Browse content similar to 10/02/2013. 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 | :00:07. | :00:17. | |
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This programme contains some strong language and scenes of repetitive | :00:19. | :00:29. | |
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This programme contains some strong language and scenes of repetitive | :00:30. | :00:40. | |
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Tonight, the Royal Opera House plays host do some of the most | :00:41. | :00:48. | |
celebrated stars in cinema. He is is hugely thrilling for Main. | :00:48. | :00:53. | |
one of the nights in the business that is the pinnacle. The BAFTAs | :00:53. | :00:59. | |
are a great events. And the red carpet is where it starts, the fans. | :00:59. | :01:05. | |
Very passionate! To have people who love music -- movies this match, | :01:05. | :01:09. | |
the love the event, who want to see the people on screen, standing out | :01:09. | :01:14. | |
in the sleet and snow, it says a lot to me, it is really inspiring. | :01:14. | :01:19. | |
We are British, we can handle this! I feel bad for them standing in the | :01:20. | :01:24. | |
wet and cold. This is not bad weather, it is summer rain! | :01:24. | :01:34. | |
No-one does glamour like London. The biggest names in film. Who will | :01:34. | :01:40. | |
be taking home the much coveted BAFTA mask? Django Unchained was | :01:40. | :01:45. | |
probably my favourite. There are so many international nominees tonight. | :01:45. | :01:51. | |
I hope the British take it home! They are all good, that is why they | :01:51. | :01:57. | |
are here. A lot of Bond fans. expect me to say anything but | :01:57. | :02:04. | |
Django?! Ladies and gentlemen, please take your seats for the 2013 | :02:04. | :02:09. | |
British Academy Film Awards. Ladies and gentlemen, please welcome your | :02:09. | :02:19. | |
:02:19. | :02:23. | ||
Thank you very much. Thank you very much. Thank you very much indeed. | :02:23. | :02:29. | |
Thank you, thank you. Good evening, my lords, ladies and gentlemen. Yes, | :02:29. | :02:32. | |
sorry about this, but I suspect that I'm not the only actor who's | :02:32. | :02:41. | |
come here tonight with a beard. It gives you great pleasure to welcome | :02:41. | :02:44. | |
me to the Royal Opera House Covent Garden for the EE British Academy | :02:44. | :02:54. | |
:02:54. | :02:59. | ||
Film Awards. The EE British Academy Film Awards, I hear you scream! Now, | :02:59. | :03:02. | |
please, do not become hysterical, I assure you there is no need to | :03:02. | :03:05. | |
panic, you are in the right place, we have simply prefixed a new | :03:06. | :03:08. | |
prefix to our name for reasons. Allah loyal supporters have just | :03:08. | :03:14. | |
had a makeover, we hope the evening will be doubly good. That is the | :03:14. | :03:18. | |
kind of skill for, kidney rupturing hilarious word play you can expect | :03:18. | :03:26. | |
this evening, you lucky people! It is our philosophy here at BAFTA, | :03:26. | :03:33. | |
and I use that word quite wrongly... To focus not on self-congratulation, | :03:33. | :03:38. | |
but on admiration and celebration, so let's get on and be quite | :03:38. | :03:42. | |
unabashed about celebrating what has been based simply magnificent | :03:42. | :03:46. | |
year in film-making. I can honestly say, having presented these awards | :03:46. | :03:52. | |
on many occasions, I cannot remember a roster of films, | :03:52. | :03:55. | |
performances, scripts and productions that I have so admired | :03:55. | :04:05. | |
:04:05. | :04:11. | ||
and more importantly enjoyed. We are bursting at the seams here | :04:11. | :04:14. | |
tonight with more panache, elan, radiance, joy, esprit, verve and | :04:14. | :04:18. | |
obsession than you'd find at a perfume counter. This has been the | :04:18. | :04:21. | |
year of the silent letter with Lincoln, Les Miserables and Django | :04:21. | :04:23. | |
Unchained all benefiting from wholly unnecessary alphabetic | :04:23. | :04:32. | |
incursions. Unlike the stars of those films, who are here tonight. | :04:32. | :04:35. | |
Not a wasted letter amongst their names, just listen to how they | :04:35. | :04:45. | |
:04:45. | :04:54. | ||
resound, Daniel Day-Lewis, Samuel L Les Miserables, from the French | :04:54. | :04:59. | |
novel, featuring stand-out American and Australian performances is, of | :04:59. | :05:07. | |
course a British film! It was a remarkable experience, quite | :05:07. | :05:09. | |
astonishing, not least seeing Helena Bonham Carter burst in to | :05:09. | :05:14. | |
spontaneous song before she'd had a drink. I am joking, of course, she | :05:14. | :05:23. | |
was drunk every day on set! Banging the drum a little more, our very | :05:23. | :05:25. | |
own 007, James Bond, came up against his most formidable | :05:25. | :05:29. | |
adversary yet last year, a steely foe who sat at the head of a shady | :05:29. | :05:33. | |
operation hell-bent on world domination. Of course, as ever, he | :05:33. | :05:36. | |
emerged victorious when in the final scene he threw Her Majesty | :05:36. | :05:45. | |
out of the helicopter. Talking of old queens, oh, no, I promised the | :05:45. | :05:55. | |
:05:55. | :05:59. | ||
BBCi would not do that one! 2012 was the year of the film franchise | :05:59. | :06:03. | |
With the likes of The Hobbit: An Unexpected Journey, a film I don't | :06:03. | :06:07. | |
mind telling you I played a small part in, though it remains in the | :06:07. | :06:10. | |
cutting room, thus making it for me, more of The Hobbit: A Wasted | :06:10. | :06:13. | |
Journey. In fact, I think my scenes will be shown next year in the | :06:13. | :06:18. | |
second Hobbit film. Or if they can squeeze, by which I mean of course, | :06:18. | :06:21. | |
lovingly craft another six films out of the slim volume Tolkien | :06:21. | :06:24. | |
wrote, expect to see me in The Hobbit 9: Are We Nearly Home Yet, | :06:24. | :06:32. | |
Gandalf? There was also Men In Black 3, The Twilight Saga: | :06:32. | :06:35. | |
Breaking Dawn Part 2, The Bourne Legacy and the latest in the Batman | :06:36. | :06:38. | |
series, The Dark Knight Rises, where the caped crusader works | :06:38. | :06:42. | |
tirelessly for the good of his beloved city. Interestingly, I | :06:42. | :06:44. | |
believe they based it on London's very own superhero, Boris Johnson, | :06:44. | :06:47. | |
though he doesn't keep his alter- ego as a millionaire quite as | :06:47. | :06:57. | |
:06:57. | :07:04. | ||
hidden. Then there was the first in The Hunger Games trilogy, where | :07:04. | :07:07. | |
children are forced to fight to the death in a simulated arena, an idea | :07:07. | :07:10. | |
we were very keen on to determine tonight's winners, but Quentin | :07:10. | :07:13. | |
Tarantino was just a bit too keen on the idea. Most marvelously, | :07:13. | :07:16. | |
though, the young shining star of The Hunger Games, the mesmeric | :07:16. | :07:19. | |
Jennifer Lawrence, is with us tonight hoping to bag a BAFTA for | :07:19. | :07:25. | |
her simply sublime performance in Silver Linings Playbook. Now, | :07:25. | :07:28. | |
Jennifer, last year a certain Brad Pitt was here and did us the great | :07:28. | :07:32. | |
honour of blowing a kiss to our audience at home, a joyous moment | :07:32. | :07:42. | |
:07:42. | :07:45. | ||
that I replay in my mind often and 18 times a day on YouTube. It is a | :07:45. | :07:49. | |
tradition we had started, and we would be delighted if you would | :07:49. | :07:54. | |
continue the contrition down the barrel of camera nine... Gone, blow | :07:54. | :08:04. | |
:08:04. | :08:08. | ||
a kiss! Wonderfully kind! A nation's hunger has been sated! We | :08:08. | :08:11. | |
also welcome along one of my all time heroines Sally Field, star of | :08:11. | :08:14. | |
Lincoln and of course amongst so many other things, Forrest Gump's | :08:14. | :08:24. | |
:08:24. | :08:24. | ||
mother. Just to be in the same room as her makes my heart beat a tiny | :08:24. | :08:29. | |
bit faster. Also here is the director of the incredible Life of | :08:29. | :08:36. | |
Pee, Ang Li. Hang on, went astray there somehow. He knows what I mean, | :08:36. | :08:45. | |
a brilliant film and director! Star of The Master, the masterful | :08:45. | :08:48. | |
Joaquin Phoenix is with us, he's hoping to join the BAFTA winners' | :08:48. | :08:51. | |
club and become a Baftologist, where he could reach Thetan level | :08:51. | :09:01. | |
:09:01. | :09:01. | ||
and... I'm being told by the voice, I think it is Tom Cruise telling me | :09:01. | :09:11. | |
to stop! I will leave it there. Yes, a terrifically terrific year all | :09:11. | :09:14. | |
round, so let's take a trawl, and who better to take a look through | :09:14. | :09:17. | |
such a wonderful year in film with than the ravishingly brilliant | :09:17. | :09:20. | |
young British singer-songwriter who has penned hits aplenty, as well as | :09:20. | :09:26. | |
appearing in St Trinian's and The Imaginarium Of Doctor Parnassus. To | :09:26. | :09:30. | |
take us through this year in film, who better than the radiant Paloma | :09:30. | :09:40. | |
:09:40. | :09:40. | ||
Apology for the loss of subtitles for 97 seconds | :09:40. | :11:18. | |
# And they could never tear us # And they could never ever tear us | :11:18. | :11:28. | |
:11:28. | :11:28. | ||
Apology for the loss of subtitles for 97 seconds | :11:28. | :12:26. | |
# And they could never tear us # And they could never ever | :12:26. | :12:36. | |
:12:36. | :12:56. | ||
# Ever tear us apart Brilliant! Thank you. Ladies and | :12:56. | :13:01. | |
gentlemen out front, as much as I am a-quiver to see all of you here | :13:01. | :13:07. | |
in your finery and in some cases your onesies, this is not some | :13:07. | :13:12. | |
exclusive A-list superstar Party, that is later! Tonight we will come | :13:12. | :13:17. | |
along our beloved television audience, you are as welcome as | :13:17. | :13:22. | |
George Clooney at a hen party. And we all hope you have a wonderful | :13:22. | :13:30. | |
I know people like to bet on who is going to win in various categories, | :13:30. | :13:35. | |
but let me assure you that the only match that is fixed here is my | :13:35. | :13:40. | |
dance with Jeremy Irvine at the after party. A final word before we | :13:40. | :13:45. | |
immerse ourselves, Lord knows, if I was ever to beat awarded one of | :13:45. | :13:50. | |
these, I would need a restraining order to prevent me from thanking | :13:50. | :13:54. | |
everyone had anything to do with it, the cats, the magistrate who gave | :13:54. | :13:59. | |
me one final chance... But you are not me, and I feel certain that | :13:59. | :14:03. | |
when your name is called out, your production is called out, he will | :14:03. | :14:08. | |
leave your feet like a startled gazelle, he will not French Kiss Or | :14:08. | :14:13. | |
hug anyone around you, you will run like a freak in Giselle to the | :14:13. | :14:17. | |
