. > :15:50.Good evening. This is our first time at the BAFTAs and it is

:15:50. > :15:54.thrilling to be here. I have always been in awe of the excellence of

:15:54. > :16:00.the British film industry. Influential behind and in front of

:16:00. > :16:04.the camera since its inception. is an honour for me, too. I know I

:16:04. > :16:14.speak for both of us when I say we are delighted to present the BAFTA

:16:14. > :16:33.

:16:33. > :16:37.award for outstanding British film. He is keen to get home! I'm not

:16:37. > :16:47.used to being spoken to like that by a man I met once at a railway

:16:47. > :17:13.

:17:13. > :17:23.But Lord! And now... Have no dripping. No drip. I five. I don't

:17:23. > :17:24.

:17:24. > :17:29.know why I did that. I have never They should just drive off into the

:17:29. > :17:39.desert and pitch a tent and talk. No shoot-outs, no pay-offs, just

:17:39. > :17:39.

:17:39. > :18:47.Apology for the loss of subtitles for 97 seconds

:18:47. > :18:51.human beings talking. What, are we Well, big banks to buy -- a big

:18:52. > :18:56.thanks to BAFTA. This is a first for James Bond. And a big thank you

:18:56. > :19:04.to the cast and crew of Skyfall. And that NGN, Gary, Jonathan and

:19:04. > :19:14.Roger. Peter Taylor's team in the UK, who broke the all-time box-

:19:14. > :19:17.

:19:17. > :19:23.Skyfall was conceived 60 years ago when Ian Fleming wrote the first

:19:23. > :19:28.James Bond novel. It was born 50 years ago when the first film was

:19:28. > :19:33.produced. Since then, it has been nurtured by a whole host of

:19:33. > :19:37.directors, actors, cast and crew. So today, James Bond is loved

:19:38. > :19:47.throughout the world. It is on behalf of those film-makers that

:19:48. > :19:53.

:19:53. > :19:57.Barbara and I accept this award. 1292 people worked on this movie

:19:57. > :20:01.and I stand here on behalf of all of them. We all had very high

:20:01. > :20:05.expectations for the film and I think it is fair to say that all of

:20:05. > :20:10.them have been exceeded. This really is the icing on the cake.

:20:10. > :20:13.Thank you very much, BAFTA. There are two people I want to say a

:20:13. > :20:17.special thank you to. The person around whom we build this movie and

:20:17. > :20:26.without whom the movie could not have happened, and that is of

:20:26. > :20:31.course Daniel Craig. For his bravery and his brilliance and his

:20:31. > :20:35.friendship and his sheer bloody- mindedness. And last but by no

:20:35. > :20:40.means least, I want to say thank you to someone who is not here, the

:20:40. > :20:46.great Ian Fleming. 60 years ago almost to the date, he sat down and

:20:46. > :20:56.wrote that he was a secret agent and still alive thanks to the

:20:56. > :20:59.

:20:59. > :21:02.detail of his profession. Here's to Although the Royal Opera House is

:21:02. > :21:06.nothing like as glamorous as a car- park in Leicester, let's hope we

:21:07. > :21:13.can unearth some royal bones here in what I hope will be confirmed as

:21:13. > :21:20.the award for the original screenplay. To present it, the

:21:20. > :21:24.sumptuous and superlatively scrum to us actor, whose career is now

:21:24. > :21:27.entering its 6th decade. She just keeps getting better and better. I

:21:27. > :21:36.compare her to the likes of Meryl Streep and Always Rain as one of

:21:36. > :21:40.the true immortals of Hollywood. -- Louise Rayner. She is still at the

:21:40. > :21:50.top of her game. It goes me enormous pleasure to welcome the

:21:50. > :22:01.

:22:01. > :22:05.Thank you, thank you, thank you. I was supposed to be out here with

:22:05. > :22:09.the fabulous Eddie Redmayne, but he seems to be puking his guts out

:22:09. > :22:17.back there. He and I did a rehearsal and we were kind of, you

:22:17. > :22:21.know, close. Really close. If I turn grey and start not to feel

:22:21. > :22:27.well, we will know what it is and we are all doomed because this

:22:27. > :22:31.thing spreads like mad. I am absolutely thrilled to be here and

:22:31. > :22:35.I am very happy to be here to be presenting the award for best

:22:35. > :22:39.Original screenplay. As we know, that is where it starts, with the

:22:39. > :22:49.text. Without great text, you do not have a great performance and

:22:49. > :22:59.

:22:59. > :23:06.you do not have a great film. So, I am curious what makes you so

:23:07. > :23:16.curious. What did you say, boy? Calm down. No offence given or

:23:17. > :23:20.

:23:20. > :23:30.This is it. There is no one coming to rescue. There is nobody hidden

:23:30. > :23:32.

:23:32. > :23:38.away. There is just us. And we are Is there something frightening

:23:38. > :23:42.here? Frightening? Yes. What scares you so much about travelling into

:23:42. > :23:52.the past? Are you afraid that we might discover that our past has

:23:52. > :23:52.

:23:52. > :25:08.Apology for the loss of subtitles for 97 seconds

:25:08. > :25:16.And the BAFTA goes to... Oh, Thanks a lot. This is really nice.

:25:17. > :25:22.Really cool. First I want to thank my actors for doing a banger out a

:25:22. > :25:26.job with my dialogue. Thanks a lot, guys, I appreciate it. And I want

:25:27. > :25:30.to thank BAFTA for giving me this. I think you guys are a terrific

:25:30. > :25:36.organisation. I am famous for not joining organisations but having

:25:36. > :25:43.said that, I am proud to be one of yours. And one last thing about the

:25:43. > :25:47.script. I would also like to thank, in particular, Harvey and Amy

:25:47. > :25:51.because this was a pretty hot potatoes script. For them to do it,

:25:51. > :25:58.pony up a lot of money, do it in the right way, take that same

:25:58. > :26:08.script and go out and make a hit, that is pretty impressive. Thanks a

:26:08. > :26:14.

:26:14. > :26:20.Congratulations. Now, ladies and gentlemen, 5 Great films including

:26:20. > :26:24.Django Unchained are in contention for the best film accolade. There

:26:24. > :26:30.are five films, just five, in contention for best film. I could

:26:30. > :26:35.tell you who has won now and save a lot of time and shiny envelopes.

:26:35. > :26:39.Although times are hard, that is not how we roll around here. We are

:26:39. > :26:46.very much going against the fabric of award shows and we would destroy

:26:46. > :26:50.them for ever and then where we would be is... Don't answer that.

:26:50. > :26:55.We will take a leisurely look at each of the five contenders for

:26:55. > :27:01.best film and the first is the edge of your seat powerhouse Argo. It

:27:01. > :27:11.could be my age, my hectic schedule, or my alcoholism, but when I heard

:27:11. > :27:23.

:27:23. > :27:28.of this film, I fell foul of a misunderstanding. I was thrilled

:27:28. > :27:38.when Argo turned out to be unnerved shred of the highest order.

:27:38. > :27:42.

:27:42. > :27:47.Magnificently made. So now go fill The American embassy is attacked

:27:47. > :27:53.and all of the people are taking hostages. Six of the hostages have

:27:53. > :28:03.got out. Tony works doing X for alterations, getting people out of

:28:03. > :28:04.

:28:04. > :28:08.places safely. -- filtrations. is going to wake up tomorrow

:28:08. > :28:13.morning and be in the movie business? I need you to make a fake

:28:14. > :28:20.movie. You are going to be the big shot without doing anything? He yes.

:28:20. > :28:23.I think we were able to get such great actors and that just reflects

:28:23. > :28:28.on the story. I want to cement in people's minds that this is real

:28:28. > :28:32.and it is happening. If I am making a fake movie it has to be a fake it.

:28:32. > :28:37.This will be a first. We are putting them in harm's way and we

:28:37. > :28:41.have to get them out. We don't say it is impossible. People have no

:28:41. > :28:47.idea how hard it is to direct yourself and the other actors. When

:28:47. > :28:51.I am on set, he does it with ease. What is great about Argo, although

:28:51. > :28:57.it is steeped in espionage and bureaucracy at the highest level,

:28:57. > :29:01.it is about the inexperience. you give me a break? I can't

:29:01. > :29:05.breathe. It only takes one second for them to spot you. It is about

:29:05. > :29:11.normal people facing fear. If they stay here, they will be taken,

:29:11. > :29:14.probably not alive. There is heroism and patriotism and it is an

:29:14. > :29:18.escape story. There is an explosive world event when people's lives are

:29:18. > :29:23.hanging in the balance and the clock is ticking. We do not have

:29:23. > :29:29.the go-ahead from the President. tried to make something

:29:29. > :29:39.entertaining and funny and scary and thrilling. This is what I do. I

:29:39. > :29:51.

