:00:18. > :00:23.flashing images. The red carpet is where it all starts. . The BAFTAs is
:00:24. > :00:34.one of the red carpets on the planets, it is very exciting.
:00:35. > :00:41.Let's just celebrate. There's a very warm reception here.
:00:42. > :00:46.It is like the running of the bulls! We're lucky. We're really lucky,
:00:47. > :00:51.actually. The film industry's biggest names
:00:52. > :00:55.are braving the cold to look the very best for such a glamorous
:00:56. > :01:00.occasion. It took me about three or four hours to get ready. Con
:01:01. > :01:07.Controversial going for the black suit. It is not just about glitz and
:01:08. > :01:12.glamour. There's one extraordinary reason why they are all here
:01:13. > :01:18.tonight. Damn it - so many good movies. Philomena was great, 12
:01:19. > :01:23.Years A Slave. 12 Years - that's what I am betting on. That's my my
:01:24. > :01:28.money is and I don't like to lose money. The wait is almost over. You
:01:29. > :01:32.can sense the anticipation. I cannot wait to see what's in store for
:01:33. > :01:38.tonight! We'll see. You never know what will happen. The stars are here
:01:39. > :01:42.and the stars are set for a night of drama, celebration and plenty of
:01:43. > :01:45.surprises. It is time for the British a British Academy Film
:01:46. > :01:57.Awards, 2014. Please welcome our host for this
:01:58. > :02:10.evening, Stephen Fry. APPLAUSE
:02:11. > :02:17.Good evening, good evening, ladies and gentlemen. Welcome to the EE
:02:18. > :02:25.BAFTA, or British Academy Film Awards. They say what comes around
:02:26. > :02:33.goes around. Whoever this day may or may not be, here we are, I find
:02:34. > :02:37.myself humbled, honoured n and in the best sense of the word, paid to
:02:38. > :02:42.be here. This is the greatest night of the British film calendar, if
:02:43. > :02:48.there is such a thing. If there is, I am putting myself up to be a nude
:02:49. > :02:53.Mr August for 2015! Let me cleanse your mind of that horrible image
:02:54. > :03:01.now. Destiny has dealt us a royal flush, because we also find
:03:02. > :03:05.ourselves within the plush womb of the resplendent Royal Opera House.
:03:06. > :03:13.We have faces sofa mill yar that you want to lick -- so Familiar that you
:03:14. > :03:22.want to lick them. Many have been inspired by what some like to call
:03:23. > :03:26."Real life." That weird, fantastical land outside Hollywood, which
:03:27. > :03:33.unfortunately we have to visit from time to time. Which has provided us
:03:34. > :03:38.with tales of defiance, greed, passion and exploding microwave
:03:39. > :03:46.ovens. Also this year, we have been blessed with a small glut of films
:03:47. > :03:52.about individual struggles against insurmountable odds like Chiwetel
:03:53. > :04:00.Ejiofor whose portrayal portrayal in 12 Years A Slave was so engrossing,
:04:01. > :04:04.I wished that it was called 24 Years a Slave. I mean that in the best
:04:05. > :04:13.possible way, if there is a good way for me to say that! Beaming in row
:04:14. > :04:19.J, seat nine, is the star of the utterly compelling Blue Jasmine,
:04:20. > :04:24.Cate Blanchett. APPLAUSE
:04:25. > :04:29.She plays a woman who finds herself penniless and on the verge of a
:04:30. > :04:33.breakdown after being betrayed by a ruthless man. It is based on matters
:04:34. > :04:39.unravelling in the French presidency. Your muted laugh tells
:04:40. > :04:47.me you don't give a flying hoot about French politics. That was a
:04:48. > :04:52.brilliant reference. Look, Leo the Lion, who has...
:04:53. > :04:59.APPLAUSE He turned ferociously lupin in the
:05:00. > :05:05.blistering wolf of Wall Street. Mr DiCaprio we have a custom of asking
:05:06. > :05:10.one of those assembled if they would not mind blowing a kiss down the
:05:11. > :05:15.camera. Would you believe it, we drew lots until your name came out!