stage, and you will collect your mask and you will keep your gushing | :14:17. | :14:21. | |
to the barest minimum. Let me put down the needle of insinuation and | :14:21. | :14:26. | |
pick up the club of statement, the swift, the damnably swift, and you | :14:26. | :14:36. | |
:14:36. | :14:44. | ||
Led me prong of the award for into the cast-iron cauldron of this | :14:44. | :14:54. | |
:14:54. | :14:58. | ||
likely -- lightly bubbling fondu of film. We're kicking off with | :14:58. | :15:00. | |
outstanding British film presented in honour of Alexander Korda. As | :15:00. | :15:05. | |
this is the first award of the evening, the award genie granted us | :15:05. | :15:08. | |
three wishes. So, first I wished for eternal youth, which as you can | :15:08. | :15:10. | |
see, was indeed granted. And then I wished for two of the biggest, most | :15:10. | :15:15. | |
talented stars of the moment. And would you believe it? Those wishes | :15:15. | :15:20. | |
also came true. Ladies and gentlemen, please welcome the star | :15:20. | :15:23. | |
of Silver Linings Playbook, Bradley Cooper, and the director and star | :15:23. | :15:30. | |
of Argo, Ben Affleck. His home city is currently under three feet of | :15:30. | :15:40. | |
:15:40. | :15:45. | ||
Good evening. This is our first time at the BAFTAs and it is | :15:45. | :15:50. | |
thrilling to be here. I have always been in awe of the excellence of | :15:50. | :15:54. | |
the British film industry. Influential behind and in front of | :15:54. | :16:00. | |
the camera since its inception. is an honour for me, too. I know I | :16:00. | :16:04. | |
speak for both of us when I say we are delighted to present the BAFTA | :16:04. | :16:14. | |
:16:14. | :16:33. | ||
award for outstanding British film. He is keen to get home! I'm not | :16:33. | :16:37. | |
used to being spoken to like that by a man I met once at a railway | :16:37. | :16:47. | |
:16:47. | :17:13. | ||
But Lord! And now... Have no dripping. No drip. I five. I don't | :17:13. | :17:23. | |
:17:23. | :17:24. | ||
know why I did that. I have never They should just drive off into the | :17:24. | :17:29. | |
desert and pitch a tent and talk. No shoot-outs, no pay-offs, just | :17:29. | :17:39. | |
:17:39. | :17:39. | ||
Apology for the loss of subtitles for 97 seconds | :17:39. | :18:47. | |
human beings talking. What, are we Well, big banks to buy -- a big | :18:47. | :18:51. | |
thanks to BAFTA. This is a first for James Bond. And a big thank you | :18:52. | :18:56. | |
to the cast and crew of Skyfall. And that NGN, Gary, Jonathan and | :18:56. | :19:04. | |
Roger. Peter Taylor's team in the UK, who broke the all-time box- | :19:04. | :19:14. | |
:19:14. | :19:17. | ||
Skyfall was conceived 60 years ago when Ian Fleming wrote the first | :19:17. | :19:23. | |
James Bond novel. It was born 50 years ago when the first film was | :19:23. | :19:28. | |
produced. Since then, it has been nurtured by a whole host of | :19:28. | :19:33. | |
directors, actors, cast and crew. So today, James Bond is loved | :19:33. | :19:37. | |
throughout the world. It is on behalf of those film-makers that | :19:38. | :19:47. | |
:19:48. | :19:53. | ||
Barbara and I accept this award. 1292 people worked on this movie | :19:53. | :19:57. | |
and I stand here on behalf of all of them. We all had very high | :19:57. | :20:01. | |
expectations for the film and I think it is fair to say that all of | :20:01. | :20:05. | |
them have been exceeded. This really is the icing on the cake. | :20:05. | :20:10. | |
Thank you very much, BAFTA. There are two people I want to say a | :20:10. | :20:13. | |
special thank you to. The person around whom we build this movie and | :20:13. | :20:17. | |
without whom the movie could not have happened, and that is of | :20:17. | :20:26. | |
course Daniel Craig. For his bravery and his brilliance and his | :20:26. | :20:31. | |
friendship and his sheer bloody- mindedness. And last but by no | :20:31. | :20:35. | |
means least, I want to say thank you to someone who is not here, the | :20:35. | :20:40. | |
great Ian Fleming. 60 years ago almost to the date, he sat down and | :20:40. | :20:46. | |
wrote that he was a secret agent and still alive thanks to the | :20:46. | :20:56. | |
:20:56. | :20:59. | ||
detail of his profession. Here's to Although the Royal Opera House is | :20:59. | :21:02. | |
nothing like as glamorous as a car- park in Leicester, let's hope we | :21:02. | :21:06. | |
can unearth some royal bones here in what I hope will be confirmed as | :21:07. | :21:13. | |
the award for the original screenplay. To present it, the | :21:13. | :21:20. | |
sumptuous and superlatively scrum to us actor, whose career is now | :21:20. | :21:24. | |
entering its 6th decade. She just keeps getting better and better. I | :21:24. | :21:27. | |
compare her to the likes of Meryl Streep and Always Rain as one of | :21:27. | :21:36. | |
the true immortals of Hollywood. -- Louise Rayner. She is still at the | :21:36. | :21:40. | |
top of her game. It goes me enormous pleasure to welcome the | :21:40. | :21:50. | |
:21:50. | :22:01. | ||
Thank you, thank you, thank you. I was supposed to be out here with | :22:01. | :22:05. | |
the fabulous Eddie Redmayne, but he seems to be puking his guts out | :22:05. | :22:09. | |
back there. He and I did a rehearsal and we were kind of, you | :22:09. | :22:17. | |
know, close. Really close. If I turn grey and start not to feel | :22:17. | :22:21. | |
well, we will know what it is and we are all doomed because this | :22:21. | :22:27. | |
thing spreads like mad. I am absolutely thrilled to be here and | :22:27. | :22:31. | |
I am very happy to be here to be presenting the award for best | :22:31. | :22:35. | |
Original screenplay. As we know, that is where it starts, with the | :22:35. | :22:39. | |
text. Without great text, you do not have a great performance and | :22:39. | :22:49. | |
:22:49. | :22:59. | ||
you do not have a great film. So, I am curious what makes you so | :22:59. | :23:06. | |
curious. What did you say, boy? Calm down. No offence given or | :23:07. | :23:16. | |
:23:17. | :23:20. | ||
This is it. There is no one coming to rescue. There is nobody hidden | :23:20. | :23:30. | |
:23:30. | :23:32. | ||
away. There is just us. And we are Is there something frightening | :23:32. | :23:38. | |
here? Frightening? Yes. What scares you so much about travelling into | :23:38. | :23:42. | |
the past? Are you afraid that we might discover that our past has | :23:42. | :23:52. | |
:23:52. | :23:52. | ||
Apology for the loss of subtitles for 97 seconds | :23:52. | :25:08. | |
And the BAFTA goes to... Oh, Thanks a lot. This is really nice. | :25:08. | :25:16. | |
Really cool. First I want to thank my actors for doing a banger out a | :25:17. | :25:22. | |
job with my dialogue. Thanks a lot, guys, I appreciate it. And I want | :25:22. | :25:26. | |
to thank BAFTA for giving me this. I think you guys are a terrific | :25:27. | :25:30. | |
organisation. I am famous for not joining organisations but having | :25:30. | :25:36. | |
said that, I am proud to be one of yours. And one last thing about the | :25:36. | :25:43. | |
script. I would also like to thank, in particular, Harvey and Amy | :25:43. | :25:47. | |
because this was a pretty hot potatoes script. For them to do it, | :25:47. | :25:51. | |
pony up a lot of money, do it in the right way, take that same | :25:51. | :25:58. | |
script and go out and make a hit, that is pretty impressive. Thanks a | :25:58. | :26:08. | |
:26:08. | :26:14. | ||
Congratulations. Now, ladies and gentlemen, 5 Great films including | :26:14. | :26:20. | |
Django Unchained are in contention for the best film accolade. There | :26:20. | :26:24. | |
are five films, just five, in contention for best film. I could | :26:24. | :26:30. | |
tell you who has won now and save a lot of time and shiny envelopes. | :26:30. | :26:35. | |
Although times are hard, that is not how we roll around here. We are | :26:35. | :26:39. | |
very much going against the fabric of award shows and we would destroy | :26:39. | :26:46. | |
them for ever and then where we would be is... Don't answer that. | :26:46. | :26:50. | |
We will take a leisurely look at each of the five contenders for | :26:50. | :26:55. | |
best film and the first is the edge of your seat powerhouse Argo. It | :26:55. | :27:01. | |
could be my age, my hectic schedule, or my alcoholism, but when I heard | :27:01. | :27:11. | |
:27:11. | :27:23. | ||
of this film, I fell foul of a misunderstanding. I was thrilled | :27:23. | :27:28. | |
when Argo turned out to be unnerved shred of the highest order. | :27:28. | :27:38. | |
:27:38. | :27:42. | ||
Magnificently made. So now go fill The American embassy is attacked | :27:42. | :27:47. | |
and all of the people are taking hostages. Six of the hostages have | :27:47. | :27:53. | |
got out. Tony works doing X for alterations, getting people out of | :27:53. | :28:03. | |
:28:03. | :28:04. | ||
places safely. -- filtrations. is going to wake up tomorrow | :28:04. | :28:08. | |
morning and be in the movie business? I need you to make a fake | :28:08. | :28:13. | |
movie. You are going to be the big shot without doing anything? He yes. | :28:14. | :28:20. | |
I think we were able to get such great actors and that just reflects | :28:20. | :28:23. | |
on the story. I want to cement in people's minds that this is real | :28:23. | :28:28. | |
and it is happening. If I am making a fake movie it has to be a fake it. | :28:28. | :28:32. | |
This will be a first. We are putting them in harm's way and we | :28:32. | :28:37. | |
have to get them out. We don't say it is impossible. People have no | :28:37. | :28:41. | |
idea how hard it is to direct yourself and the other actors. When | :28:41. | :28:47. | |
I am on set, he does it with ease. What is great about Argo, although | :28:47. | :28:51. | |
it is steeped in espionage and bureaucracy at the highest level, | :28:51. | :28:57. | |
it is about the inexperience. you give me a break? I can't | :28:57. | :29:01. | |
breathe. It only takes one second for them to spot you. It is about | :29:01. | :29:05. | |
normal people facing fear. If they stay here, they will be taken, | :29:05. | :29:11. | |
probably not alive. There is heroism and patriotism and it is an | :29:11. | :29:14. | |
escape story. There is an explosive world event when people's lives are | :29:14. | :29:18. | |
hanging in the balance and the clock is ticking. We do not have | :29:18. | :29:23. | |
the go-ahead from the President. tried to make something | :29:23. | :29:29. | |
entertaining and funny and scary and thrilling. This is what I do. I | :29:29. | :29:39. | |
:29:39. | :29:51. | ||
get people out. I have never loved A film about a script that is | :29:51. | :29:57. | |
actually written and is never made, as if! But will Argo make it past | :29:57. | :30:02. | |
the ferocious BAFTA Revolutionary Guard and take off with the price? | :30:02. | :30:06. | |
That's it is yet to be written, as are the scripts which tell us he | :30:06. | :30:12. | |