:29:51. > :29:57.get people out. I have never loved A film about a script that is

:29:57. > :30:02.actually written and is never made, as if! But will Argo make it past

:30:02. > :30:06.the ferocious BAFTA Revolutionary Guard and take off with the price?

:30:06. > :30:12.That's it is yet to be written, as are the scripts which tell us he

:30:13. > :30:16.will win best director, actor and actress, not to mention best film.

:30:16. > :30:19.The award for best supporting actor has now arrived, so to tell us who

:30:19. > :30:26.has not written an acceptance speech in vain, a brilliant young

:30:26. > :30:29.actor on such an upward trajectory, trajectory, she will soon be space

:30:29. > :30:35.jumping with Felix Baumgartner, which is easier to say than

:30:35. > :30:39.trajectory! Their performance that had us all salivating in The Hunger

:30:39. > :30:44.Games, quite peckish over here, in Silver Linings Playbook she is

:30:44. > :30:54.quite breathtaking, so please calculate wildly for Jennifer

:30:54. > :31:01.

:31:01. > :31:05.Thank you. For a film to beef truly great, every role has to be filled

:31:05. > :31:12.by the very best. The five actors nominated tonight almost certainly

:31:12. > :31:22.that, let's take a closer look at the nominees for supporting actor.

:31:22. > :31:26.

:31:26. > :31:36.I am at a slight disadvantage, in so far as I do not know what they

:31:36. > :31:39.

:31:39. > :31:44.look like. But you do. Don't you? You want to set up a fake movie,

:31:44. > :31:53.like to Hollywood, where everybody lies for a living, then sneak 007

:31:53. > :32:03.into a country where they drink blood on their breakfast cereal.

:32:03. > :32:11.

:32:11. > :32:15.What do you do? I too many, many things. I am a writer, a doctor, a

:32:15. > :32:25.nuclear physicist, a theoretical philosopher. But above all, I am a

:32:25. > :32:29.

:32:29. > :32:35.man. What violates natural law? I do not give a damn about what

:32:35. > :32:45.they want. This is for the good of the people without caring much for

:32:45. > :32:51.

:32:51. > :33:01.There is a first time for everything. What makes you think

:33:01. > :33:27.

:33:27. > :33:35.And the BAFTA goes to... Christoph Thank you, thank you so much of

:33:35. > :33:39.this immense honour. It is... Why I get to stand here is not a mystery,

:33:39. > :33:46.because it says so at the very beginning of our movie, written and

:33:46. > :33:50.directed by Quentin Tarantino. But of course I want to thank Jamie Fox

:33:50. > :33:57.and Leonardo DiCaprio and Sam Jackson and Kerry Washington for

:33:58. > :34:02.their camaraderie and help, and Harvey Weinstein, for the attention

:34:02. > :34:07.and... I want to thank Adam Schweitzer for his support and

:34:07. > :34:17.enthusiasm, Lisa Costello for making me shine. But it all starts

:34:17. > :34:17.

:34:17. > :34:20.and ends with Quentin. And... Really, beyond everything that I

:34:20. > :34:28.need and want to thank you for, Quentin, the thing that touches me

:34:28. > :34:38.the most is your unconditional trust that I will put your creation

:34:38. > :34:55.

:34:55. > :34:58.to its proper use. Use silver pens We now turn to outstanding debut by

:34:58. > :35:06.a British writer, director or producer given in honour of the

:35:06. > :35:11.great writer and producer Carl Foreman. He was the writer of the

:35:11. > :35:18.immortal High Noon, a victim of the McCarthy era, he came to Britain,

:35:18. > :35:22.and we hear were the winners in gaining Carl Foreman's talents as a

:35:22. > :35:26.producer-director, and this award is named for him and all victims of

:35:26. > :35:29.censorship and suppression. To tell us who has again failed to write

:35:29. > :35:34.that acceptance speech in vain, Scotland's finest folk singer

:35:34. > :35:41.turned comedian turned A-list film star turned banjo player turned

:35:41. > :35:46.hairstyle turned hobbit Corp. In fact, Scotland's only one of those,

:35:46. > :35:56.the star Quartet, The Hobbit and Brave, the force of nature that is

:35:56. > :36:20.

:36:21. > :36:24.I am overcome with joy. I am awash with bliss. At the very thought of

:36:24. > :36:34.presenting an unsuspecting stranger with a desk man -- death mask on a

:36:34. > :36:36.

:36:36. > :36:40.For the most outstanding debut by a British writer, director or

:36:40. > :36:44.producer, clearly this is an award for someone relatively new to the

:36:44. > :36:49.industry, which kind of rules me out of it. But I might be in with a

:36:49. > :36:59.chance if the Watt was outstanding swansong for an old fart. Looking

:36:59. > :36:59.

:36:59. > :37:09.around the room, I might have some stiff competition. And the BAFTA...

:37:09. > :37:18.

:37:19. > :37:24.We are The Muppets, and these are our biggest fans! James uses The

:37:24. > :37:27.Muppets to bring them back to the big screen as Kermit and friends

:37:27. > :37:37.reunite to save the studios from demolition. Start at the bottom and

:37:37. > :37:40.work our way back up to the top! Experienced television documentary

:37:41. > :37:44.producers, their first feature is a dark and stylish mix of interviews

:37:44. > :37:50.and reconstructions telling the story of a young Frenchman who

:37:50. > :37:55.successfully posed as a missing American child. The reward was

:37:56. > :38:03.eventually to be put in a place where they really cared about me. I

:38:03. > :38:06.mean, I was reborn. Tina Gharavi, I Am Nasrine. Iranian born film-maker

:38:06. > :38:11.Tina Gharavi left the country when she was seven and studied cinema in

:38:11. > :38:18.France. The movie explores a modern refugees journey and the challenge

:38:18. > :38:28.changing world. We just want to be somewhere where we can live, where

:38:28. > :38:31.we can breathe! Brother and sister David and Jacqui Morris created his

:38:31. > :38:36.intimate rapport -- Portrait of a revered photographer, gaining

:38:36. > :38:40.unique access to his story and his archive. I was building his

:38:40. > :38:43.reputation as a war photographer, suddenly I felt uncomfortable and

:38:43. > :38:53.dirty, being called a war photographer was like being called

:38:53. > :38:55.

:38:55. > :38:59.a mesmeric. -- a mercenary. He was that? That is your old man. Dexter

:38:59. > :39:09.Fletcher is now behind the camera, teaming up with Danny King to

:39:09. > :39:19.

:39:19. > :39:29.create a tough gangster film with a Bart Layton and Dmitri Doganis for

:39:29. > :39:48.

:39:48. > :39:54.Wow! Thank you so much. First, Samuel L Jackson, peeing next to

:39:54. > :39:58.Samuel L Jackson and now this! I do not know... I don't think we ever

:39:58. > :40:04.imagined that this amazing journey was going to lead us to be in this

:40:04. > :40:11.room, doing some shaky public speaking in front of so many of our

:40:11. > :40:16.heroes! There are so many people we should thank for this. Poppy

:40:16. > :40:22.Dickson, our co-producer, who is somewhere in the room. We sent her

:40:22. > :40:26.to taxes enough search of a story that did not want to be found, and

:40:26. > :40:32.without her we probably would not have the film. -- Texas. Wally

:40:32. > :40:36.Thompson, Katherine Butler at FilmFour. Tabitha Jackson. They

:40:36. > :40:40.believed that we could mount this documentary and tell it like a

:40:40. > :40:45.thriller, rather than a traditional documentary, and they believed in

:40:45. > :40:50.two first-timers. And obviously, Andrew, our editor, and my very

:40:50. > :41:00.dear friends and cinematographers, Eric and Linda, all of you, thank

:41:00. > :41:00.

:41:00. > :41:05.you so very much, thank you very Well, now it is time to consider

:41:05. > :41:09.the next of the five nominees vying for the best film supremacy. And

:41:09. > :41:16.the simply mind-blowing achievement that is Life Of Pi, we are looking

:41:16. > :41:21.at now. Once again... Yeah, what a piece of work. My feeble mind let

:41:21. > :41:30.me down, and first hearing of it, I assumed it to be the latest

:41:30. > :41:33.with fruit filled pastries. I suppose we will have to wait for

:41:33. > :41:43.the director's cuts. It is of course a magical tale featuring,

:41:43. > :41:44.

:41:44. > :41:47.among others, that great Russian And it contains some really special

:41:47. > :41:56.special effects that are so startling, so well judged that they

:41:56. > :42:02.give real life to the astounding, An old man at the table next to be

:42:02. > :42:06.struck up a conversation, an amazing story. Where do we begin?