:05:16. > :05:25.What are the odds of that? If you would be a real darling and oblige.
:05:26. > :05:33.I shall never wash my eyes again. The star of the simply wonderful
:05:34. > :05:38.American Hustle, Christian Bale, is with us.
:05:39. > :05:42.APPLAUSE Still in character I see - although
:05:43. > :05:48.he has chosen a different 70s wig and he has lost his pot belly! How
:05:49. > :05:54.do you do that? I've spent years... Well, I suppose I why I am this side
:05:55. > :05:59.of the stage and you that. Self-control! The man with brighter
:06:00. > :06:02.flares than Christian, Tom Hanks is here.
:06:03. > :06:10.APPLAUSE I don't know how the passing cargo
:06:11. > :06:14.ship missed his flares! Hello, sailor. I am feeling a little
:06:15. > :06:20.love-sick at the thought of you being here, but Rita knows she's
:06:21. > :06:25.save. Also a little seasick, to be honest. Of course bringing the over
:06:26. > :06:35.70s to our screen, we have Emma Thompson... No - not a year... Not a
:06:36. > :06:43.year over... Well, actually she's younger than me. We hoped to have
:06:44. > :06:50.here Brad Pitt and Angelina Joli. They couldn't make it. They are not
:06:51. > :06:55.fooling anyone. Her eyes are brown and she would never wear a dress
:06:56. > :07:02.like that. We are in the company of Dame Helen Mirren, who this year has
:07:03. > :07:08.brought her grandson along. Welcome the Duke Duke of Cambridge.
:07:09. > :07:13.APPLAUSE So, let an absolute belter of a year
:07:14. > :07:18.in film be relived in the sounds of a belter of a live performance.
:07:19. > :07:24.Ladies and gentlemen, let your jaws plummet as we revel in an astounding
:07:25. > :07:26.12 months in the company of an award-winning rapper, it is Tinie
:07:27. > :07:51.Tempah and Laura Mvula. # We have learnt to fly away.
:07:52. > :07:58.# No tear tears when the sun goes # He'll never die
:07:59. > :08:08.# Here, everyone's a hero # We all have a second chance
:08:09. > :08:15.# And have a place piano # Because here I've learnt to dance
:08:16. > :08:22.Trying to get him # Dancing the devil
:08:23. > :08:26.# With my two left feet # Dancing the revels on New Year's
:08:27. > :08:30.Eve # A blue dress
:08:31. > :08:36.# She says to my mother # Hello to everybody's favourite MC
:08:37. > :08:39.# Somebody's mother, getting too friendly
:08:40. > :08:44.# Why the hell am I sitting next to an MP
:08:45. > :08:47.# Because they ain't in the scholarship
:08:48. > :08:52.# # Here, everyone's a hero
:08:53. > :08:58.# Yeah # We all learn to fly away
:08:59. > :09:06.# Fly # No tears when the sun goes
:09:07. > :09:13.# Laura Mvula, everyone! No way! # Here everyone's a hero
:09:14. > :09:19.# We've all got a second chance # Amen
:09:20. > :09:29.# And play piano # Because here I dance again
:09:30. > :09:34.# I'll be going # A sensor
:09:35. > :09:38.# I go deep, I'm Tinie Tempah # No race, religion or gender
:09:39. > :09:45.# # Give me top marks
:09:46. > :09:51.# Will take the Tube # Send a car
:09:52. > :09:56.# Count your stars # Trying to learn guitar
:09:57. > :10:04.# Together we stand # Together we fall apart
:10:05. > :10:09.# Here, everyone's a hero # We all got a second chance
:10:10. > :10:12.# Amen # And heaven plays piano
:10:13. > :10:14.# Demonstration # And heaven plays piano
:10:15. > :10:44.# Here I learnt to dance, to Tinie Tempah and Laura Mvula. That
:10:45. > :10:54.takes me back to my days as an early rapper, two-step my stro. We receive
:10:55. > :10:59.some dear, dear friends, without whom we would be out of business - I
:11:00. > :11:04.am talking about the great British public. They and the naked British
:11:05. > :11:10.public are almost all welcome, apart from you - you know who you are!