will win best director, actor and actress, not to mention best film. | :30:13. | :30:16. | |
The award for best supporting actor has now arrived, so to tell us who | :30:16. | :30:19. | |
has not written an acceptance speech in vain, a brilliant young | :30:19. | :30:26. | |
actor on such an upward trajectory, trajectory, she will soon be space | :30:26. | :30:29. | |
jumping with Felix Baumgartner, which is easier to say than | :30:29. | :30:35. | |
trajectory! Their performance that had us all salivating in The Hunger | :30:35. | :30:39. | |
Games, quite peckish over here, in Silver Linings Playbook she is | :30:39. | :30:44. | |
quite breathtaking, so please calculate wildly for Jennifer | :30:44. | :30:54. | |
:30:54. | :31:01. | ||
Thank you. For a film to beef truly great, every role has to be filled | :31:01. | :31:05. | |
by the very best. The five actors nominated tonight almost certainly | :31:05. | :31:12. | |
that, let's take a closer look at the nominees for supporting actor. | :31:12. | :31:22. | |
:31:22. | :31:26. | ||
I am at a slight disadvantage, in so far as I do not know what they | :31:26. | :31:36. | |
:31:36. | :31:39. | ||
look like. But you do. Don't you? You want to set up a fake movie, | :31:39. | :31:44. | |
like to Hollywood, where everybody lies for a living, then sneak 007 | :31:44. | :31:53. | |
into a country where they drink blood on their breakfast cereal. | :31:53. | :32:03. | |
:32:03. | :32:11. | ||
What do you do? I too many, many things. I am a writer, a doctor, a | :32:11. | :32:15. | |
nuclear physicist, a theoretical philosopher. But above all, I am a | :32:15. | :32:25. | |
:32:25. | :32:29. | ||
man. What violates natural law? I do not give a damn about what | :32:29. | :32:35. | |
they want. This is for the good of the people without caring much for | :32:35. | :32:45. | |
:32:45. | :32:51. | ||
There is a first time for everything. What makes you think | :32:51. | :33:01. | |
:33:01. | :33:27. | ||
And the BAFTA goes to... Christoph Thank you, thank you so much of | :33:27. | :33:35. | |
this immense honour. It is... Why I get to stand here is not a mystery, | :33:35. | :33:39. | |
because it says so at the very beginning of our movie, written and | :33:39. | :33:46. | |
directed by Quentin Tarantino. But of course I want to thank Jamie Fox | :33:46. | :33:50. | |
and Leonardo DiCaprio and Sam Jackson and Kerry Washington for | :33:50. | :33:57. | |
their camaraderie and help, and Harvey Weinstein, for the attention | :33:58. | :34:02. | |
and... I want to thank Adam Schweitzer for his support and | :34:02. | :34:07. | |
enthusiasm, Lisa Costello for making me shine. But it all starts | :34:07. | :34:17. | |
:34:17. | :34:17. | ||
and ends with Quentin. And... Really, beyond everything that I | :34:17. | :34:20. | |
need and want to thank you for, Quentin, the thing that touches me | :34:20. | :34:28. | |
the most is your unconditional trust that I will put your creation | :34:28. | :34:38. | |
:34:38. | :34:55. | ||
to its proper use. Use silver pens We now turn to outstanding debut by | :34:55. | :34:58. | |
a British writer, director or producer given in honour of the | :34:58. | :35:06. | |
great writer and producer Carl Foreman. He was the writer of the | :35:06. | :35:11. | |
immortal High Noon, a victim of the McCarthy era, he came to Britain, | :35:11. | :35:18. | |
and we hear were the winners in gaining Carl Foreman's talents as a | :35:18. | :35:22. | |
producer-director, and this award is named for him and all victims of | :35:22. | :35:26. | |
censorship and suppression. To tell us who has again failed to write | :35:26. | :35:29. | |
that acceptance speech in vain, Scotland's finest folk singer | :35:29. | :35:34. | |
turned comedian turned A-list film star turned banjo player turned | :35:34. | :35:41. | |
hairstyle turned hobbit Corp. In fact, Scotland's only one of those, | :35:41. | :35:46. | |
the star Quartet, The Hobbit and Brave, the force of nature that is | :35:46. | :35:56. | |
:35:56. | :36:20. | ||
I am overcome with joy. I am awash with bliss. At the very thought of | :36:21. | :36:24. | |
presenting an unsuspecting stranger with a desk man -- death mask on a | :36:24. | :36:34. | |
:36:34. | :36:36. | ||
For the most outstanding debut by a British writer, director or | :36:36. | :36:40. | |
producer, clearly this is an award for someone relatively new to the | :36:40. | :36:44. | |
industry, which kind of rules me out of it. But I might be in with a | :36:44. | :36:49. | |
chance if the Watt was outstanding swansong for an old fart. Looking | :36:49. | :36:59. | |
:36:59. | :36:59. | ||
around the room, I might have some stiff competition. And the BAFTA... | :36:59. | :37:09. | |
:37:09. | :37:18. | ||
We are The Muppets, and these are our biggest fans! James uses The | :37:19. | :37:24. | |
Muppets to bring them back to the big screen as Kermit and friends | :37:24. | :37:27. | |
reunite to save the studios from demolition. Start at the bottom and | :37:27. | :37:37. | |
work our way back up to the top! Experienced television documentary | :37:37. | :37:40. | |
producers, their first feature is a dark and stylish mix of interviews | :37:41. | :37:44. | |
and reconstructions telling the story of a young Frenchman who | :37:44. | :37:50. | |
successfully posed as a missing American child. The reward was | :37:50. | :37:55. | |
eventually to be put in a place where they really cared about me. I | :37:56. | :38:03. | |
mean, I was reborn. Tina Gharavi, I Am Nasrine. Iranian born film-maker | :38:03. | :38:06. | |
Tina Gharavi left the country when she was seven and studied cinema in | :38:06. | :38:11. | |
France. The movie explores a modern refugees journey and the challenge | :38:11. | :38:18. | |
changing world. We just want to be somewhere where we can live, where | :38:18. | :38:28. | |
we can breathe! Brother and sister David and Jacqui Morris created his | :38:28. | :38:31. | |
intimate rapport -- Portrait of a revered photographer, gaining | :38:31. | :38:36. | |
unique access to his story and his archive. I was building his | :38:36. | :38:40. | |
reputation as a war photographer, suddenly I felt uncomfortable and | :38:40. | :38:43. | |
dirty, being called a war photographer was like being called | :38:43. | :38:53. | |
:38:53. | :38:55. | ||
a mesmeric. -- a mercenary. He was that? That is your old man. Dexter | :38:55. | :38:59. | |
Fletcher is now behind the camera, teaming up with Danny King to | :38:59. | :39:09. | |
:39:09. | :39:19. | ||
create a tough gangster film with a Bart Layton and Dmitri Doganis for | :39:19. | :39:29. | |
:39:29. | :39:48. | ||
Wow! Thank you so much. First, Samuel L Jackson, peeing next to | :39:48. | :39:54. | |
Samuel L Jackson and now this! I do not know... I don't think we ever | :39:54. | :39:58. | |
imagined that this amazing journey was going to lead us to be in this | :39:58. | :40:04. | |
room, doing some shaky public speaking in front of so many of our | :40:04. | :40:11. | |
heroes! There are so many people we should thank for this. Poppy | :40:11. | :40:16. | |
Dickson, our co-producer, who is somewhere in the room. We sent her | :40:16. | :40:22. | |
to taxes enough search of a story that did not want to be found, and | :40:22. | :40:26. | |
without her we probably would not have the film. -- Texas. Wally | :40:26. | :40:32. | |
Thompson, Katherine Butler at FilmFour. Tabitha Jackson. They | :40:32. | :40:36. | |
believed that we could mount this documentary and tell it like a | :40:36. | :40:40. | |
thriller, rather than a traditional documentary, and they believed in | :40:40. | :40:45. | |
two first-timers. And obviously, Andrew, our editor, and my very | :40:45. | :40:50. | |
dear friends and cinematographers, Eric and Linda, all of you, thank | :40:50. | :41:00. | |
:41:00. | :41:00. | ||
you so very much, thank you very Well, now it is time to consider | :41:00. | :41:05. | |
the next of the five nominees vying for the best film supremacy. And | :41:05. | :41:09. | |
the simply mind-blowing achievement that is Life Of Pi, we are looking | :41:09. | :41:16. | |
at now. Once again... Yeah, what a piece of work. My feeble mind let | :41:16. | :41:21. | |
me down, and first hearing of it, I assumed it to be the latest | :41:21. | :41:30. | |
with fruit filled pastries. I suppose we will have to wait for | :41:30. | :41:33. | |
the director's cuts. It is of course a magical tale featuring, | :41:33. | :41:43. | |
:41:43. | :41:44. | ||
among others, that great Russian And it contains some really special | :41:44. | :41:47. | |
special effects that are so startling, so well judged that they | :41:47. | :41:56. | |
give real life to the astounding, An old man at the table next to be | :41:56. | :42:02. | |
struck up a conversation, an amazing story. Where do we begin? | :42:02. | :42:06. | |
Life of by is the story of a 16- year-old boy who ends up on a | :42:06. | :42:11. | |
lifeboat with a tiger. -- Life Of Pi. As I was writing the book, | :42:11. | :42:15. | |
cinematic as it was in my mind, I thought it was completely on | :42:15. | :42:21. | |
filmable. You have to take those little symbols on the page and turn | :42:21. | :42:28. | |
them into a visual reality. Facing the big idea of the unknown, it is | :42:28. | :42:33. | |
a mental scope. Because of that, I thought I might need another | :42:33. | :42:43. | |
:42:43. | :42:47. | ||
dimension, the new look of 3D, a I think there were a lot of | :42:47. | :42:52. | |
unknowns about making this movie to begin with. It is about adventure, | :42:52. | :42:56. | |
survival, hope, wonder, but there is spirituality and faith, thinking | :42:56. | :43:06. | |
:43:06. | :43:12. | ||
We are really portraying a journey of a person in relation to nature | :43:12. | :43:22. | |
:43:22. | :43:24. | ||
That is pretty grand material! can tell you my story. You will | :43:24. | :43:34. | |
:43:34. | :43:38. | ||
decide for yourself what you The colour, the vividness, the | :43:38. | :43:43. | |
lushness, the extraordinary enigma, the sheer beauty and majesty of | :43:43. | :43:48. | |
life of pie. If you have not seen it, please do. Well, would it be | :43:48. | :43:51. | |
living the life of Riley later tonight, that remains to be seen | :43:51. | :43:56. | |
and heard and possibly caressed. I cannot wait for the sequel, Life Of | :43:56. | :44:00. | |
Pi R squared. Now, to special visual effects, and waiting | :44:00. | :44:04. | |
backstage is a man who was really excited to be here, although I | :44:04. | :44:07. | |
believe security has now escorted him from the building so I can | :44:07. | :44:11. | |
introduce our awards presenter, a damn fine actor, and the reason | :44:11. | :44:16. | |
there was gridlock around the cinemas during rush-hour. He is | :44:16. | :44:19. | |
also the reason we drove frantically back to the picture | :44:19. | :44:22. | |
houses, routing our horns and a light cook at his stunning | :44:22. | :44:28. | |
performance in Silver Linings Playbook. Welcome Chris taco. -- | :44:28. | :44:38. | |