:42:06. > :42:11.Life of by is the story of a 16- year-old boy who ends up on a

:42:11. > :42:15.lifeboat with a tiger. -- Life Of Pi. As I was writing the book,

:42:15. > :42:21.cinematic as it was in my mind, I thought it was completely on

:42:21. > :42:28.filmable. You have to take those little symbols on the page and turn

:42:28. > :42:33.them into a visual reality. Facing the big idea of the unknown, it is

:42:33. > :42:43.a mental scope. Because of that, I thought I might need another

:42:43. > :42:47.

:42:47. > :42:52.dimension, the new look of 3D, a I think there were a lot of

:42:52. > :42:56.unknowns about making this movie to begin with. It is about adventure,

:42:56. > :43:06.survival, hope, wonder, but there is spirituality and faith, thinking

:43:06. > :43:12.

:43:12. > :43:22.We are really portraying a journey of a person in relation to nature

:43:22. > :43:24.

:43:24. > :43:34.That is pretty grand material! can tell you my story. You will

:43:34. > :43:38.

:43:38. > :43:43.decide for yourself what you The colour, the vividness, the

:43:43. > :43:48.lushness, the extraordinary enigma, the sheer beauty and majesty of

:43:48. > :43:51.life of pie. If you have not seen it, please do. Well, would it be

:43:51. > :43:56.living the life of Riley later tonight, that remains to be seen

:43:56. > :44:00.and heard and possibly caressed. I cannot wait for the sequel, Life Of

:44:00. > :44:04.Pi R squared. Now, to special visual effects, and waiting

:44:04. > :44:07.backstage is a man who was really excited to be here, although I

:44:07. > :44:11.believe security has now escorted him from the building so I can

:44:11. > :44:16.introduce our awards presenter, a damn fine actor, and the reason

:44:16. > :44:19.there was gridlock around the cinemas during rush-hour. He is

:44:19. > :44:22.also the reason we drove frantically back to the picture

:44:22. > :44:28.houses, routing our horns and a light cook at his stunning

:44:28. > :44:38.performance in Silver Linings Playbook. Welcome Chris taco. --

:44:38. > :44:43.

:44:43. > :44:49.It is great to be here to present the award for special visual

:44:49. > :44:54.effects. Visual effects have become an integral part of cinema today.

:44:54. > :45:00.Thank goodness, because without them some of us might be forced to

:45:00. > :45:10.actually act! I'm only kidding. The union would never allow that! Let's

:45:10. > :45:10.

:45:10. > :45:20.My mother warned me about getting into cars with strange men. At is

:45:20. > :45:20.

:45:20. > :47:04.Apology for the loss of subtitles for 97 seconds

:47:04. > :47:11.And the BAFTA is awarded to Life Of Wow. Thank you, BAFTA, this is

:47:11. > :47:15.incredible. I am astounded by the other nominees city have this award

:47:15. > :47:21.is truly spectacular. One of the central themes of Life Of Pi is

:47:21. > :47:25.asking the audience to question what they think is real. That was

:47:25. > :47:31.our job in visual effects, to ask the audience if the tiger and the

:47:31. > :47:36.ocean were real. I guess if we are holding this, we did OK. I thank

:47:36. > :47:42.you. I want to thank Elizabeth and built for persevering to make this

:47:42. > :47:47.film for 10 years. And their director, Ang Lee. The work is

:47:47. > :47:52.astounding and it was a dream job to work with you. Thank you so much.

:47:52. > :47:59.For those of us that the visual effects, you mark us for our

:47:59. > :48:09.science at times but we are artists and if you give us the opportunity

:48:09. > :48:11.

:48:11. > :48:20.then we will make art with you. Now, tonight is amongst other

:48:20. > :48:25.things a night of firsts. It's the first time Billy Connolly has kept

:48:25. > :48:31.all of his clothes on in public. And Daniel Day-Lewis is speaking in

:48:31. > :48:34.a British accent. But most remarkably of all, it is the very

:48:34. > :48:37.first time this next actor has ever presented an award here at BAFTA.

:48:37. > :48:40.Yes, after years and years we've finally caved in to his constant

:48:40. > :48:43.barrage of phone calls begging us to be allowed to present an award

:48:43. > :48:46.after a slot become available due to a last-minute drop out by David

:48:46. > :48:50.Hasslehoff. It's the award for supporting actress and I would ask

:48:50. > :49:00.you to ensure that your loins are well girded as I go all silly and

:49:00. > :49:14.

:49:14. > :49:19.say, "Oh, my good sweet Lord. It's I would like to thank David

:49:19. > :49:27.Hasselhoff! I would like to thank you, for making it OK for leading

:49:27. > :49:30.men to have facial hair. Thank you so much for that. All right! My job

:49:30. > :49:40.tonight is to present best supporting actress, so let's get

:49:40. > :49:43.

:49:44. > :49:47.The only way to defend ourselves is to attack. If we don't do that, we

:49:47. > :49:57.will lose every battle we are engaged in. We will never dominate

:49:57. > :50:07.

:50:07. > :50:17.our environment the way we should # And there are storms we cannot

:50:17. > :50:26.

:50:26. > :50:36.How special this has been for May. It is not going to help you. It is

:50:36. > :50:40.

:50:40. > :50:46.going to make it worse. Mrs Lincoln. How difficult it must be for you to

:50:46. > :50:54.know that and yet how important to remember it.

:50:54. > :50:58.Go on. See if I care. What do you expect? An apology? You know the

:50:58. > :51:08.rules of the game. You have been playing it long enough. We both

:51:08. > :51:10.

:51:10. > :51:20.have. Maybe too long. Speak for All right. And the BAFTA is awarded

:51:20. > :51:41.

:51:41. > :51:51.What am I thinking? I'll must walk past George Clooney without tugging

:51:51. > :51:53.

:51:53. > :52:00.him! -- I almost walked past. I did not hard him. That is stupid. I'm

:52:00. > :52:06.coming down with laryngitis because of the giddiness. I might sing.

:52:06. > :52:13.That went better in my head. I share this with the cast and crew

:52:13. > :52:23.of Les Miserables for the most golden hearted group of laughs his

:52:23. > :52:24.

:52:24. > :52:28.talent knocked me sideways every day. -- loves. I must give special

:52:28. > :52:31.thanks to Tom Hooper for the ground as of his dreams and the ability to

:52:31. > :52:39.make them come true. Hugh Jackman, I run out of superlatives for you,

:52:39. > :52:44.man, you are the best. Thank you. Oh, gosh, feel better, Eddie. I

:52:44. > :52:54.would be holding your hair back, but, you know... Third poisoning is

:52:54. > :52:55.

:52:55. > :52:59.just the worst. -- food poisoning. I have to thank everyone

:52:59. > :53:06.responsible for making Les Miserables the theatrical

:53:06. > :53:10.juggernaut that it is. Thank you to Working Title, Universal, and Debra

:53:10. > :53:20.Hayward. And very special thanks for Victor Hugo, without whom none

:53:20. > :53:32.

:53:32. > :53:35.of us would be here. Thank you so The third film in contention for

:53:35. > :53:37.the best film award is the enthralling Zero Dark Thirty. This

:53:37. > :53:40.was billed as history's greatest manhunt for the world's most

:53:40. > :53:50.dangerous man, so naturally I assumed it was the National Rifle

:53:50. > :53:52.

:53:52. > :53:58.Association of America's attempt to track down Piers Morgan. I was

:53:58. > :54:02.reluctant to see it because I had not seen 29th of the other an Zero

:54:02. > :54:12.Dark Thirty brand to his films. Behold, the sensational and Zero

:54:12. > :54:16.The movie takes you behind the scenes on the decade-long hunt that

:54:16. > :54:19.led to finding the world's most dangerous man. I want to make

:54:19. > :54:24.something absolutely clear. There is nobody else coming to the rescue,

:54:24. > :54:29.it is just us. Nobody knows what it is like to disappear in the shadows

:54:29. > :54:33.as a CIA operative in that part of the world. Why should I help you?

:54:33. > :54:38.Why do you only call me when I need help? How about a Lamborghini? I

:54:38. > :54:42.only need a phone number. But there are lots of people across the world

:54:42. > :54:47.involved in the hunt and we could not capture every aspect. He has

:54:47. > :54:53.called from two payphones, never using the same telephone number

:54:53. > :54:57.twice. It was those specific and it led the CIA to him. You cannot run

:54:58. > :55:05.a global network of interconnected cells from a cave. He is in a city.

:55:05. > :55:10.They always work in grave danger. don't think that there was any one

:55:10. > :55:14.person who was the hero. There is a 60% probability that he is there.

:55:14. > :55:21.think there were many heroes in that story. I know that this freaks

:55:21. > :55:26.you out but it is 100. It is going to happen? When? Tonight. The Zero

:55:26. > :55:36.Dark Thirty means 20 minutes past midnight, which means wait until it

:55:36. > :55:51.