:11:11. > :11:15.Before we tuck in, an advisory note, usually if you are given something,
:11:16. > :11:19.say a cup of tea, for example, it is customary to say "Thank you." You
:11:20. > :11:27.don't go on and thank the kettle and the cup and the milk! The cow! And
:11:28. > :11:34.the tea-picker! Award winner, I trust I make myself very clear - the
:11:35. > :11:40.briefer you are, the more we will love reverence and adore you. I must
:11:41. > :11:47.go speedily to the first award for Outstanding British Film. Presented
:11:48. > :11:53.in honour of Alexander Corder. We are privileged to offer you a star
:11:54. > :11:57.of unrif valued stature. Her performance in The Butler was so
:11:58. > :12:09.moving I almost gave mine the afternoon off!
:12:10. > :12:23.They even named this very building after her! Please welcome the royal
:12:24. > :12:49.Oprah Winfrey. Hi. Well thank you so much - it is a
:12:50. > :12:54.great pleasure for me to be at the Oprah House. Sounds nothing like my
:12:55. > :13:01.mine. It is wonderful being here, both as a nominee and as a guest
:13:02. > :13:03.presenter. Let's take a look for the nominations for Outstanding British
:13:04. > :13:16.Film. Let's see where we are!
:13:17. > :13:34.Let's see where we are... What you doing sat here? Go out and
:13:35. > :13:42.make some money. Go on! Got that bridle too tight on that
:13:43. > :13:44.horse! I'll come out and sort it out for
:13:45. > :13:56.you. She's one in 100,000. What do you
:13:57. > :14:01.people - so that's just maths. You people - so that's just maths. You
:14:02. > :14:11.should be nice to the people on the way up because you might meet them
:14:12. > :15:17.again on the way down. You, of all people, should understand that!
:15:18. > :15:38.APPLAUSE And the BAFTA goes to Gravity.
:15:39. > :16:08.Thank you. Excuse me, I've got a bit of a cold, but this sure as hell is
:16:09. > :16:17.going to make it better. First, thank you BAFTA. This is beyond
:16:18. > :16:20.belief. And best of all, it recognises everybody who was
:16:21. > :16:27.involved with the film. We have had the most incredible crew on this
:16:28. > :16:34.film. Unbelievable. Also, Framestore and the team who created the visual
:16:35. > :16:42.effects. Incomparable. APPLAUSE
:16:43. > :16:46.Of course, the film would be absolutely nothing without our cast,
:16:47. > :16:53.George Clooney and of course, as I said, the heart of the film, San bra
:16:54. > :16:57.Bullock. APPLAUSE
:16:58. > :17:06.-- Sandra Bullock. Thanks to Warner Brothers. Thank you, Sue, amazing.
:17:07. > :17:10.Of course, as my fellow producer, he probably wouldn't say it himself,
:17:11. > :17:21.but we wouldn't be here without our wonderful direct director, Mr
:17:22. > :17:34.Alfonso. Thank you very much. And thank you. Whoops, thank you Rose!
:17:35. > :17:41.APPLAUSE Now to the award for Animated Film.
:17:42. > :17:49.The Last King of Scotland and Cock Bull story are some of the films of
:17:50. > :17:59.this gifted actress who speaks fluent American. An actor of sheer
:18:00. > :18:13.unadulterated talent. Please welcome Gillian Anderson and David Oyelowo.