:44:38. | :44:43. | ||
It is great to be here to present the award for special visual | :44:43. | :44:49. | |
effects. Visual effects have become an integral part of cinema today. | :44:49. | :44:54. | |
Thank goodness, because without them some of us might be forced to | :44:54. | :45:00. | |
actually act! I'm only kidding. The union would never allow that! Let's | :45:00. | :45:10. | |
:45:10. | :45:10. | ||
My mother warned me about getting into cars with strange men. At is | :45:10. | :45:20. | |
:45:20. | :45:20. | ||
Apology for the loss of subtitles for 97 seconds | :45:20. | :47:04. | |
And the BAFTA is awarded to Life Of Wow. Thank you, BAFTA, this is | :47:04. | :47:11. | |
incredible. I am astounded by the other nominees city have this award | :47:11. | :47:15. | |
is truly spectacular. One of the central themes of Life Of Pi is | :47:15. | :47:21. | |
asking the audience to question what they think is real. That was | :47:21. | :47:25. | |
our job in visual effects, to ask the audience if the tiger and the | :47:25. | :47:31. | |
ocean were real. I guess if we are holding this, we did OK. I thank | :47:31. | :47:36. | |
you. I want to thank Elizabeth and built for persevering to make this | :47:36. | :47:42. | |
film for 10 years. And their director, Ang Lee. The work is | :47:42. | :47:47. | |
astounding and it was a dream job to work with you. Thank you so much. | :47:47. | :47:52. | |
For those of us that the visual effects, you mark us for our | :47:52. | :47:59. | |
science at times but we are artists and if you give us the opportunity | :47:59. | :48:09. | |
:48:09. | :48:11. | ||
then we will make art with you. Now, tonight is amongst other | :48:11. | :48:20. | |
things a night of firsts. It's the first time Billy Connolly has kept | :48:20. | :48:25. | |
all of his clothes on in public. And Daniel Day-Lewis is speaking in | :48:25. | :48:31. | |
a British accent. But most remarkably of all, it is the very | :48:31. | :48:34. | |
first time this next actor has ever presented an award here at BAFTA. | :48:34. | :48:37. | |
Yes, after years and years we've finally caved in to his constant | :48:37. | :48:40. | |
barrage of phone calls begging us to be allowed to present an award | :48:40. | :48:43. | |
after a slot become available due to a last-minute drop out by David | :48:43. | :48:46. | |
Hasslehoff. It's the award for supporting actress and I would ask | :48:46. | :48:50. | |
you to ensure that your loins are well girded as I go all silly and | :48:50. | :49:00. | |
:49:00. | :49:14. | ||
say, "Oh, my good sweet Lord. It's I would like to thank David | :49:14. | :49:19. | |
Hasselhoff! I would like to thank you, for making it OK for leading | :49:19. | :49:27. | |
men to have facial hair. Thank you so much for that. All right! My job | :49:27. | :49:30. | |
tonight is to present best supporting actress, so let's get | :49:30. | :49:40. | |
:49:40. | :49:43. | ||
The only way to defend ourselves is to attack. If we don't do that, we | :49:44. | :49:47. | |
will lose every battle we are engaged in. We will never dominate | :49:47. | :49:57. | |
:49:57. | :50:07. | ||
our environment the way we should # And there are storms we cannot | :50:07. | :50:17. | |
:50:17. | :50:26. | ||
How special this has been for May. It is not going to help you. It is | :50:26. | :50:36. | |
:50:36. | :50:40. | ||
going to make it worse. Mrs Lincoln. How difficult it must be for you to | :50:40. | :50:46. | |
know that and yet how important to remember it. | :50:46. | :50:54. | |
Go on. See if I care. What do you expect? An apology? You know the | :50:54. | :50:58. | |
rules of the game. You have been playing it long enough. We both | :50:58. | :51:08. | |
:51:08. | :51:10. | ||
have. Maybe too long. Speak for All right. And the BAFTA is awarded | :51:10. | :51:20. | |
:51:20. | :51:41. | ||
What am I thinking? I'll must walk past George Clooney without tugging | :51:41. | :51:51. | |
:51:51. | :51:53. | ||
him! -- I almost walked past. I did not hard him. That is stupid. I'm | :51:53. | :52:00. | |
coming down with laryngitis because of the giddiness. I might sing. | :52:00. | :52:06. | |
That went better in my head. I share this with the cast and crew | :52:06. | :52:13. | |
of Les Miserables for the most golden hearted group of laughs his | :52:13. | :52:23. | |
:52:23. | :52:24. | ||
talent knocked me sideways every day. -- loves. I must give special | :52:24. | :52:28. | |
thanks to Tom Hooper for the ground as of his dreams and the ability to | :52:28. | :52:31. | |
make them come true. Hugh Jackman, I run out of superlatives for you, | :52:31. | :52:39. | |
man, you are the best. Thank you. Oh, gosh, feel better, Eddie. I | :52:39. | :52:44. | |
would be holding your hair back, but, you know... Third poisoning is | :52:44. | :52:54. | |
:52:54. | :52:55. | ||
just the worst. -- food poisoning. I have to thank everyone | :52:55. | :52:59. | |
responsible for making Les Miserables the theatrical | :52:59. | :53:06. | |
juggernaut that it is. Thank you to Working Title, Universal, and Debra | :53:06. | :53:10. | |
Hayward. And very special thanks for Victor Hugo, without whom none | :53:10. | :53:20. | |
:53:20. | :53:32. | ||
of us would be here. Thank you so The third film in contention for | :53:32. | :53:35. | |
the best film award is the enthralling Zero Dark Thirty. This | :53:35. | :53:37. | |
was billed as history's greatest manhunt for the world's most | :53:37. | :53:40. | |
dangerous man, so naturally I assumed it was the National Rifle | :53:40. | :53:50. | |
:53:50. | :53:52. | ||
Association of America's attempt to track down Piers Morgan. I was | :53:52. | :53:58. | |
reluctant to see it because I had not seen 29th of the other an Zero | :53:58. | :54:02. | |
Dark Thirty brand to his films. Behold, the sensational and Zero | :54:02. | :54:12. | |
The movie takes you behind the scenes on the decade-long hunt that | :54:12. | :54:16. | |
led to finding the world's most dangerous man. I want to make | :54:16. | :54:19. | |
something absolutely clear. There is nobody else coming to the rescue, | :54:19. | :54:24. | |
it is just us. Nobody knows what it is like to disappear in the shadows | :54:24. | :54:29. | |
as a CIA operative in that part of the world. Why should I help you? | :54:29. | :54:33. | |
Why do you only call me when I need help? How about a Lamborghini? I | :54:33. | :54:38. | |
only need a phone number. But there are lots of people across the world | :54:38. | :54:42. | |
involved in the hunt and we could not capture every aspect. He has | :54:42. | :54:47. | |
called from two payphones, never using the same telephone number | :54:47. | :54:53. | |
twice. It was those specific and it led the CIA to him. You cannot run | :54:53. | :54:57. | |
a global network of interconnected cells from a cave. He is in a city. | :54:58. | :55:05. | |
They always work in grave danger. don't think that there was any one | :55:05. | :55:10. | |
person who was the hero. There is a 60% probability that he is there. | :55:10. | :55:14. | |
think there were many heroes in that story. I know that this freaks | :55:14. | :55:21. | |
you out but it is 100. It is going to happen? When? Tonight. The Zero | :55:21. | :55:26. | |
Dark Thirty means 20 minutes past midnight, which means wait until it | :55:26. | :55:36. | |
:55:36. | :55:51. | ||
is dark enough and then come in. Quite literally history in the | :55:51. | :55:54. | |
making and the making of history. But will it complete its not-quite- | :55:54. | :55:57. | |
as-secret mission tonight and carry off the BAFTA? I have no idea, but | :55:58. | :56:01. | |
I'll stick my neck out and say it has a one in five chance. The award | :56:02. | :56:05. | |
for best film is one of the many delights still awaiting us. Others | :56:05. | :56:09. | |
include, but are not limited to, the awards for rising star, | :56:09. | :56:10. | |
documentary, actor, actress and of course the fellowship. All in good | :56:10. | :56:16. | |
time though. Or just time. So, in the pre-ordained order of things we | :56:16. | :56:19. | |
now come to adapted screenplay. To present this award we have found | :56:19. | :56:21. | |
ourselves a couple of real belters from opposite sides of the Atlantic. | :56:21. | :56:24. | |
Representing the UK is an English King Midas who has worked his magic | :56:24. | :56:28. | |
on such as Star Trek and Mission Impossible. And representing the US | :56:28. | :56:31. | |
is an award-winning actress whose multi-talented talents have been on | :56:31. | :56:35. | |
display in the likes of Pearl Harbour and Juno. Please go "yee- | :56:35. | :56:38. | |
ha" and "jolly good show" in equal measure for Simon Pegg and Jennifer | :56:38. | :56:48. | |
:56:48. | :56:56. | ||
Thank you. I think I speak for both of us when I say how excited we are | :56:56. | :57:00. | |
to be presenting the award for adapted screenplay. You certainly | :57:00. | :57:06. | |
do. I thought that rather come up with something original and funny, | :57:06. | :57:11. | |
we would adapt the words that we used last year. With that in mind, | :57:11. | :57:17. | |
please give it up for Jennifer. OK, here goes. Let's take a look at | :57:17. | :57:27. | |
:57:27. | :57:35. | ||
Why did you ordered tea? Because you or did raisin bread. I didn't | :57:35. | :57:39. | |
want you to mistake it for a date. It can still be a date if you order | :57:39. | :57:49. | |
:57:49. | :57:51. | ||
raisin bread. That is not a date. Do you want to be dead? No. The E | :57:51. | :57:58. | |
want to leave me alone? -- do you want to leave me alone? If you be | :57:58. | :58:08. | |
:58:08. | :58:09. | ||
I never thought it would bring me so much happiness. That a bucket | :58:09. | :58:16. | |
and a knife could become my greatest treasure. In times like | :58:16. | :58:20. | |
these, I remember that he has as little experience of the real-world | :58:20. | :58:30. | |
:58:30. | :58:33. | ||
In that 2000 year-old book of mechanical law, it is a self- | :58:33. | :58:36. | |
evident truth that things that are equal to the same thing are equal | :58:36. | :58:43. | |
to each other. If you are going to do this, you | :58:43. | :58:51. | |
have got to do it. You cannot build cover stories around a movie that | :58:51. | :58:57. | |
does not exist. You need a script and a producer. You are an | :58:57. | :59:07. | |
:59:07. | :59:09. | ||
Who do you want to win? The Bath did goes to Silver Linings Playbook. | :59:09. | :59:19. | |
:59:19. | :59:49. | ||
This is a wonderful year for film and for writers, and it is very | :59:49. | :59:52. | |
difficult to put all these films together. Our film is about emotion | :59:53. | :59:57. | |
and people, and this is for every family that faced those emotions, | :59:57. | :00:01. | |
those struggles, and millions do it every day. I want to think Jennifer | :00:01. | :00:07. | |
Lawrence, Bradley Cooper, Robert De Niro, Chris Tucker, our entire cast. | :00:07. | :00:15. | |