:55:51. > :55:54.is dark enough and then come in. Quite literally history in the

:55:54. > :55:57.making and the making of history. But will it complete its not-quite-

:55:58. > :56:01.as-secret mission tonight and carry off the BAFTA? I have no idea, but

:56:02. > :56:05.I'll stick my neck out and say it has a one in five chance. The award

:56:05. > :56:09.for best film is one of the many delights still awaiting us. Others

:56:09. > :56:10.include, but are not limited to, the awards for rising star,

:56:10. > :56:16.documentary, actor, actress and of course the fellowship. All in good

:56:16. > :56:19.time though. Or just time. So, in the pre-ordained order of things we

:56:19. > :56:21.now come to adapted screenplay. To present this award we have found

:56:21. > :56:24.ourselves a couple of real belters from opposite sides of the Atlantic.

:56:24. > :56:28.Representing the UK is an English King Midas who has worked his magic

:56:28. > :56:31.on such as Star Trek and Mission Impossible. And representing the US

:56:31. > :56:35.is an award-winning actress whose multi-talented talents have been on

:56:35. > :56:38.display in the likes of Pearl Harbour and Juno. Please go "yee-

:56:38. > :56:48.ha" and "jolly good show" in equal measure for Simon Pegg and Jennifer

:56:48. > :56:56.

:56:56. > :57:00.Thank you. I think I speak for both of us when I say how excited we are

:57:00. > :57:06.to be presenting the award for adapted screenplay. You certainly

:57:06. > :57:11.do. I thought that rather come up with something original and funny,

:57:11. > :57:17.we would adapt the words that we used last year. With that in mind,

:57:17. > :57:27.please give it up for Jennifer. OK, here goes. Let's take a look at

:57:27. > :57:35.

:57:35. > :57:39.Why did you ordered tea? Because you or did raisin bread. I didn't

:57:39. > :57:49.want you to mistake it for a date. It can still be a date if you order

:57:49. > :57:51.

:57:51. > :57:58.raisin bread. That is not a date. Do you want to be dead? No. The E

:57:58. > :58:08.want to leave me alone? -- do you want to leave me alone? If you be

:58:08. > :58:09.

:58:09. > :58:16.I never thought it would bring me so much happiness. That a bucket

:58:16. > :58:20.and a knife could become my greatest treasure. In times like

:58:20. > :58:30.these, I remember that he has as little experience of the real-world

:58:30. > :58:33.

:58:33. > :58:36.In that 2000 year-old book of mechanical law, it is a self-

:58:36. > :58:43.evident truth that things that are equal to the same thing are equal

:58:43. > :58:51.to each other. If you are going to do this, you

:58:51. > :58:57.have got to do it. You cannot build cover stories around a movie that

:58:57. > :59:07.does not exist. You need a script and a producer. You are an

:59:07. > :59:09.

:59:09. > :59:19.Who do you want to win? The Bath did goes to Silver Linings Playbook.

:59:19. > :59:49.

:59:49. > :59:52.This is a wonderful year for film and for writers, and it is very

:59:53. > :59:57.difficult to put all these films together. Our film is about emotion

:59:57. > :00:01.and people, and this is for every family that faced those emotions,

:00:01. > :00:07.those struggles, and millions do it every day. I want to think Jennifer

:00:07. > :00:15.Lawrence, Bradley Cooper, Robert De Niro, Chris Tucker, our entire cast.

:00:15. > :00:20.I want to thank my son, who inspired the story. And I... I am

:00:20. > :00:25.probably forgetting lots of people, but I will keep it short. God bless

:00:25. > :00:34.you, BAFTA, thank you, BAFTA. Matthew Quick, the writer of the

:00:34. > :00:40.We can now to the outstanding contribution to British cinema,

:00:40. > :00:45.which is presented in honour of one of Britain's foremost producers,

:00:45. > :00:48.Daniel Day-Lewis' grandfather, the great Michael Bolton. To make this

:00:48. > :00:51.presentation, a multi-award-winning director has made an outstanding

:00:51. > :00:56.contribution to sport, although if you have ever seen him on a pommel

:00:56. > :01:00.horse, you will know that I do not mean athletically. He was the

:01:00. > :01:04.creative genius behind the greatest Olympic Opening Ceremony of all

:01:04. > :01:07.time, and with films like Trainspotting and Slumdog

:01:07. > :01:17.Millionaire to his credit, he is one of the greats. Please welcome

:01:17. > :01:26.

:01:26. > :01:27.Thanks very much! Barcelona are arguably the greatest football team

:01:27. > :01:34.ever, but when asked to was the greatest living footballer, their

:01:34. > :01:42.midfield general, Iniesta and Messi picked Paul Scholes of Manchester

:01:42. > :01:46.United. Stick with me! There was surprise, because Paul Scholes is a

:01:46. > :01:52.modest man who shuns the limelight, even when his car is nicked from

:01:52. > :01:56.his driveway. I am very proud to be here tonight to thrust another shy

:01:57. > :02:01.genius into the spotlight on behalf of the British film industry. Their

:02:01. > :02:04.incredible effort, determination and belief are why power industry

:02:04. > :02:08.continues to thrive. She is a visionary, someone who was willing

:02:08. > :02:13.to take a chance, take a risk and back a writer, director or producer

:02:13. > :02:16.when others have turned them away. As head of film and drama at

:02:16. > :02:20.FilmFour, she has passionately championed new talent and actively

:02:20. > :02:24.sought out challenging and controversial projects that were

:02:24. > :02:28.deemed too risky or unprofitable by the open market. What is more, time

:02:28. > :02:32.and again, their uncanny instinct has been proven right, and these

:02:32. > :02:37.projects have become huge worldwide successes. Many of us here tonight,

:02:37. > :02:43.myself included would not be where we are today without her wise,

:02:43. > :02:47.indefatigable, modest and, yes, capable of the odd mistimed tackle,

:02:47. > :02:53.I can pay her no greater compliment than to say she really is the poor

:02:53. > :03:00.skills of the British film industry. Let's take a look at some of her

:03:00. > :03:10.work. -- Paul Scholes. Right, Mr Braithwaite, the sun will come out

:03:10. > :03:14.

:03:14. > :03:24.I am sick of all these stereotypical murderous type movies.

:03:24. > :03:27.

:03:27. > :03:37.You do not know karate! Crazy! repairs and a racist talk. Is that

:03:37. > :04:00.

:04:00. > :04:10.Everything all right? Ready? Set? 1, 2, 3, Go! It stops them taking

:04:10. > :04:10.

:04:10. > :04:53.Apology for the loss of subtitles for 97 seconds

:04:53. > :04:55.I think it could work, don't you? Ladies and gentlemen, the Michael

:04:55. > :05:05.Balcon Award for Outstanding Contribution to British cinema goes

:05:05. > :05:24.

:05:24. > :05:27.Well, thank you, thank you so much. You will have seen those clips and

:05:27. > :05:33.you will know jolly well that work is by a host of other people, an

:05:33. > :05:37.army of other people and not me, not least this wonderful man, whom

:05:37. > :05:40.I have had the most wonderful time working with. I would love to list

:05:40. > :05:44.aims and do proper thank-yous, but the list is so long that I thought

:05:44. > :05:47.she would not mind and you would forget me if I just said a huge

:05:47. > :05:52.thank-you to the extraordinary writers and visionary directors,

:05:52. > :05:55.the magical technicians and actors, the dogged producers that I have

:05:55. > :05:59.had the huge privilege of working with. I have learnt something every

:05:59. > :06:03.day and continue to do so, and in truth those wild, winding, Crazy

:06:03. > :06:09.Jenny's, looking at Danny, have been the very best bit of the work

:06:09. > :06:13.for me. -- Crazy journeys. I get to take this wonderful thing home to

:06:13. > :06:17.put it on my mantelpiece. I have looked jealously at the team's

:06:17. > :06:21.coming up, because I share this with my team at FilmFour, a group

:06:21. > :06:25.of people who are truly exceptional and like a second family. They are

:06:25. > :06:29.incredibly committed, they are clever, they are passionate and

:06:29. > :06:34.patient, full of ingenuity, and they have huge integrity. They do a

:06:34. > :06:38.huge amount with very little, and really the reason we can work this

:06:38. > :06:43.built 30 years ago by some brilliant people, amongst them

:06:43. > :06:47.David Rose and Jeremy Isaacs. The vision was very simple, and it was

:06:47. > :06:52.this, to take the values of what was then a very new public service

:06:52. > :06:55.channel, Channel 4, and those values were of taking risks, of

:06:55. > :06:58.nurturing talent, of doing things differently, of challenging

:06:58. > :07:01.preconceptions, and taking those values to the community in this

:07:01. > :07:05.country, talented people who want to make feature films, and really

:07:05. > :07:09.that is it. It is as simple as that, and that is the vision we have

:07:09. > :07:12.today. As the world changes and our business changes at a rate of knots,

:07:12. > :07:18.it seems those values are what cherishing and working with even

:07:18. > :07:21.more than ever before. It really works like this, my team and I meet

:07:21. > :07:25.somebody, somebody we have never met, somebody who has a story to

:07:25. > :07:29.tell that we could not have imagined. A story that only that

:07:29. > :07:34.person could have told, and our job is to support that person, to

:07:34. > :07:39.protect their creativity above all else, to give them time and energy

:07:39. > :07:44.and money. And there is no greater privilege than supporting people

:07:44. > :07:46.like that. So thank you very much for this. It is wonderful to be

:07:46. > :07:49.part of building a legacy that his film for, but in truth the thing

:07:49. > :07:53.that matters most to me is that it should continue to do bigger and

:07:53. > :08:03.braver things and that it should be a central part of the cultural life

:08:03. > :08:09.