:18:14. > :18:19.Hello, everyone. So much work goes into making an animated film that
:18:20. > :18:24.just a few seconds on screen involves hours and hours of
:18:25. > :18:35.painstaking work for an awful lot of people. Yes, honey. Let's take a
:18:36. > :18:41.look at the nominations. Frozen. We are trying to bring back
:18:42. > :18:47.summer. I don't know why, but I've always loved the idea of summer and
:18:48. > :18:53.sun and all things hot. Really? I'm guessing you don't have much
:18:54. > :19:00.experience with heat. Monsters University. Do you pledge your souls
:19:01. > :19:06.to them? Do you pledge to keep a secret of all that you learn? No
:19:07. > :19:11.matter how horrifying. Will you take the sacred oath. Turn the lights on
:19:12. > :19:26.while you are down here. Despicable Me 2. Kevin, urgh... He's not Kevin
:19:27. > :19:31.any more. He's an indestructible mindless killing machine.
:19:32. > :20:18.And the BAFTA is awarded to Frozen. Wow. This is amazing. We would love
:20:19. > :20:25.to thank BAFTA and also our cast and crew. It took about 600 people that
:20:26. > :20:31.were on this one, so, I'd like to thank them for all the drawings they
:20:32. > :20:37.had to draw and redraw. They made mountains of ice and snow for us and
:20:38. > :20:41.also there were hundreds of hours of voice recording and computer rigging
:20:42. > :20:46.to create our characters and bring them to life. And we'll never forget
:20:47. > :20:52.Bobby and Christian Lopez on the penal no-ry day and John lasstering
:20:53. > :20:57.strutting down the hall flipping his hair round singing "let it go" and
:20:58. > :21:02.also to Ed Cattermole who slammed his hand down on the table one day
:21:03. > :21:07.and screamed "we've got ourselves a musical" so to them we want to say
:21:08. > :21:14.thank you and this is for them. Thank you.
:21:15. > :21:21.Now we have many traditions here at BAFTA alongside the one where I get
:21:22. > :21:24.a bit tipsy at the after party in an attempt to French kiss every
:21:25. > :21:29.winner's trophy. There is also the tradition of taking a closer look at
:21:30. > :21:34.the five nominees for best film, four of which are based on real
:21:35. > :21:38.life, amazingly. What's more, there's also resemblance between all
:21:39. > :21:43.of the films and events in my life uncanny doesn't come close to how
:21:44. > :21:50.uncanny it is. So, let us start with an in-depth examination of the first
:21:51. > :21:53.of tonight's nominees, David Russell's exceptional American
:21:54. > :21:58.Hustle, this quite extraordinary achievement takes us back to the
:21:59. > :22:01.'70s and a couple of confidence tricksters with doubtful hair who
:22:02. > :22:04.get caught up with the police, the mob and a local politician,
:22:05. > :22:08.something that recently happened to me just the other week in the
:22:09. > :22:13.company of the Mayor with even more doubtful hair than is in the film.
:22:14. > :22:24.Hard to believe but true. I shall never accept another breakfast
:22:25. > :22:30.invitation from Boris Johnson. This is American Hustle.
:22:31. > :22:36.I knew your choices were bad. Behind survival is a story that never ends.
:22:37. > :22:42.Ride the storm. Where it takes you is so varied with the characters.
:22:43. > :22:46.Horribly flawed, yet you love them. Let's go. They are trying to
:22:47. > :22:51.accomplish their own happy ending. It's about the way that we try to
:22:52. > :22:54.survive. You are going to have to decide for yourself. I just laid
:22:55. > :23:00.everything on the table. I've always said that you were very, very hard
:23:01. > :23:06.to motivate. In search of this is bigger truth that he's after. He's
:23:07. > :23:14.willing to tell us no lies. I'm in, I'm out. One, two, three, go. Nobody
:23:15. > :23:21.directs like David. He's very good about creating characters. David
:23:22. > :23:25.cares about the real emotional life that everybody's breathing. You just
:23:26. > :23:30.don't know what the heck will happen from day to day. This is under the
:23:31. > :23:37.umbrella of the '70s, with the music, hair styles and clothes.
:23:38. > :23:50.These dresses are beautiful. Unprintable. Funny. I have nothing
:23:51. > :24:03.but respect for you -- unpredictable. Magic.