I want to thank my son, who inspired the story. And I... I am | :00:15. | :00:20. | |
probably forgetting lots of people, but I will keep it short. God bless | :00:20. | :00:25. | |
you, BAFTA, thank you, BAFTA. Matthew Quick, the writer of the | :00:25. | :00:34. | |
We can now to the outstanding contribution to British cinema, | :00:34. | :00:40. | |
which is presented in honour of one of Britain's foremost producers, | :00:40. | :00:45. | |
Daniel Day-Lewis' grandfather, the great Michael Bolton. To make this | :00:45. | :00:48. | |
presentation, a multi-award-winning director has made an outstanding | :00:48. | :00:51. | |
contribution to sport, although if you have ever seen him on a pommel | :00:51. | :00:56. | |
horse, you will know that I do not mean athletically. He was the | :00:56. | :01:00. | |
creative genius behind the greatest Olympic Opening Ceremony of all | :01:00. | :01:04. | |
time, and with films like Trainspotting and Slumdog | :01:04. | :01:07. | |
Millionaire to his credit, he is one of the greats. Please welcome | :01:07. | :01:17. | |
:01:17. | :01:26. | ||
Thanks very much! Barcelona are arguably the greatest football team | :01:26. | :01:27. | |
ever, but when asked to was the greatest living footballer, their | :01:27. | :01:34. | |
midfield general, Iniesta and Messi picked Paul Scholes of Manchester | :01:34. | :01:42. | |
United. Stick with me! There was surprise, because Paul Scholes is a | :01:42. | :01:46. | |
modest man who shuns the limelight, even when his car is nicked from | :01:46. | :01:52. | |
his driveway. I am very proud to be here tonight to thrust another shy | :01:52. | :01:56. | |
genius into the spotlight on behalf of the British film industry. Their | :01:57. | :02:01. | |
incredible effort, determination and belief are why power industry | :02:01. | :02:04. | |
continues to thrive. She is a visionary, someone who was willing | :02:04. | :02:08. | |
to take a chance, take a risk and back a writer, director or producer | :02:08. | :02:13. | |
when others have turned them away. As head of film and drama at | :02:13. | :02:16. | |
FilmFour, she has passionately championed new talent and actively | :02:16. | :02:20. | |
sought out challenging and controversial projects that were | :02:20. | :02:24. | |
deemed too risky or unprofitable by the open market. What is more, time | :02:24. | :02:28. | |
and again, their uncanny instinct has been proven right, and these | :02:28. | :02:32. | |
projects have become huge worldwide successes. Many of us here tonight, | :02:32. | :02:37. | |
myself included would not be where we are today without her wise, | :02:37. | :02:43. | |
indefatigable, modest and, yes, capable of the odd mistimed tackle, | :02:43. | :02:47. | |
I can pay her no greater compliment than to say she really is the poor | :02:47. | :02:53. | |
skills of the British film industry. Let's take a look at some of her | :02:53. | :03:00. | |
work. -- Paul Scholes. Right, Mr Braithwaite, the sun will come out | :03:00. | :03:10. | |
:03:10. | :03:14. | ||
I am sick of all these stereotypical murderous type movies. | :03:14. | :03:24. | |
:03:24. | :03:27. | ||
You do not know karate! Crazy! repairs and a racist talk. Is that | :03:27. | :03:37. | |
:03:37. | :04:00. | ||
Everything all right? Ready? Set? 1, 2, 3, Go! It stops them taking | :04:00. | :04:10. | |
:04:10. | :04:10. | ||
Apology for the loss of subtitles for 97 seconds | :04:10. | :04:53. | |
I think it could work, don't you? Ladies and gentlemen, the Michael | :04:53. | :04:55. | |
Balcon Award for Outstanding Contribution to British cinema goes | :04:55. | :05:05. | |
:05:05. | :05:24. | ||
Well, thank you, thank you so much. You will have seen those clips and | :05:24. | :05:27. | |
you will know jolly well that work is by a host of other people, an | :05:27. | :05:33. | |
army of other people and not me, not least this wonderful man, whom | :05:33. | :05:37. | |
I have had the most wonderful time working with. I would love to list | :05:37. | :05:40. | |
aims and do proper thank-yous, but the list is so long that I thought | :05:40. | :05:44. | |
she would not mind and you would forget me if I just said a huge | :05:44. | :05:47. | |
thank-you to the extraordinary writers and visionary directors, | :05:47. | :05:52. | |
the magical technicians and actors, the dogged producers that I have | :05:52. | :05:55. | |
had the huge privilege of working with. I have learnt something every | :05:55. | :05:59. | |
day and continue to do so, and in truth those wild, winding, Crazy | :05:59. | :06:03. | |
Jenny's, looking at Danny, have been the very best bit of the work | :06:03. | :06:09. | |
for me. -- Crazy journeys. I get to take this wonderful thing home to | :06:09. | :06:13. | |
put it on my mantelpiece. I have looked jealously at the team's | :06:13. | :06:17. | |
coming up, because I share this with my team at FilmFour, a group | :06:17. | :06:21. | |
of people who are truly exceptional and like a second family. They are | :06:21. | :06:25. | |
incredibly committed, they are clever, they are passionate and | :06:25. | :06:29. | |
patient, full of ingenuity, and they have huge integrity. They do a | :06:29. | :06:34. | |
huge amount with very little, and really the reason we can work this | :06:34. | :06:38. | |
built 30 years ago by some brilliant people, amongst them | :06:38. | :06:43. | |
David Rose and Jeremy Isaacs. The vision was very simple, and it was | :06:43. | :06:47. | |
this, to take the values of what was then a very new public service | :06:47. | :06:52. | |
channel, Channel 4, and those values were of taking risks, of | :06:52. | :06:55. | |
nurturing talent, of doing things differently, of challenging | :06:55. | :06:58. | |
preconceptions, and taking those values to the community in this | :06:58. | :07:01. | |
country, talented people who want to make feature films, and really | :07:01. | :07:05. | |
that is it. It is as simple as that, and that is the vision we have | :07:05. | :07:09. | |
today. As the world changes and our business changes at a rate of knots, | :07:09. | :07:12. | |
it seems those values are what cherishing and working with even | :07:12. | :07:18. | |
more than ever before. It really works like this, my team and I meet | :07:18. | :07:21. | |
somebody, somebody we have never met, somebody who has a story to | :07:21. | :07:25. | |
tell that we could not have imagined. A story that only that | :07:25. | :07:29. | |
person could have told, and our job is to support that person, to | :07:29. | :07:34. | |
protect their creativity above all else, to give them time and energy | :07:34. | :07:39. | |
and money. And there is no greater privilege than supporting people | :07:39. | :07:44. | |
like that. So thank you very much for this. It is wonderful to be | :07:44. | :07:46. | |
part of building a legacy that his film for, but in truth the thing | :07:46. | :07:49. | |
that matters most to me is that it should continue to do bigger and | :07:49. | :07:53. | |
braver things and that it should be a central part of the cultural life | :07:53. | :08:03. | |
:08:03. | :08:09. | ||
for very many years. Thank you very For those of you keeping count, and | :08:09. | :08:12. | |
those of you that can't, we now come to the fourth film sweating it | :08:12. | :08:17. | |
out in the best film category, the epic, thought-provoking Lincoln. I | :08:18. | :08:21. | |
actually got an email inviting me to join this film, the call from | :08:21. | :08:25. | |
Spielberg has come at last, I thought. Sadly, though, on closer | :08:25. | :08:35. | |
inspection I had in fact been invited to join LinkedIn. A huge | :08:35. | :08:40. | |
disappointment that we all share, will you stop it, LinkedIn?! But | :08:40. | :08:45. | |
then I thought, who wants to be in a film about a small cathedral town | :08:45. | :08:49. | |
in the English countryside. So I bought the rights! Call me Susan in | :08:50. | :08:53. | |
Lincoln did not turn out to be a master work about a masterful | :08:53. | :08:57. | |
leader. As my dear old grandmother used to say, cop a load of this, | :08:57. | :09:07. | |
I have always been interested in telling the story of Abraham | :09:07. | :09:11. | |
Lincoln, one of the most compelling figures in American history and in | :09:11. | :09:15. | |
my life. Abolishing slavery by constitutional provision settles | :09:15. | :09:21. | |
the fate For All coming Time! wanted to show him accomplishing | :09:21. | :09:27. | |
something monumental. On February 1st I will sign the 13th Amendment! | :09:27. | :09:31. | |
However, we also wanted to show he was a man, not a monument. | :09:31. | :09:34. | |
choosing the last four months of the war, you get not only a | :09:35. | :09:38. | |
beginning, middle and end to an incredibly thrilling question of | :09:38. | :09:44. | |
whether the 13th Amendment is going to pass Congress... But you also | :09:44. | :09:48. | |
get Lincoln, you get his interior fighting with himself, you get the | :09:48. | :09:54. | |
people around him, people he trusts, and you get his political skills. | :09:54. | :09:58. | |
This gang of talentless six rejected the amendment 10 months | :09:58. | :10:03. | |
ago, we will lose. I like our chances now. In such a rich way, | :10:03. | :10:07. | |
through his intellect, his humour, his melancholy, we see someone | :10:07. | :10:13. | |
whose life is lived at one and the same time in that strange paradox | :10:13. | :10:17. | |
of public and private. I wanted to make a film that represented the | :10:17. | :10:22. | |
Times and mood of the nation, the mood of the individuals trying to | :10:22. | :10:27. | |
find the solutions. I wanted to feel there was a real sense of | :10:27. | :10:30. | |
authenticity on the set were the only real imposition would be the | :10:30. | :10:35. | |
camera. Lincoln is relevant to the present because his presidency, I | :10:35. | :10:40. | |
believe, offers the most vivid model of a leader, and I always | :10:40. | :10:42. | |
believe that trying to make sense of what actually happened in the | :10:42. | :10:46. | |
past always helps to shape our present, and that history is always | :10:46. | :10:49. | |
relevant in the sense that understanding how we got to where | :10:49. | :10:56. | |
we are well help figure out where we want to go from here. Congress | :10:56. | :11:05. | |
must never declare equal those who God created unequal! Slavery, sir, | :11:05. | :11:15. | |
:11:15. | :11:15. | ||
A truly inspired work, but what does the more immediate future hold | :11:15. | :11:23. | |
for Lincoln? It doesn't have a reputation for doing well in | :11:23. | :11:30. | |
theatres, that this will change everything. We now come by both | :11:30. | :11:34. | |
hook and crook to film not in the English language. To present it, | :11:34. | :11:38. | |
two gobsmackingly talented actors whose subtitles read wow and crikey. | :11:38. | :11:42. | |
One made the progression from Quantum Of Solace all the way to | :11:43. | :11:48. | |
tomorrow Drew, while the other, after recovering from working with | :11:48. | :11:55. | |