:08:09. > :08:12.for very many years. Thank you very For those of you keeping count, and

:08:12. > :08:17.those of you that can't, we now come to the fourth film sweating it

:08:18. > :08:21.out in the best film category, the epic, thought-provoking Lincoln. I

:08:21. > :08:25.actually got an email inviting me to join this film, the call from

:08:25. > :08:35.Spielberg has come at last, I thought. Sadly, though, on closer

:08:35. > :08:40.inspection I had in fact been invited to join LinkedIn. A huge

:08:40. > :08:45.disappointment that we all share, will you stop it, LinkedIn?! But

:08:45. > :08:49.then I thought, who wants to be in a film about a small cathedral town

:08:50. > :08:53.in the English countryside. So I bought the rights! Call me Susan in

:08:53. > :08:57.Lincoln did not turn out to be a master work about a masterful

:08:57. > :09:07.leader. As my dear old grandmother used to say, cop a load of this,

:09:07. > :09:11.I have always been interested in telling the story of Abraham

:09:11. > :09:15.Lincoln, one of the most compelling figures in American history and in

:09:15. > :09:21.my life. Abolishing slavery by constitutional provision settles

:09:21. > :09:27.the fate For All coming Time! wanted to show him accomplishing

:09:27. > :09:31.something monumental. On February 1st I will sign the 13th Amendment!

:09:31. > :09:34.However, we also wanted to show he was a man, not a monument.

:09:35. > :09:38.choosing the last four months of the war, you get not only a

:09:38. > :09:44.beginning, middle and end to an incredibly thrilling question of

:09:44. > :09:48.whether the 13th Amendment is going to pass Congress... But you also

:09:48. > :09:54.get Lincoln, you get his interior fighting with himself, you get the

:09:54. > :09:58.people around him, people he trusts, and you get his political skills.

:09:58. > :10:03.This gang of talentless six rejected the amendment 10 months

:10:03. > :10:07.ago, we will lose. I like our chances now. In such a rich way,

:10:07. > :10:13.through his intellect, his humour, his melancholy, we see someone

:10:13. > :10:17.whose life is lived at one and the same time in that strange paradox

:10:17. > :10:22.of public and private. I wanted to make a film that represented the

:10:22. > :10:27.Times and mood of the nation, the mood of the individuals trying to

:10:27. > :10:30.find the solutions. I wanted to feel there was a real sense of

:10:30. > :10:35.authenticity on the set were the only real imposition would be the

:10:35. > :10:40.camera. Lincoln is relevant to the present because his presidency, I

:10:40. > :10:42.believe, offers the most vivid model of a leader, and I always

:10:42. > :10:46.believe that trying to make sense of what actually happened in the

:10:46. > :10:49.past always helps to shape our present, and that history is always

:10:49. > :10:56.relevant in the sense that understanding how we got to where

:10:56. > :11:05.we are well help figure out where we want to go from here. Congress

:11:05. > :11:15.must never declare equal those who God created unequal! Slavery, sir,

:11:15. > :11:15.

:11:15. > :11:23.A truly inspired work, but what does the more immediate future hold

:11:23. > :11:30.for Lincoln? It doesn't have a reputation for doing well in

:11:30. > :11:34.theatres, that this will change everything. We now come by both

:11:34. > :11:38.hook and crook to film not in the English language. To present it,

:11:38. > :11:42.two gobsmackingly talented actors whose subtitles read wow and crikey.

:11:43. > :11:48.One made the progression from Quantum Of Solace all the way to

:11:48. > :11:55.tomorrow Drew, while the other, after recovering from working with

:11:55. > :12:05.me, has been in Reservoir Dogs, pop fiction and Broken. Please spank

:12:05. > :12:15.

:12:15. > :12:20.palms audibly for Gemma Arteton and It is an absolute pleasure to be

:12:20. > :12:24.presenting the award for film not in the English language. Five

:12:24. > :12:27.incredible films in this category, showing just how exciting movie-

:12:27. > :12:37.making talent there is across the world and how this art form really

:12:37. > :12:37.

:12:37. > :14:43.Apology for the loss of subtitles for 97 seconds

:14:43. > :14:49.thrives without borders. Let's take And the BAFTA goes to... Michael

:14:49. > :14:59.Haneke or for Amour. Michael and Margaret could not be with us this

:14:59. > :15:04.

:15:04. > :15:08.evening so we will make sure that Now, ladies and gentlemen, they

:15:08. > :15:11.don't call me Stephen "Move On To The Next Award Swiftly And With The

:15:11. > :15:14.Absolute Minimum Of Fuss And Waffle" Fry for nothing. So let's

:15:14. > :15:18.now move on to the next award swiftly and with the absolute

:15:18. > :15:23.minimum of fuss and waffle. It is the EE rising star award, presented

:15:23. > :15:25.in honour of the great casting director Mary Selway. To present it

:15:25. > :15:31.two hugely gifted actors who've followed differing paths to both

:15:31. > :15:35.end up at new Disney animation Wreck-It Ralph. His path took him

:15:35. > :15:38.to Gangs Of New York, Chicago and We Need To Talk About Kevin. Hers

:15:38. > :15:42.involved shock, outrage, daring and brilliant comedy, and by the end of

:15:42. > :15:52.the night our lawyers may well need to talk about Sarah. Please welcome,

:15:52. > :16:05.

:16:05. > :16:11.It is such a pleasure to be asked to present the EE Rising Star Award.

:16:11. > :16:15.I love it because these young nominees are still untouched by

:16:15. > :16:24.fame and fortune so they are not all jaded and gross like, well, you

:16:24. > :16:29.know... Yeah, that is why I have always made a conscious decision to

:16:29. > :16:39.be real and down-to-earth. I'm love that... Of canny move over because

:16:39. > :16:49.you are in my like? -- can you move over because you are in my light?

:16:49. > :16:57.

:16:57. > :17:03.Thank you, sweetie. Let's look at I think Juno Temple is fantastic

:17:03. > :17:13.and a wonderful person and a great actress. You go by yourself because

:17:13. > :17:14.

:17:14. > :17:22.I have to sue Jove. -- I have to see Joe. Now I know who I am.

:17:22. > :17:32.attitude is infectious. You have to be quiet. We are going to wake up

:17:32. > :17:33.

:17:33. > :17:43.mummy. Look at the way that he is showing off. I think Suraj Sharma's

:17:43. > :17:46.

:17:46. > :17:53.innocence is a talent. It is How long are you staying? I don't

:17:53. > :18:03.know. It depends on you. What if it doesn't like me. What if they don't

:18:03. > :18:06.

:18:06. > :18:10.like me? She is going to be a huge Attractive, my dear, is a polite

:18:10. > :18:16.way of saying that a woman has made the most of what she has got.

:18:17. > :18:26.has a face that can play a range of ages and emotion. I never forget a

:18:27. > :18:27.

:18:27. > :19:14.Apology for the loss of subtitles for 97 seconds

:19:14. > :19:18.Thank you. Wow! Thank you to BAFTA for this huge, huge honour and for

:19:18. > :19:23.including me on this list of such wonderful, wonderful actors. And

:19:23. > :19:29.thank you to all of the voters, especially my little brother Felix,

:19:30. > :19:35.you I think got his entire school to vote for me. I could not do any

:19:35. > :19:45.of this without Michael or Billy Lazarus, the most amazing agents

:19:45. > :19:46.

:19:46. > :19:52.that you could ever ask for. I also have to thank Terry, and Tesco, for

:19:52. > :19:59.somehow keeping me in check. And for my wonderful family and friends.

:19:59. > :20:02.-- Terry and Jessica or. And to this inspirational room of

:20:02. > :20:12.wonderful people and to my father who made him want to do this. Thank

:20:12. > :20:22.

:20:22. > :20:25.We come now to that sad interlude where we take a few, all too short,

:20:25. > :20:28.moments to remember those from our industry who have sadly passed away

:20:28. > :20:32.during the last twelve months. As Abraham Lincoln said, "In the end,

:20:32. > :20:35.it's not the years in your life that count, it's the life in your

:20:35. > :20:45.years." and the wonderful memories they have given us are testament to

:20:45. > :21:13.