:24:04. > :24:07.APPLAUSE American Hustle who stars Christian
:24:08. > :24:09.Bale, Amy Adams and Bradley Cooper are here tonight, along with
:24:10. > :24:16.director David O Russell Ly rhyming mode now with American
:24:17. > :24:20.Hustle. Looking forward to American bustle, tussle and especially
:24:21. > :24:26.American muscle, yes, I just love seafood.
:24:27. > :24:29.Well, we have now wound up with the award for Outstanding Debut by a
:24:30. > :24:37.British writer, director or producer given the honour of it. This
:24:38. > :24:43.person's list of talents is endless. The only thing he hasn't got on his
:24:44. > :24:48.CV is film awards show host. God, what have I done, no, no, he'd never
:24:49. > :24:50.lower himself. Please welcome the utterly adorable and awe-inspiring
:24:51. > :25:05.Steve Coogan. APPLAUSE
:25:06. > :25:10.By the way, Steven, in your hands, hosting an awards show is never a
:25:11. > :25:16.dissent. Frankly, I think you elevate it to an art form.
:25:17. > :25:21.APPLAUSE I've always thought of you as an
:25:22. > :25:26.elevator! Now on to Outstanding Debut. All of us at one time or
:25:27. > :25:32.another had to make our debut. Mine was about 25 years ago, Stephen's
:25:33. > :25:38.was a little longer. Of course, in those day days we were fledgling
:25:39. > :25:43.young Turks, men about town with a pager on our belt and the world at
:25:44. > :25:49.our feet and a voiceover to go to. Crazy days! Oh, you continue go
:25:50. > :26:04.back! Let's take a look at the nominations.
:26:05. > :26:08.Keiran Evans. Kelly Victor. Keiran Evans hones his craft directing
:26:09. > :26:12.music videos in documentaries before turning his hand to features where
:26:13. > :26:19.his strong sense of place and sensitive handling of complex
:26:20. > :26:29.characters comes to the fore. Seeing her again? Definitely. Paul Wright,
:26:30. > :26:32.Polly Stokes, for these in peril. Background in theatre brought a
:26:33. > :26:36.sense of narrative to the film written and directed by one of the
:26:37. > :26:41.country's new directors, Paul Wright. Paul took his inspiration
:26:42. > :26:47.from his upbringing in a Scottish fishing village. She's the only one
:26:48. > :26:55.who'll believe me. Kelly Marcel, Saving Mr Banks. Once
:26:56. > :27:00.an actress in stage musicals and TV, Kelly Marcel quit acting to become a
:27:01. > :27:06.writer and executive producer. Would Saving Mr Banks, Kelly created a
:27:07. > :27:11.script Lauded by fellow writers and film makers alike. Look at you! I
:27:12. > :27:19.could just eat you up. That wouldn't be appropriate.
:27:20. > :27:24.Scott Graham, Shell. Scott mad three short films before this one and
:27:25. > :27:28.spent a total of 15 days on set with his debut feature, Scott directed a
:27:29. > :27:30.complex, moving and mature piece of film making which stands as
:27:31. > :27:46.testament to his talent and skill. Colin Carberry, Glenn Patterson,
:27:47. > :27:50.Good Vibrations. The debut, Colin and Glenn bring wit, energy and
:27:51. > :27:59.thought to the real life story of punk rock hero Terry who ran the
:28:00. > :28:07.label during the troubles in Belfast.
:28:08. > :28:24.APPLAUSE And the BAFTA goes to Keiran Evans
:28:25. > :28:43.APPLAUSE APPLAUSE
:28:44. > :28:53.Thank you very much. Wow. I was definitely not expecting this.
:28:54. > :28:59.There's so many people to thank so better get on with it. To start
:29:00. > :29:05.with, I've got to thank my wonderful, wonderful, wonderful
:29:06. > :29:09.producer Janine who's stayed with me for eight years to make this happen.