me, has been in Reservoir Dogs, pop fiction and Broken. Please spank | :11:55. | :12:05. | |
:12:05. | :12:15. | ||
palms audibly for Gemma Arteton and It is an absolute pleasure to be | :12:15. | :12:20. | |
presenting the award for film not in the English language. Five | :12:20. | :12:24. | |
incredible films in this category, showing just how exciting movie- | :12:24. | :12:27. | |
making talent there is across the world and how this art form really | :12:27. | :12:37. | |
:12:37. | :12:37. | ||
Apology for the loss of subtitles for 97 seconds | :12:37. | :14:43. | |
thrives without borders. Let's take And the BAFTA goes to... Michael | :14:43. | :14:49. | |
Haneke or for Amour. Michael and Margaret could not be with us this | :14:49. | :14:59. | |
:14:59. | :15:04. | ||
evening so we will make sure that Now, ladies and gentlemen, they | :15:04. | :15:08. | |
don't call me Stephen "Move On To The Next Award Swiftly And With The | :15:08. | :15:11. | |
Absolute Minimum Of Fuss And Waffle" Fry for nothing. So let's | :15:11. | :15:14. | |
now move on to the next award swiftly and with the absolute | :15:14. | :15:18. | |
minimum of fuss and waffle. It is the EE rising star award, presented | :15:18. | :15:23. | |
in honour of the great casting director Mary Selway. To present it | :15:23. | :15:25. | |
two hugely gifted actors who've followed differing paths to both | :15:25. | :15:31. | |
end up at new Disney animation Wreck-It Ralph. His path took him | :15:31. | :15:35. | |
to Gangs Of New York, Chicago and We Need To Talk About Kevin. Hers | :15:35. | :15:38. | |
involved shock, outrage, daring and brilliant comedy, and by the end of | :15:38. | :15:42. | |
the night our lawyers may well need to talk about Sarah. Please welcome, | :15:42. | :15:52. | |
:15:52. | :16:05. | ||
It is such a pleasure to be asked to present the EE Rising Star Award. | :16:05. | :16:11. | |
I love it because these young nominees are still untouched by | :16:11. | :16:15. | |
fame and fortune so they are not all jaded and gross like, well, you | :16:15. | :16:24. | |
know... Yeah, that is why I have always made a conscious decision to | :16:24. | :16:29. | |
be real and down-to-earth. I'm love that... Of canny move over because | :16:29. | :16:39. | |
you are in my like? -- can you move over because you are in my light? | :16:39. | :16:49. | |
:16:49. | :16:57. | ||
Thank you, sweetie. Let's look at I think Juno Temple is fantastic | :16:57. | :17:03. | |
and a wonderful person and a great actress. You go by yourself because | :17:03. | :17:13. | |
:17:13. | :17:14. | ||
I have to sue Jove. -- I have to see Joe. Now I know who I am. | :17:14. | :17:22. | |
attitude is infectious. You have to be quiet. We are going to wake up | :17:22. | :17:32. | |
:17:32. | :17:33. | ||
mummy. Look at the way that he is showing off. I think Suraj Sharma's | :17:33. | :17:43. | |
:17:43. | :17:46. | ||
innocence is a talent. It is How long are you staying? I don't | :17:46. | :17:53. | |
know. It depends on you. What if it doesn't like me. What if they don't | :17:53. | :18:03. | |
:18:03. | :18:06. | ||
like me? She is going to be a huge Attractive, my dear, is a polite | :18:06. | :18:10. | |
way of saying that a woman has made the most of what she has got. | :18:10. | :18:16. | |
has a face that can play a range of ages and emotion. I never forget a | :18:17. | :18:26. | |
:18:27. | :18:27. | ||
Apology for the loss of subtitles for 97 seconds | :18:27. | :19:14. | |
Thank you. Wow! Thank you to BAFTA for this huge, huge honour and for | :19:14. | :19:18. | |
including me on this list of such wonderful, wonderful actors. And | :19:18. | :19:23. | |
thank you to all of the voters, especially my little brother Felix, | :19:23. | :19:29. | |
you I think got his entire school to vote for me. I could not do any | :19:30. | :19:35. | |
of this without Michael or Billy Lazarus, the most amazing agents | :19:35. | :19:45. | |
:19:45. | :19:46. | ||
that you could ever ask for. I also have to thank Terry, and Tesco, for | :19:46. | :19:52. | |
somehow keeping me in check. And for my wonderful family and friends. | :19:52. | :19:59. | |
-- Terry and Jessica or. And to this inspirational room of | :19:59. | :20:02. | |
wonderful people and to my father who made him want to do this. Thank | :20:02. | :20:12. | |
:20:12. | :20:22. | ||
We come now to that sad interlude where we take a few, all too short, | :20:22. | :20:25. | |
moments to remember those from our industry who have sadly passed away | :20:25. | :20:28. | |
during the last twelve months. As Abraham Lincoln said, "In the end, | :20:28. | :20:32. | |
it's not the years in your life that count, it's the life in your | :20:32. | :20:35. | |
years." and the wonderful memories they have given us are testament to | :20:35. | :20:45. | |
:20:45. | :21:13. | ||
I have travelled so far and all I I am just a fat, little man. A fat, | :21:13. | :21:23. | |
:21:23. | :21:31. | ||
ugly man. The one not ugly. I am Careful! I put the real one in the | :21:31. | :21:41. | |
:21:41. | :21:50. | ||
What would you do if I told him? You see, you don't even know. Make | :21:50. | :22:00. | |
:22:00. | :22:10. | ||
up your mind and then I will tell Yes! Yes! I will have what she is | :22:10. | :22:20. | |
:22:20. | :22:20. | ||
Apology for the loss of subtitles for 97 seconds | :22:20. | :23:02. | |
You are my best friend. No, really. Angels just light up in heaven. | :23:02. | :23:12. | |
:23:12. | :23:31. | ||
Now, my radar has picked up very strong signals that the award for | :23:32. | :23:34. | |
documentary is close by, so let's get the presenters out here and | :23:35. | :23:38. | |
hope that it's correct. One of them has taken a leaf out of my book and | :23:38. | :23:41. | |
is about to be seen wearing his underpants over his trousers, | :23:41. | :23:44. | |
though in his case it's because he's the new Superman as opposed to | :23:44. | :23:50. | |
an absent-minded old oaf. And the other has been delighting us all as | :23:50. | :23:57. | |
Bilbo Baggins. He will continue to for many years, as many years as | :23:57. | :24:02. | |
Warner Brothers can squeeze, again I mean lovingly craft... Ladies and | :24:02. | :24:12. | |
:24:12. | :24:18. | ||
gentlemen, Martin Freeman and Henry Good evening. Perhaps more than any | :24:18. | :24:22. | |
other form of art the documentary has the almost unique ability to | :24:22. | :24:31. | |
inform, astonish, and enthral and entertain its audience at the same | :24:31. | :24:37. | |
time. The five powerful words nominated in tonight's category do | :24:37. | :24:47. | |
:24:47. | :24:53. | ||
The way he played against the National Front guys. We beat them a | :24:53. | :25:03. | |
:25:03. | :25:17. | ||
I got on the telephone and I told So I told him, you will be more | :25:17. | :25:27. | |
:25:27. | :25:27. | ||
The main thing I am going to be thinking about is the person who | :25:27. | :25:37. | |
killed his three kids is still out Sometimes people used to say to me, | :25:37. | :25:47. | |
do you have nightmares? I would say And the BAFTA is awarded to | :25:47. | :25:57. | |
:25:57. | :26:27. | ||
What an honour. There is so much stuff I would like to say but I am | :26:27. | :26:31. | |
not going to do that tonight. I want to say thank you to some | :26:31. | :26:39. | |
people, firstly BAFTA. This is fantastic. Thank you, BAFTA. I want | :26:39. | :26:49. | |
to thank Sony Classics, Simon, John, sitting over there, wonderful. | :26:49. | :26:53. | |
Thank you to Studio Canal as well. We are incredibly gratified to be | :26:53. | :27:00. | |
able to introduce the wonderful Rodriguez and his music to say many | :27:00. | :27:07. | |
people through this film. You want to say something? We hope to would | :27:07. | :27:12. | |
be here but at this very moment he is playing to a sold-out stadium in | :27:12. | :27:19. | |
Cape Town. It is particularly great that he is finally getting the | :27:19. | :27:29. | |
:27:29. | :27:34. | ||
recognition and royalties that he Now where would the top five best | :27:34. | :27:37. | |
film category be without the fifth film? Well, a top four, but you | :27:37. | :27:40. | |
nominated five, so five you will jolly well have. That final nominee | :27:40. | :27:48. | |
is the earth-shattering triumph Les Miserables. Now I must say, when I | :27:48. | :27:51. | |
went to see Les Mis, I found the 3D effects to be quite remarkable, | :27:51. | :27:54. | |
though somewhat less so when I realised I'd gone to see it on | :27:54. | :28:04. | |
:28:04. | :28:09. | ||
stage. I assumed it would be in French and I managed to understand | :28:09. | :28:16. | |
80% of it! Feast your eyes on the spectacle, the wonderful, filmed | :28:16. | :28:26. | |
:28:26. | :28:27. | ||
with the accent on the second From the very beginning, what | :28:27. | :28:32. | |
excited me about doing Les Miserables was doing it live. There | :28:32. | :28:36. | |
is something about what an actor does live on the day, that whether | :28:36. | :28:41. | |
you pre-record or post record, is never the same. Singing live is | :28:41. | :28:46. | |
daunting but what it gives you is freedom. When you are doing a love | :28:46. | :28:50. | |
scene as an actor you wish there was music to help you get there. | :28:50. | :28:55. | |
But now you can hear the piano and the music. What comes with this way | :28:55. | :28:59. | |
of working is the fragility of the voice, which matches with the | :28:59. | :29:06. | |
emotions of what a character is saying. Everybody felt that it was | :29:06. | :29:10. | |
breaking a lot of very new ground. You have got to find a language and | :29:10. | :29:20. | |
the language in this film comes right from the actives' hearts. -- | :29:20. | :29:25. | |
actors'. There seems to be something selfish about going for | :29:25. | :29:35. | |
:29:35. | :29:36. | ||
the British version. Les Miserables has to feel real, immediate. There | :29:36. | :29:43. | |
is an emotional level to those that cannot be created in the studio. | :29:43. | :29:46. | |
thought there was an amazing opportunity to do something | :29:46. | :29:56. | |
:29:56. | :30:11. | ||
So five awards remain, but not any five, just listen, director, | :30:11. | :30:16. | |
actress, actor, film and fellowship. They meatier bunch of awards you | :30:16. | :30:22. | |
could not wish for, and not a trace Macca -- a trace of horse in any of | :30:22. | :30:26. | |
them. The first to concern us is the award for director, named in | :30:26. | :30:32. | |
honour of David Lean, and to present it a towering, shining, | :30:32. | :30:37. | |
multi-award-winning, accolade receiving acting legend, ladies and | :30:37. | :30:47. | |
:30:47. | :30:55. | ||
gentlemen, the Peerless Divinity, Stephen, good evening, ladies and | :30:55. | :30:59. | |
gentlemen. Of the many people who contribute to the making of a film | :30:59. | :31:06. | |
and its success, none works harder than the director. None has more | :31:06. | :31:09. | |