:21:13. > :21:23.I have travelled so far and all I I am just a fat, little man. A fat,

:21:23. > :21:31.

:21:31. > :21:41.ugly man. The one not ugly. I am Careful! I put the real one in the

:21:41. > :21:50.

:21:50. > :22:00.What would you do if I told him? You see, you don't even know. Make

:22:00. > :22:10.

:22:10. > :22:20.up your mind and then I will tell Yes! Yes! I will have what she is

:22:20. > :22:20.

:22:20. > :23:02.Apology for the loss of subtitles for 97 seconds

:23:02. > :23:12.You are my best friend. No, really. Angels just light up in heaven.

:23:12. > :23:31.

:23:32. > :23:34.Now, my radar has picked up very strong signals that the award for

:23:35. > :23:38.documentary is close by, so let's get the presenters out here and

:23:38. > :23:41.hope that it's correct. One of them has taken a leaf out of my book and

:23:41. > :23:44.is about to be seen wearing his underpants over his trousers,

:23:44. > :23:50.though in his case it's because he's the new Superman as opposed to

:23:50. > :23:57.an absent-minded old oaf. And the other has been delighting us all as

:23:57. > :24:02.Bilbo Baggins. He will continue to for many years, as many years as

:24:02. > :24:12.Warner Brothers can squeeze, again I mean lovingly craft... Ladies and

:24:12. > :24:18.

:24:18. > :24:22.gentlemen, Martin Freeman and Henry Good evening. Perhaps more than any

:24:22. > :24:31.other form of art the documentary has the almost unique ability to

:24:31. > :24:37.inform, astonish, and enthral and entertain its audience at the same

:24:37. > :24:47.time. The five powerful words nominated in tonight's category do

:24:47. > :24:53.

:24:53. > :25:03.The way he played against the National Front guys. We beat them a

:25:03. > :25:17.

:25:17. > :25:27.I got on the telephone and I told So I told him, you will be more

:25:27. > :25:27.

:25:27. > :25:37.The main thing I am going to be thinking about is the person who

:25:37. > :25:47.killed his three kids is still out Sometimes people used to say to me,

:25:47. > :25:57.do you have nightmares? I would say And the BAFTA is awarded to

:25:57. > :26:27.

:26:27. > :26:31.What an honour. There is so much stuff I would like to say but I am

:26:31. > :26:39.not going to do that tonight. I want to say thank you to some

:26:39. > :26:49.people, firstly BAFTA. This is fantastic. Thank you, BAFTA. I want

:26:49. > :26:53.to thank Sony Classics, Simon, John, sitting over there, wonderful.

:26:53. > :27:00.Thank you to Studio Canal as well. We are incredibly gratified to be

:27:00. > :27:07.able to introduce the wonderful Rodriguez and his music to say many

:27:07. > :27:12.people through this film. You want to say something? We hope to would

:27:12. > :27:19.be here but at this very moment he is playing to a sold-out stadium in

:27:19. > :27:29.Cape Town. It is particularly great that he is finally getting the

:27:29. > :27:34.

:27:34. > :27:37.recognition and royalties that he Now where would the top five best

:27:37. > :27:40.film category be without the fifth film? Well, a top four, but you

:27:40. > :27:48.nominated five, so five you will jolly well have. That final nominee

:27:48. > :27:51.is the earth-shattering triumph Les Miserables. Now I must say, when I

:27:51. > :27:54.went to see Les Mis, I found the 3D effects to be quite remarkable,

:27:54. > :28:04.though somewhat less so when I realised I'd gone to see it on

:28:04. > :28:09.

:28:09. > :28:16.stage. I assumed it would be in French and I managed to understand

:28:16. > :28:26.80% of it! Feast your eyes on the spectacle, the wonderful, filmed

:28:26. > :28:27.

:28:27. > :28:32.with the accent on the second From the very beginning, what

:28:32. > :28:36.excited me about doing Les Miserables was doing it live. There

:28:36. > :28:41.is something about what an actor does live on the day, that whether

:28:41. > :28:46.you pre-record or post record, is never the same. Singing live is

:28:46. > :28:50.daunting but what it gives you is freedom. When you are doing a love

:28:50. > :28:55.scene as an actor you wish there was music to help you get there.

:28:55. > :28:59.But now you can hear the piano and the music. What comes with this way

:28:59. > :29:06.of working is the fragility of the voice, which matches with the

:29:06. > :29:10.emotions of what a character is saying. Everybody felt that it was

:29:10. > :29:20.breaking a lot of very new ground. You have got to find a language and

:29:20. > :29:25.the language in this film comes right from the actives' hearts. --

:29:25. > :29:35.actors'. There seems to be something selfish about going for

:29:35. > :29:36.

:29:36. > :29:43.the British version. Les Miserables has to feel real, immediate. There

:29:43. > :29:46.is an emotional level to those that cannot be created in the studio.

:29:46. > :29:56.thought there was an amazing opportunity to do something

:29:56. > :30:11.

:30:11. > :30:16.So five awards remain, but not any five, just listen, director,

:30:16. > :30:22.actress, actor, film and fellowship. They meatier bunch of awards you

:30:22. > :30:26.could not wish for, and not a trace Macca -- a trace of horse in any of

:30:26. > :30:32.them. The first to concern us is the award for director, named in

:30:32. > :30:37.honour of David Lean, and to present it a towering, shining,

:30:37. > :30:47.multi-award-winning, accolade receiving acting legend, ladies and

:30:47. > :30:55.

:30:55. > :30:59.gentlemen, the Peerless Divinity, Stephen, good evening, ladies and

:30:59. > :31:06.gentlemen. Of the many people who contribute to the making of a film

:31:06. > :31:09.and its success, none works harder than the director. None has more

:31:09. > :31:13.responsibility, in that the director affects the work of

:31:13. > :31:17.everyone else working on the film, and that is why actors so often

:31:17. > :31:24.want to share their best acting awards with the director, and why

:31:24. > :31:28.the same is certainly true of awards for best film. And now the

:31:28. > :31:38.five contrasting and outstanding directors whom BAFTA has said have

:31:38. > :31:46.

:31:46. > :31:51.been working at their very best I Denmead the biscuit, but God made

:31:51. > :32:01.Tigers carnivores, so I must learn to catch fish. If I don't, I'm

:32:01. > :32:02.

:32:02. > :32:08.afraid his last meal will be a This is the best bad idea we have,

:32:08. > :32:18.so. By far! The United States government has just sanctioned your

:32:18. > :32:36.

:32:36. > :32:46.How do you know it is Bin Laden? Bin Laden is there. And you are

:32:46. > :33:09.

:33:09. > :33:19.And the BAFTA for best director it goes, for his film Argo, Ben

:33:19. > :33:34.

:33:34. > :33:38.Thank you so much! I will try to be brief, everyone has been so

:33:38. > :33:42.eloquent and brief. I have to thank Warner Brothers, who supported

:33:42. > :33:49.Payne, Sue, Veronica, Geoff, I remember their names in part

:33:49. > :33:53.because they are sitting right there! They did amazing things,

:33:53. > :33:58.Graham Kane, the greatest producers in the world, they use their cachet

:33:58. > :34:03.to make great films and they stood by me, George Clooney, really

:34:03. > :34:07.spectacular. Chris Terrio wrote the script, it is masterful, it will

:34:07. > :34:12.always be my favourite, I owe you everything. Liam Goldberg, you said

:34:12. > :34:20.such a nice things, I have nothing equal to say except I love you. My

:34:20. > :34:24.wife, I also love you... Very much! And our children, Violet, Sarah and

:34:24. > :34:29.Sam, very much, although I am quite sure they are asleep by now.

:34:29. > :34:32.Everyone who worked on the Mowgli, everybody this movie is about, all

:34:32. > :34:35.the international people, the Persians, the Turks, the people in

:34:35. > :34:44.North America are made this a wonderful international movie. I

:34:44. > :34:48.want to thank everyone. And I want to say, you know, this is a second

:34:48. > :34:53.act for me. And you have given me that, these Industry has given me

:34:53. > :34:58.that, and I want to thank you. And I am so grateful and proud, I just

:34:58. > :35:08.want to dedicate this to anyone else out there who was trying to

:35:08. > :35:17.

:35:17. > :35:21.get their second act. Thank you Congratulations. We now travel to

:35:21. > :35:27.the ward for actors, and two handed over to the lucky recipient, a male

:35:27. > :35:30.actress of the highest order, his credits are up to die for, with

:35:30. > :35:35.Mission: Impossible, The Bourne Legacy and The Hurt Locker jumping

:35:35. > :35:39.out and walloping us in the mouth. His latest project is Hansel And

:35:39. > :35:42.Gretel, which is why I presume he has left a trail of breadcrumbs to

:35:42. > :35:52.guide him to the stage. Please welcome the stupendous Jeremy

:35:52. > :36:01.