:29:10. > :29:13.I wouldn't be here without her. Robin, Theo who believed in me at
:29:14. > :29:18.the start and took this project forward. To the wonderful cast and
:29:19. > :29:27.crew who I wouldn't be here without and to the wonderful Julia Morris
:29:28. > :29:31.and finally to Niall Griffiths who wrote the book and allowed me to
:29:32. > :29:35.adapt the film and make it what it is. Thank you so much. Finally, one
:29:36. > :29:40.more thing, sorry, I've got to remember this one, family and
:29:41. > :29:43.friends in Dublin and Wales and to my two beautiful sons Dylan and
:29:44. > :29:48.Jacob who made it happen and to my mum who sat me in front of Hitchcock
:29:49. > :29:53.films when I was a kid and to my dad who drove with me on a coach for 50
:29:54. > :29:55.miles to an art college. Those moments are the reasons why I'm here
:29:56. > :30:19.now. Thank you so much. To present the award is greededly
:30:20. > :30:29.brilliant, BAFTA actor, who starred in and written more great films than
:30:30. > :30:37.I care or will mention. In film a goddess, in truth, you would be sick
:30:38. > :30:41.if I told you how much I love her. Spank your palms together,
:30:42. > :30:43.repeatedly for the great Emma Thompson.
:30:44. > :31:01.APPLAUSE Is it me, or is it being British -
:31:02. > :31:05.what is it that makes being referred to as sicking awful makes me feel so
:31:06. > :31:10.much better about myself! I am tempted to ask if there's a
:31:11. > :31:16.doctor in the house! I'm so thrilled to be here, to announce the nominees
:31:17. > :31:29.for Best Supporting Actor and they are:
:31:30. > :31:36.You can't say that Why not. It is a Ferrari.
:31:37. > :31:40.The weight distribution is a disaster. It is amazing, all these
:31:41. > :31:51.facilities and you make a piece of crap like this!
:31:52. > :32:03.You don't play the game! The ship's broken. Nobody gets hit!
:32:04. > :32:09.Hey! Look at me. Sure.
:32:10. > :32:18.Matt Damon for Behind The Candelabra.
:32:19. > :32:27.Lee doesn't have a dim approximate in his chin. I know -- a dimple in
:32:28. > :32:29.his chin. I know - it's my face. Just a little one!
:32:30. > :32:54.OK. If anybody contradicts you.
:32:55. > :32:57.If you lived the them in New England, but you don't!
:32:58. > :33:28.Most surely do not. And the BAFTA is awarded to Barkhad
:33:29. > :34:15.Abdi for Captain Phillips. Thank you! Thank you!
:34:16. > :34:26.I want to thank first of all BAFTA for this honour.
:34:27. > :34:30.I want to thank Paul Greengrass for believing in me before I believed in
:34:31. > :34:38.myself and putting me into this project. I want to thank Tom Hanks.
:34:39. > :34:49.I see you! I want to thank Sony Pictures.
:34:50. > :34:51.I want to thank my producers - Dana, Michael and I want to thank my
:34:52. > :35:11.family and my friends. I love you. Last, but not least, I want to thank
:35:12. > :35:18.my other pirates in the film - my friends and the people that came
:35:19. > :35:20.from nothing and we got this. Thank you!
:35:21. > :35:36.APPLAUSE Congratulations. We know hold our
:35:37. > :35:43.magnifying grass over the second best nominees. Captain Phillips,
:35:44. > :35:48.always known as Saving Mr Hanks. BAFTA... I cannot be the first
:35:49. > :35:53.person to have thought of that! BAFTA sent me a preview copy of
:35:54. > :35:59.Captain Phillips, which annoyingly started with a plot spoiler - a
:36:00. > :36:04.piracy warning! I found myself astonished between
:36:05. > :36:09.the resemblance between the film and real life. I was trapped in a
:36:10. > :36:15.lifeboat capsule with Tom Hanks. Not so much a capsule than a lift, an
:36:16. > :36:20.elevator, which got stuck. After we were rescued Mr Hanks was asked how
:36:21. > :36:27.he was by the nurse and he just broke down and wept, as he does in
:36:28. > :36:28.the film. Spooky! The utterly thrilling Captain
:36:29. > :36:37.Phillips. I'll call you from there. What
:36:38. > :36:41.really happening is really fascinating. It is a crime story
:36:42. > :36:45.that tells you something about the great forces driving us.