responsibility, in that the director affects the work of | :31:09. | :31:13. | |
everyone else working on the film, and that is why actors so often | :31:13. | :31:17. | |
want to share their best acting awards with the director, and why | :31:17. | :31:24. | |
the same is certainly true of awards for best film. And now the | :31:24. | :31:28. | |
five contrasting and outstanding directors whom BAFTA has said have | :31:28. | :31:38. | |
:31:38. | :31:46. | ||
been working at their very best I Denmead the biscuit, but God made | :31:46. | :31:51. | |
Tigers carnivores, so I must learn to catch fish. If I don't, I'm | :31:51. | :32:01. | |
:32:01. | :32:02. | ||
afraid his last meal will be a This is the best bad idea we have, | :32:02. | :32:08. | |
so. By far! The United States government has just sanctioned your | :32:08. | :32:18. | |
:32:18. | :32:36. | ||
How do you know it is Bin Laden? Bin Laden is there. And you are | :32:36. | :32:46. | |
:32:46. | :33:09. | ||
And the BAFTA for best director it goes, for his film Argo, Ben | :33:09. | :33:19. | |
:33:19. | :33:34. | ||
Thank you so much! I will try to be brief, everyone has been so | :33:34. | :33:38. | |
eloquent and brief. I have to thank Warner Brothers, who supported | :33:38. | :33:42. | |
Payne, Sue, Veronica, Geoff, I remember their names in part | :33:42. | :33:49. | |
because they are sitting right there! They did amazing things, | :33:49. | :33:53. | |
Graham Kane, the greatest producers in the world, they use their cachet | :33:53. | :33:58. | |
to make great films and they stood by me, George Clooney, really | :33:58. | :34:03. | |
spectacular. Chris Terrio wrote the script, it is masterful, it will | :34:03. | :34:07. | |
always be my favourite, I owe you everything. Liam Goldberg, you said | :34:07. | :34:12. | |
such a nice things, I have nothing equal to say except I love you. My | :34:12. | :34:20. | |
wife, I also love you... Very much! And our children, Violet, Sarah and | :34:20. | :34:24. | |
Sam, very much, although I am quite sure they are asleep by now. | :34:24. | :34:29. | |
Everyone who worked on the Mowgli, everybody this movie is about, all | :34:29. | :34:32. | |
the international people, the Persians, the Turks, the people in | :34:32. | :34:35. | |
North America are made this a wonderful international movie. I | :34:35. | :34:44. | |
want to thank everyone. And I want to say, you know, this is a second | :34:44. | :34:48. | |
act for me. And you have given me that, these Industry has given me | :34:48. | :34:53. | |
that, and I want to thank you. And I am so grateful and proud, I just | :34:53. | :34:58. | |
want to dedicate this to anyone else out there who was trying to | :34:58. | :35:08. | |
:35:08. | :35:17. | ||
get their second act. Thank you Congratulations. We now travel to | :35:17. | :35:21. | |
the ward for actors, and two handed over to the lucky recipient, a male | :35:21. | :35:27. | |
actress of the highest order, his credits are up to die for, with | :35:27. | :35:30. | |
Mission: Impossible, The Bourne Legacy and The Hurt Locker jumping | :35:30. | :35:35. | |
out and walloping us in the mouth. His latest project is Hansel And | :35:35. | :35:39. | |
Gretel, which is why I presume he has left a trail of breadcrumbs to | :35:39. | :35:42. | |
guide him to the stage. Please welcome the stupendous Jeremy | :35:42. | :35:52. | |
:35:52. | :36:01. | ||
Thank you! Thank you, ladies and gentlemen. As an American visitor | :36:01. | :36:07. | |
to this great city, I must say it is amazing to be here. This is all | :36:07. | :36:12. | |
new to me, by the way! In the shadow of one of Britain's finest | :36:12. | :36:16. | |
institutions, whose beauty, grandeur, sheer majesty is both | :36:16. | :36:24. | |
breathtaking and humbling, that is enough about Stephen... Let's take | :36:24. | :36:34. | |
:36:34. | :36:37. | ||
a look at the nominations for I guess I know all about the Lord | :36:37. | :36:41. | |
Of the flies, a bunch of boys of Ireland, they have a shell, and | :36:41. | :36:45. | |
whoever has the shell has the power, and if you do not have it, you do | :36:45. | :36:48. | |
not have the power. There is a chubby boy, they are really mean, | :36:48. | :36:53. | |
and then there is a murder. Humanity is just nasty, there is no | :36:53. | :37:03. | |
:37:03. | :37:27. | ||
Go to work on something that is not an Alfred Hitchcock production and | :37:27. | :37:30. | |
I met with accusations and criticisms! The work I am doing | :37:30. | :37:34. | |
gives me pleasure and purpose, and it takes absolutely nothing away | :37:34. | :37:44. | |
:37:44. | :38:03. | ||
The truth is, you do not understand Pakistan, and you don't know Al- | :38:04. | :38:07. | |
Qaeda! Give me the team I need to follow this lead, or the other | :38:07. | :38:11. | |
thing you will have on your resume is the first station chief being | :38:11. | :38:14. | |
called before a Congressional committee to suburbs the efforts to | :38:14. | :38:24. | |
:38:24. | :38:27. | ||
capture or kill Bin Laden! -- some And the BAFTA goes to... Emmanuelle | :38:27. | :38:36. | |
Unfortunately, Emmanuelle is not able to be here, but I will make | :38:36. | :38:46. | |
:38:46. | :38:50. | ||
Congratulations. Now, of course, if we did not follow the award for | :38:50. | :38:53. | |
actress with the award for actor, there would be something very | :38:53. | :39:00. | |
strange, and there is nothing odd about BAFTA, as you have found out, | :39:00. | :39:04. | |
so to presented an angelic actress who kept Sex And The City going for | :39:04. | :39:08. | |
12 years. Stick that in your Tantric pipe and smoke it, Mr Sting. | :39:08. | :39:12. | |
Please welcome the woman so talented they named her thrice, | :39:12. | :39:22. | |
:39:22. | :39:33. | ||
Thank you, ladies and gentlemen. actors working today that I believe | :39:33. | :39:37. | |
we are going through something sort of like a golden age. When you | :39:37. | :39:43. | |
consider the sheer talent, range and ability of the individuals | :39:43. | :39:47. | |
nominated in his leading actor category, it really is quite | :39:47. | :39:57. | |
:39:57. | :40:02. | ||
staggering. Let's take a look at What was the last movie you | :40:02. | :40:06. | |
produce? Who paid for that? What is your middle name? What is your | :40:06. | :40:12. | |
middle name? He is an American spy! They have gone to try to break you, | :40:12. | :40:20. | |
get you agitated. You have to know your resume back to front. About a | :40:20. | :40:26. | |
week before I call the cops, she was plotting to members of money | :40:26. | :40:34. | |
from the local high school. -- embers of. It was untrue, it was a | :40:34. | :40:40. | |
delusion. I later found out from the hospital it was because I am... | :40:40. | :40:50. | |
:40:50. | :40:59. | ||
I cannot accomplish a goddamn thing with any human meaning for worth | :40:59. | :41:09. | |
:41:09. | :41:16. | ||
until we cure ourselves of slavery I do not know! I told her I would | :41:16. | :41:21. | |
come back and I never went back, I have got to get back to her! I | :41:21. | :41:31. | |
:41:31. | :41:36. | ||
# Yucel, your honour, this man bears no more killed than you... | :41:36. | :41:46. | |
:41:46. | :42:18. | ||
And the BAFTA goes to... Daniel Thank you, ladies and gentlemen, | :42:19. | :42:25. | |
thank you, BAFTA. Well, just on the chance that I might one day have to | :42:25. | :42:29. | |
speak on an evening such as this, I have actually stayed in character | :42:29. | :42:39. | |
:42:39. | :42:45. | ||
I had a varied selection of sets down scaled, dating from the late | :42:45. | :42:50. | |
1950s, placed in every single room of every house I have ever lived in. | :42:50. | :42:56. | |
And every time I rise from nature, it spontaneously unleashes a | :42:56. | :43:03. | |
soundtrack of thunderous applause, with a few boos and some drunken | :43:03. | :43:13. | |
:43:13. | :43:17. | ||
I am so very grateful to BAFTA for this and for all the encouragement | :43:17. | :43:22. | |
you have given me over the years, it has meant a great deal to me, | :43:22. | :43:26. | |
such generous recognition of our film. My fellow nominees, I do not | :43:26. | :43:29. | |
know if I deserve this, but I know that every single one of you | :43:30. | :43:38. | |
deserves it at least as much as I do. My colleagues, represented here | :43:38. | :43:45. | |
by the wonderful producer Kathleen Kennedy, I... I miss you, I Miss We | :43:45. | :43:49. | |
were still on this expedition together, and it turns out we were | :43:49. | :43:55. | |
not on a rudderless boat. Steven Spielberg was the rudder, the | :43:55. | :44:00. | |
helmsman, the boat builder, the boat and the sea we sailed on, and | :44:00. | :44:10. | |
:44:10. | :44:17. | ||
to the end of my days, thank you, So, we've teased and tantalised the | :44:17. | :44:23. | |
nominees for best film and now it's time to coax out the winner. To | :44:23. | :44:26. | |
help us find our presenter we enlisted some of the world's top | :44:26. | :44:31. | |
casting directors and gave them a seemingly impossible task. We | :44:31. | :44:34. | |
specified that we wanted a brilliant actor who's appeared in | :44:34. | :44:40. | |
some of the biggest films ever and Snakes On A Plane. He had to be A | :44:40. | :44:47. | |
List, cool, legendary and most importantly in London tonight. | :44:47. | :44:50. | |
Frankly, we didn't think they'd come up with anyone suitable, but | :44:50. | :45:00. | |
:45:00. | :45:20. | ||
boy were we wrong. Please welcome Can I just said I... Of course I | :45:20. | :45:26. | |
can say, I am Samuel L Jackson! It has been an absolutely marvellous | :45:26. | :45:29. | |
evening and I think half of Hollywood is here tonight. It is | :45:29. | :45:36. | |
not just movie-star us here. Everybody has made the trip. Agents, | :45:36. | :45:40. | |
lawyers, management, PR people, everyone. I know because they were | :45:40. | :45:50. | |
all on my flight. I was doing a remake of Snakes on a Plane. But | :45:50. | :45:55. | |
enough about award-winning films of the past. It has been a truly | :45:55. | :45:59. | |
magnificent year in film which is why I could not pick a winner out | :45:59. | :46:03. | |
of the five great works of film in the best Film category. Let's take | :46:03. | :46:13. | |
:46:13. | :46:25. | ||
It is either amendment or Confederate peace. You cannot have | :46:25. | :46:30. | |
both. If you can look into the seeds of time and say which grain | :46:30. | :46:40. | |
:46:40. | :46:43. | ||
will grow and which will not, speak # Do you hear the people saying? | :46:43. | :46:53. | |
:46:53. | :46:56. | ||
Nobody is supposed to be there. You might have spooked them already. | :46:56. | :47:06. | |
:47:06. | :47:06. | ||
Procedures only work if we follow Have we got an option? Why do we | :47:06. | :47:16. | |
:47:16. | :47:47. | ||
need an auction? -- option? And the Well, you know, I have to say, if | :47:47. | :47:50. | |
this is your second act, I don't know what the hell you are going to | :47:50. | :47:55. | |