:36:01. > :36:07.Thank you! Thank you, ladies and gentlemen. As an American visitor

:36:07. > :36:12.to this great city, I must say it is amazing to be here. This is all

:36:12. > :36:16.new to me, by the way! In the shadow of one of Britain's finest

:36:16. > :36:24.institutions, whose beauty, grandeur, sheer majesty is both

:36:24. > :36:34.breathtaking and humbling, that is enough about Stephen... Let's take

:36:34. > :36:37.

:36:37. > :36:41.a look at the nominations for I guess I know all about the Lord

:36:41. > :36:45.Of the flies, a bunch of boys of Ireland, they have a shell, and

:36:45. > :36:48.whoever has the shell has the power, and if you do not have it, you do

:36:48. > :36:53.not have the power. There is a chubby boy, they are really mean,

:36:53. > :37:03.and then there is a murder. Humanity is just nasty, there is no

:37:03. > :37:27.

:37:27. > :37:30.Go to work on something that is not an Alfred Hitchcock production and

:37:30. > :37:34.I met with accusations and criticisms! The work I am doing

:37:34. > :37:44.gives me pleasure and purpose, and it takes absolutely nothing away

:37:44. > :38:03.

:38:04. > :38:07.The truth is, you do not understand Pakistan, and you don't know Al-

:38:07. > :38:11.Qaeda! Give me the team I need to follow this lead, or the other

:38:11. > :38:14.thing you will have on your resume is the first station chief being

:38:14. > :38:24.called before a Congressional committee to suburbs the efforts to

:38:24. > :38:27.

:38:27. > :38:36.capture or kill Bin Laden! -- some And the BAFTA goes to... Emmanuelle

:38:36. > :38:46.Unfortunately, Emmanuelle is not able to be here, but I will make

:38:46. > :38:50.

:38:50. > :38:53.Congratulations. Now, of course, if we did not follow the award for

:38:53. > :39:00.actress with the award for actor, there would be something very

:39:00. > :39:04.strange, and there is nothing odd about BAFTA, as you have found out,

:39:04. > :39:08.so to presented an angelic actress who kept Sex And The City going for

:39:08. > :39:12.12 years. Stick that in your Tantric pipe and smoke it, Mr Sting.

:39:12. > :39:22.Please welcome the woman so talented they named her thrice,

:39:22. > :39:33.

:39:33. > :39:37.Thank you, ladies and gentlemen. actors working today that I believe

:39:37. > :39:43.we are going through something sort of like a golden age. When you

:39:43. > :39:47.consider the sheer talent, range and ability of the individuals

:39:47. > :39:57.nominated in his leading actor category, it really is quite

:39:57. > :40:02.

:40:02. > :40:06.staggering. Let's take a look at What was the last movie you

:40:06. > :40:12.produce? Who paid for that? What is your middle name? What is your

:40:12. > :40:20.middle name? He is an American spy! They have gone to try to break you,

:40:20. > :40:26.get you agitated. You have to know your resume back to front. About a

:40:26. > :40:34.week before I call the cops, she was plotting to members of money

:40:34. > :40:40.from the local high school. -- embers of. It was untrue, it was a

:40:40. > :40:50.delusion. I later found out from the hospital it was because I am...

:40:50. > :40:59.

:40:59. > :41:09.I cannot accomplish a goddamn thing with any human meaning for worth

:41:09. > :41:16.

:41:16. > :41:21.until we cure ourselves of slavery I do not know! I told her I would

:41:21. > :41:31.come back and I never went back, I have got to get back to her! I

:41:31. > :41:36.

:41:36. > :41:46.# Yucel, your honour, this man bears no more killed than you...

:41:46. > :42:18.

:42:19. > :42:25.And the BAFTA goes to... Daniel Thank you, ladies and gentlemen,

:42:25. > :42:29.thank you, BAFTA. Well, just on the chance that I might one day have to

:42:29. > :42:39.speak on an evening such as this, I have actually stayed in character

:42:39. > :42:45.

:42:45. > :42:50.I had a varied selection of sets down scaled, dating from the late

:42:50. > :42:56.1950s, placed in every single room of every house I have ever lived in.

:42:56. > :43:03.And every time I rise from nature, it spontaneously unleashes a

:43:03. > :43:13.soundtrack of thunderous applause, with a few boos and some drunken

:43:13. > :43:17.

:43:17. > :43:22.I am so very grateful to BAFTA for this and for all the encouragement

:43:22. > :43:26.you have given me over the years, it has meant a great deal to me,

:43:26. > :43:29.such generous recognition of our film. My fellow nominees, I do not

:43:30. > :43:38.know if I deserve this, but I know that every single one of you

:43:38. > :43:45.deserves it at least as much as I do. My colleagues, represented here

:43:45. > :43:49.by the wonderful producer Kathleen Kennedy, I... I miss you, I Miss We

:43:49. > :43:55.were still on this expedition together, and it turns out we were

:43:55. > :44:00.not on a rudderless boat. Steven Spielberg was the rudder, the

:44:00. > :44:10.helmsman, the boat builder, the boat and the sea we sailed on, and

:44:10. > :44:17.

:44:17. > :44:23.to the end of my days, thank you, So, we've teased and tantalised the

:44:23. > :44:26.nominees for best film and now it's time to coax out the winner. To

:44:26. > :44:31.help us find our presenter we enlisted some of the world's top

:44:31. > :44:34.casting directors and gave them a seemingly impossible task. We

:44:34. > :44:40.specified that we wanted a brilliant actor who's appeared in

:44:40. > :44:47.some of the biggest films ever and Snakes On A Plane. He had to be A

:44:47. > :44:50.List, cool, legendary and most importantly in London tonight.

:44:50. > :45:00.Frankly, we didn't think they'd come up with anyone suitable, but

:45:00. > :45:20.

:45:20. > :45:26.boy were we wrong. Please welcome Can I just said I... Of course I

:45:26. > :45:29.can say, I am Samuel L Jackson! It has been an absolutely marvellous

:45:29. > :45:36.evening and I think half of Hollywood is here tonight. It is

:45:36. > :45:40.not just movie-star us here. Everybody has made the trip. Agents,

:45:40. > :45:50.lawyers, management, PR people, everyone. I know because they were

:45:50. > :45:55.all on my flight. I was doing a remake of Snakes on a Plane. But

:45:55. > :45:59.enough about award-winning films of the past. It has been a truly

:45:59. > :46:03.magnificent year in film which is why I could not pick a winner out

:46:03. > :46:13.of the five great works of film in the best Film category. Let's take

:46:13. > :46:25.

:46:25. > :46:30.It is either amendment or Confederate peace. You cannot have

:46:30. > :46:40.both. If you can look into the seeds of time and say which grain

:46:40. > :46:43.

:46:43. > :46:53.will grow and which will not, speak # Do you hear the people saying?

:46:53. > :46:56.

:46:56. > :47:06.Nobody is supposed to be there. You might have spooked them already.

:47:06. > :47:06.

:47:06. > :47:16.Procedures only work if we follow Have we got an option? Why do we

:47:16. > :47:47.

:47:47. > :47:50.need an auction? -- option? And the Well, you know, I have to say, if

:47:50. > :47:55.this is your second act, I don't know what the hell you are going to

:47:55. > :47:58.do for a third act. You are remarkable at what you do. You are

:47:58. > :48:02.smart and you know what you want but more importantly you love what

:48:02. > :48:07.you are doing and I cannot tell you what an honour it has been to work

:48:07. > :48:14.with you. Grant, 30 years ago we were in a play together in Los

:48:14. > :48:22.Angeles. We were both broke. He got an episode of Happy Days. He loaned

:48:22. > :48:25.me $100 to get head shots. I still use those! We have been partners

:48:25. > :48:31.ever since. We have failed a tremendous amount of our careers

:48:31. > :48:35.are over time, which were great lessons. I am so proud to be able

:48:35. > :48:42.to stand up here and introduce you to a man who I believe to be the

:48:42. > :48:52.best producer that I have ever worked with and a dear friend.

:48:52. > :48:58.Thank you. We would like to thank BAFTA for this. This is amazing. Of

:48:58. > :49:03.course all the folks at Warner Brothers and a whole litany of

:49:03. > :49:07.people to thank that we will do on our own. I want to turn to Ben

:49:07. > :49:12.Affleck, the director of this film. I want to say thank you for coming

:49:12. > :49:16.on board and taking us on this journey. It has been amazing. I

:49:16. > :49:22.also wanted to say how much I love my beautiful wife Lisa and our

:49:22. > :49:27.children. Thank you so much, everybody, really. That was what I

:49:27. > :49:34.was going to whisper in his ear. Every single person that is part of

:49:34. > :49:37.BAFTA and has welcome doves and been so -- welcomed us and been so

:49:37. > :49:43.kind, when I was back in the studio they said that we never win, and

:49:43. > :49:53.everybody has been so nice. I want to thank BAFTA, and just everybody.

:49:53. > :50:02.

:50:02. > :50:06.A wonderful evening for Argo. Congratulations to everyone

:50:06. > :50:09.concerned. We now come to the fellowship, the highest honour

:50:09. > :50:12.bestowed by the British Academy. To make the presentation a double

:50:12. > :50:15.Oscar winning, BAFTA winning actor. He is a true master of his craft

:50:15. > :50:18.and to his eternal credit has chosen to live in England rather

:50:18. > :50:21.than his native America. Amazing how quickly he's picked up the

:50:21. > :50:26.language. If I said The Usual Suspects, your pulse rate would

:50:26. > :50:29.increase. If I said LA Confidential, you'd begin to feel an almost

:50:29. > :50:32.uncontrollable excitement. And if I said American Beauty you would

:50:32. > :50:42.break out in unrestrained rapturous and riotous applause for the

:50:42. > :51:00.

:51:00. > :51:05.Good evening. Why is Alan Parker? Why is he? Hello. Congratulations.

:51:05. > :51:09.It is a great privilege for me to present the BAFTA Fellowship Award

:51:09. > :51:11.tonight, the highest accolade bestowed upon an individual in

:51:11. > :51:17.recognition of outstanding an exceptional contribution to the art

:51:17. > :51:20.of motion pictures. Once in a lifetime, a generation, an

:51:20. > :51:24.individual, comes along who transforms and transcends their

:51:24. > :51:32.craft and tonight's recipient, ladies and gentlemen, is no

:51:32. > :51:37.exception. He is a legendary writer, producer, cartoonist, a chef... Are

:51:37. > :51:42.you a chef? You are tonight. Story teller, champion of emerging film-

:51:42. > :51:45.makers, teacher. Famed as much for his clarity of vision and film-

:51:45. > :51:51.making originality as for his unswerving support of the British

:51:51. > :51:55.film industry, that he loves so very much. Alan Parker's entry into

:51:55. > :51:58.directing could not have been less planned. He had successfully worked

:51:58. > :52:02.in commercials and he asked his boss if his team could be given a

:52:02. > :52:07.budget to continue the experiment in advertising. One guy held the

:52:07. > :52:11.camera, one guided the art department, and he decided to be

:52:11. > :52:18.the guy that said action. His films played two or wide audience but

:52:18. > :52:21.each is significant and unusual. -- played to a wide audience. His work

:52:21. > :52:26.with actors is crucial but he also lets his camera subtle on people,

:52:26. > :52:36.sometimes people new to the art form. He allows his lens to be

:52:36. > :52:37.

:52:37. > :52:46.patient anti-freeze them up. His work allows us to get close. -- and

:52:46. > :52:51.he makes them free. He has given us some of the most memorable movie

:52:51. > :52:55.moments ever. His incomparable contribution to British cinema has

:52:55. > :53:00.won him the acclaim that he so clearly deserves. His films have

:53:00. > :53:06.won a breathtaking 19 BAFTAs. He is a man that I am very proud to call

:53:06. > :53:16.a colleague and above all a friend. Let's take a look at some of Sir

:53:16. > :53:21.

:53:21. > :53:28.Do you know what today is? It is anything can happen day. You have

:53:28. > :53:35.been watching too many movies. are not taking that. We have to.

:53:35. > :53:40.The stairs will kill him. yourself out of here on the

:53:40. > :53:49.Midnight Express. I say bring him in, strap him down and let him walk

:53:49. > :53:59.it off. We also got a video. 50 but because you can see my tits. The

:53:59. > :53:59.

:53:59. > :54:09.version without his 35. -- is 35. Don't you want success? Sure, I

:54:09. > :54:18.

:54:18. > :54:28.just don't think my tits are up to # Fame! I'm going to live for ever.

:54:28. > :54:44.

:54:44. > :54:48.Ladies and gentlemen, please be upstanding for a remarkable film-

:54:48. > :54:58.maker. If you come to the party after, he has promised to make you

:54:58. > :55:38.

:55:38. > :55:43.Oh, boy. Thank you. Thanks. God, this is incredibly flattering. When

:55:43. > :55:51.it was first mooted that I might get this award, I thought about

:55:51. > :56:00.what I might say. 10 years went by... So Russell Crowe has written

:56:00. > :56:08.me a poem. It will only be cut out. When you are halfway through your

:56:08. > :56:13.first film, you are certain that it is surely going to be your last.

:56:13. > :56:19.Then you kind of blink, and 40 years have gone by. And then you

:56:19. > :56:23.have made 14 films. It is quite a surprise, really. But you always

:56:23. > :56:27.know you are going to get there. However hard it is on the movie, if

:56:27. > :56:33.you squeeze your eyes together, you're always going to get to the

:56:33. > :56:42.wrap party, even if you think not. When I was a little boy I was aged

:56:42. > :56:49.about 10 and my junior school. We had been to see Jack plans and Jeff

:56:49. > :56:56.Chandler in Sign of the pagan. I came back and I divided the entire

:56:56. > :57:02.playground into Roman's and hands. Although I did not actually say

:57:02. > :57:09.action, I did give the command for them to attack the Romans, who were

:57:09. > :57:16.defended the outside toilets. The resultant bloodshed, which was

:57:16. > :57:21.quite considerable, meant that I went before the headmaster. He said,

:57:21. > :57:31.why, Parker? Why? If I had known then that I was going to get this I

:57:31. > :57:35.could have really shut him up! I will be very brief. My mentor, the

:57:35. > :57:42.great Fred Zimmerman, who used to critique each of my films, not

:57:43. > :57:50.always kindly, said to me that it is a great privilege to be a

:57:50. > :58:00.director. Don't waste it. Hopefully over the last 40 years, some of the

:58:00. > :58:12.

:58:12. > :58:17.time I did not waste it. Thank you, Well, I don't know when I have had

:58:17. > :58:22.more fun, certainly not without the use of a water-soluble lubricant.

:58:22. > :58:27.Till everybody watching, thank you for supporting film. Keep going to

:58:27. > :58:31.your local cinemas, keep talking and arguing about film. Some of you

:58:31. > :58:36.watching will find your way to this stage one day. If you do, contrary

:58:37. > :58:41.to popular belief, you will not find yourself in the company of a

:58:41. > :58:46.bunch of bitches, self-obsessed, up themselves Prix Madonnas, well,

:58:46. > :58:50.maybe one or two. You will be in the company of film-makers whose

:58:50. > :58:54.overriding passion is to make a film that succeeds well enough to

:58:54. > :58:59.allow them to make another one. What they will have in common is a

:58:59. > :59:03.deep desire to tell stories, stories of today, yesterday and

:59:03. > :59:07.tomorrow. Stories about you and me. This year they have done it as well

:59:07. > :59:13.as it can be done. I congratulate everyone here and to those of you

:59:13. > :59:23.out there, keep watching, get writing, start shooting you sure

:59:23. > :59:25.

:59:25. > :59:31.it's... That sounds of! Enough. -- start shooting your shorts. That

:59:31. > :59:41.sounds strange! Thank you and good night.

:59:41. > :59:42.

:59:42. > :59:46.The awards presented earlier: Short film. Swimmer. I always thought the

:59:46. > :59:56.BAFTA at for short film should go to new talent, not old gits like us.

:59:56. > :59:56.

:59:56. > :00:06.But thank you. Short animation. Making of Longbird. Thank you, I am

:00:06. > :00:08.

:00:08. > :00:13.very honoured. Costume design. BAFTA goes to... Anna Karenina.

:00:13. > :00:17.Thank you to Sarah Greenwood and Seamus for framing the costumes so

:00:17. > :00:25.beautifully. Thank you to Jo Wright and Keira Knightley for inspiring

:00:25. > :00:28.me. Make-up and hair. Miserables. Unfortunately, Lisa

:00:29. > :00:38.cannot be here tonight but we will make sure that she gets this.

:00:39. > :00:40.

:00:40. > :00:50.Animated film. The BAFTA goes to Brave. Thank you, BAFTA, for this

:00:50. > :00:53.

:00:53. > :00:57.amazing and beautiful award. Sound. Les Miserables. Les Miserables was

:00:57. > :01:03.a massive collaborative effort and we are overjoyed that BAFTA has

:01:03. > :01:08.recognised the film for its sound. Thank you very much. Editing.

:01:08. > :01:18.It is unbelievable, thank you. Cinematographer Yves. A life of

:01:18. > :01:25.

:01:25. > :01:30.five. -- cinematographer. Life Of Pi. He can be here tonight but his

:01:30. > :01:40.speeches about how great it is to work with me! The original music.

:01:40. > :01:49.