do for a third act. You are remarkable at what you do. You are | :47:55. | :47:58. | |
smart and you know what you want but more importantly you love what | :47:58. | :48:02. | |
you are doing and I cannot tell you what an honour it has been to work | :48:02. | :48:07. | |
with you. Grant, 30 years ago we were in a play together in Los | :48:07. | :48:14. | |
Angeles. We were both broke. He got an episode of Happy Days. He loaned | :48:14. | :48:22. | |
me $100 to get head shots. I still use those! We have been partners | :48:22. | :48:25. | |
ever since. We have failed a tremendous amount of our careers | :48:25. | :48:31. | |
are over time, which were great lessons. I am so proud to be able | :48:31. | :48:35. | |
to stand up here and introduce you to a man who I believe to be the | :48:35. | :48:42. | |
best producer that I have ever worked with and a dear friend. | :48:42. | :48:52. | |
Thank you. We would like to thank BAFTA for this. This is amazing. Of | :48:52. | :48:58. | |
course all the folks at Warner Brothers and a whole litany of | :48:58. | :49:03. | |
people to thank that we will do on our own. I want to turn to Ben | :49:03. | :49:07. | |
Affleck, the director of this film. I want to say thank you for coming | :49:07. | :49:12. | |
on board and taking us on this journey. It has been amazing. I | :49:12. | :49:16. | |
also wanted to say how much I love my beautiful wife Lisa and our | :49:16. | :49:22. | |
children. Thank you so much, everybody, really. That was what I | :49:22. | :49:27. | |
was going to whisper in his ear. Every single person that is part of | :49:27. | :49:34. | |
BAFTA and has welcome doves and been so -- welcomed us and been so | :49:34. | :49:37. | |
kind, when I was back in the studio they said that we never win, and | :49:37. | :49:43. | |
everybody has been so nice. I want to thank BAFTA, and just everybody. | :49:43. | :49:53. | |
:49:53. | :50:02. | ||
A wonderful evening for Argo. Congratulations to everyone | :50:02. | :50:06. | |
concerned. We now come to the fellowship, the highest honour | :50:06. | :50:09. | |
bestowed by the British Academy. To make the presentation a double | :50:09. | :50:12. | |
Oscar winning, BAFTA winning actor. He is a true master of his craft | :50:12. | :50:15. | |
and to his eternal credit has chosen to live in England rather | :50:15. | :50:18. | |
than his native America. Amazing how quickly he's picked up the | :50:18. | :50:21. | |
language. If I said The Usual Suspects, your pulse rate would | :50:21. | :50:26. | |
increase. If I said LA Confidential, you'd begin to feel an almost | :50:26. | :50:29. | |
uncontrollable excitement. And if I said American Beauty you would | :50:29. | :50:32. | |
break out in unrestrained rapturous and riotous applause for the | :50:32. | :50:42. | |
:50:42. | :51:00. | ||
Good evening. Why is Alan Parker? Why is he? Hello. Congratulations. | :51:00. | :51:05. | |
It is a great privilege for me to present the BAFTA Fellowship Award | :51:05. | :51:09. | |
tonight, the highest accolade bestowed upon an individual in | :51:09. | :51:11. | |
recognition of outstanding an exceptional contribution to the art | :51:11. | :51:17. | |
of motion pictures. Once in a lifetime, a generation, an | :51:17. | :51:20. | |
individual, comes along who transforms and transcends their | :51:20. | :51:24. | |
craft and tonight's recipient, ladies and gentlemen, is no | :51:24. | :51:32. | |
exception. He is a legendary writer, producer, cartoonist, a chef... Are | :51:32. | :51:37. | |
you a chef? You are tonight. Story teller, champion of emerging film- | :51:37. | :51:42. | |
makers, teacher. Famed as much for his clarity of vision and film- | :51:42. | :51:45. | |
making originality as for his unswerving support of the British | :51:45. | :51:51. | |
film industry, that he loves so very much. Alan Parker's entry into | :51:51. | :51:55. | |
directing could not have been less planned. He had successfully worked | :51:55. | :51:58. | |
in commercials and he asked his boss if his team could be given a | :51:58. | :52:02. | |
budget to continue the experiment in advertising. One guy held the | :52:02. | :52:07. | |
camera, one guided the art department, and he decided to be | :52:07. | :52:11. | |
the guy that said action. His films played two or wide audience but | :52:11. | :52:18. | |
each is significant and unusual. -- played to a wide audience. His work | :52:18. | :52:21. | |
with actors is crucial but he also lets his camera subtle on people, | :52:21. | :52:26. | |
sometimes people new to the art form. He allows his lens to be | :52:26. | :52:36. | |
:52:36. | :52:37. | ||
patient anti-freeze them up. His work allows us to get close. -- and | :52:37. | :52:46. | |
he makes them free. He has given us some of the most memorable movie | :52:46. | :52:51. | |
moments ever. His incomparable contribution to British cinema has | :52:51. | :52:55. | |
won him the acclaim that he so clearly deserves. His films have | :52:55. | :53:00. | |
won a breathtaking 19 BAFTAs. He is a man that I am very proud to call | :53:00. | :53:06. | |
a colleague and above all a friend. Let's take a look at some of Sir | :53:06. | :53:16. | |
:53:16. | :53:21. | ||
Do you know what today is? It is anything can happen day. You have | :53:21. | :53:28. | |
been watching too many movies. are not taking that. We have to. | :53:28. | :53:35. | |
The stairs will kill him. yourself out of here on the | :53:35. | :53:40. | |
Midnight Express. I say bring him in, strap him down and let him walk | :53:40. | :53:49. | |
it off. We also got a video. 50 but because you can see my tits. The | :53:49. | :53:59. | |
:53:59. | :53:59. | ||
version without his 35. -- is 35. Don't you want success? Sure, I | :53:59. | :54:09. | |
:54:09. | :54:18. | ||
just don't think my tits are up to # Fame! I'm going to live for ever. | :54:18. | :54:28. | |
:54:28. | :54:44. | ||
Ladies and gentlemen, please be upstanding for a remarkable film- | :54:44. | :54:48. | |
maker. If you come to the party after, he has promised to make you | :54:48. | :54:58. | |
:54:58. | :55:38. | ||
Oh, boy. Thank you. Thanks. God, this is incredibly flattering. When | :55:38. | :55:43. | |
it was first mooted that I might get this award, I thought about | :55:43. | :55:51. | |
what I might say. 10 years went by... So Russell Crowe has written | :55:51. | :56:00. | |
me a poem. It will only be cut out. When you are halfway through your | :56:00. | :56:08. | |
first film, you are certain that it is surely going to be your last. | :56:08. | :56:13. | |
Then you kind of blink, and 40 years have gone by. And then you | :56:13. | :56:19. | |
have made 14 films. It is quite a surprise, really. But you always | :56:19. | :56:23. | |
know you are going to get there. However hard it is on the movie, if | :56:23. | :56:27. | |
you squeeze your eyes together, you're always going to get to the | :56:27. | :56:33. | |
wrap party, even if you think not. When I was a little boy I was aged | :56:33. | :56:42. | |
about 10 and my junior school. We had been to see Jack plans and Jeff | :56:42. | :56:49. | |
Chandler in Sign of the pagan. I came back and I divided the entire | :56:49. | :56:56. | |
playground into Roman's and hands. Although I did not actually say | :56:56. | :57:02. | |
action, I did give the command for them to attack the Romans, who were | :57:02. | :57:09. | |
defended the outside toilets. The resultant bloodshed, which was | :57:09. | :57:16. | |
quite considerable, meant that I went before the headmaster. He said, | :57:16. | :57:21. | |
why, Parker? Why? If I had known then that I was going to get this I | :57:21. | :57:31. | |
could have really shut him up! I will be very brief. My mentor, the | :57:31. | :57:35. | |
great Fred Zimmerman, who used to critique each of my films, not | :57:35. | :57:42. | |
always kindly, said to me that it is a great privilege to be a | :57:43. | :57:50. | |
director. Don't waste it. Hopefully over the last 40 years, some of the | :57:50. | :58:00. | |
:58:00. | :58:12. | ||
time I did not waste it. Thank you, Well, I don't know when I have had | :58:12. | :58:17. | |
more fun, certainly not without the use of a water-soluble lubricant. | :58:17. | :58:22. | |
Till everybody watching, thank you for supporting film. Keep going to | :58:22. | :58:27. | |
your local cinemas, keep talking and arguing about film. Some of you | :58:27. | :58:31. | |
watching will find your way to this stage one day. If you do, contrary | :58:31. | :58:36. | |
to popular belief, you will not find yourself in the company of a | :58:37. | :58:41. | |
bunch of bitches, self-obsessed, up themselves Prix Madonnas, well, | :58:41. | :58:46. | |
maybe one or two. You will be in the company of film-makers whose | :58:46. | :58:50. | |
overriding passion is to make a film that succeeds well enough to | :58:50. | :58:54. | |
allow them to make another one. What they will have in common is a | :58:54. | :58:59. | |
deep desire to tell stories, stories of today, yesterday and | :58:59. | :59:03. | |
tomorrow. Stories about you and me. This year they have done it as well | :59:03. | :59:07. | |
as it can be done. I congratulate everyone here and to those of you | :59:07. | :59:13. | |
out there, keep watching, get writing, start shooting you sure | :59:13. | :59:23. | |
:59:23. | :59:25. | ||
it's... That sounds of! Enough. -- start shooting your shorts. That | :59:25. | :59:31. | |
sounds strange! Thank you and good night. | :59:31. | :59:41. | |
:59:41. | :59:42. | ||
The awards presented earlier: Short film. Swimmer. I always thought the | :59:42. | :59:46. | |
BAFTA at for short film should go to new talent, not old gits like us. | :59:46. | :59:56. | |
:59:56. | :59:56. | ||
But thank you. Short animation. Making of Longbird. Thank you, I am | :59:56. | :00:06. | |
:00:06. | :00:08. | ||
very honoured. Costume design. BAFTA goes to... Anna Karenina. | :00:08. | :00:13. | |
Thank you to Sarah Greenwood and Seamus for framing the costumes so | :00:13. | :00:17. | |
beautifully. Thank you to Jo Wright and Keira Knightley for inspiring | :00:17. | :00:25. | |
me. Make-up and hair. Miserables. Unfortunately, Lisa | :00:25. | :00:28. | |
cannot be here tonight but we will make sure that she gets this. | :00:29. | :00:38. | |
:00:39. | :00:40. | ||
Animated film. The BAFTA goes to Brave. Thank you, BAFTA, for this | :00:40. | :00:50. | |
:00:50. | :00:53. | ||
amazing and beautiful award. Sound. Les Miserables. Les Miserables was | :00:53. | :00:57. | |
a massive collaborative effort and we are overjoyed that BAFTA has | :00:57. | :01:03. | |
recognised the film for its sound. Thank you very much. Editing. | :01:03. | :01:08. | |
It is unbelievable, thank you. Cinematographer Yves. A life of | :01:08. | :01:18. | |
:01:18. | :01:25. | ||
five. -- cinematographer. Life Of Pi. He can be here tonight but his | :01:25. | :01:30. | |
speeches about how great it is to work with me! The original music. | :01:30. | :01:40. | |
:01:40. | :01:49. |