:36:46. > :36:50.Listen up! We have been boarded by armed pirates. The captain of a
:36:51. > :36:54.large container ship is attacked by four young men from the absolute
:36:55. > :37:01.other end of the world. Once the guys climb up on board the ship, all
:37:02. > :37:06.the rules are off. Nun will get hurt if you -- no-one will get hurt if
:37:07. > :37:10.you don't play no game. The relationship between a captain from
:37:11. > :37:17.our world and a captain from theirs is what drives the film. That
:37:18. > :37:22.becomes more intense. It is an odd burden that is shared between the
:37:23. > :37:26.rich and it is not a pleasant one - it is life and death. There has to
:37:27. > :37:31.be something other than kidnapping people! It is a part of the world
:37:32. > :37:36.that has a story to tell and its people have a story to tell. The
:37:37. > :37:39.actors have done a fantastic job of showing the criminality and the
:37:40. > :37:45.recklessness and the violence of those men, but also the desperation
:37:46. > :37:50.and the humanity. It's over. I I can't give up! Paul has a way of
:37:51. > :37:54.working in which the action goes on and he captures it on three
:37:55. > :37:58.different cameras from different perspectives. That is not how a lot
:37:59. > :38:03.of films are made. He was capturing behaviour. That is the environmental
:38:04. > :38:06.atmosphere that he created. It was worth its weight in gold. Look at
:38:07. > :38:15.me! I'm the captain now! APPLAUSE
:38:16. > :38:20.Captain Phillips, ladies and gentlemen. Don't do what David O
:38:21. > :38:23.Russell has done and do all your next films with riming with your
:38:24. > :38:28.surname - that would be bad! As it would be if you did Tom, come
:38:29. > :38:34.to think of it! We have the stars with us - Tom
:38:35. > :38:39.Hanks and his brilliant costar who is being interviewed by the press at
:38:40. > :38:43.the moment. They all deserve our grateful applause. It is a
:38:44. > :38:48.magnificent movie. APPLAUSE
:38:49. > :38:54.Servicing now cinematography and presenting a pair acting gems one
:38:55. > :38:59.called Helen who has appeared in Harry Potter and one called Ray, who
:39:00. > :39:04.is about to be seen in the epic Noah, inspired by this year's
:39:05. > :39:10.British weather! Please yodel and squeak for the terrifying
:39:11. > :39:28.terrifyingly talent talented ed... Thank you.
:39:29. > :39:33.We are delighted to be here this evening to present the award for
:39:34. > :39:37.cinematography. It never seizes to amaze me what these people create.
:39:38. > :39:42.I was thinking about it the other day. The great ones could make me
:39:43. > :39:45.and your old man look good. Unbelievable! Let's have a look at
:39:46. > :40:37.the nominations. Stick together and we'll be all
:40:38. > :40:48.right! Keep it. You hadn't thought about
:40:49. > :40:56.it! And the award goes to... . Gravity.
:40:57. > :41:11.APPLAUSE Ladies and gentlemen, I am afraid
:41:12. > :41:24.Emmanuel cannot be here tonight so the director will come up and
:41:25. > :41:29.collect the award. Emmanuel Lubezki, we know him - he
:41:30. > :41:34.cannot be here, he's shoot shooting, believe it or not, I think it is a
:41:35. > :41:40.four-and-a-half weeks shoot with a crew of 20 people in the desert. So
:41:41. > :41:44.he's asked me to read this message. Thanks for the British academy for
:41:45. > :41:49.this award. I would like to share it with the cast and crew of Gravity,
:41:50. > :41:59.especially with my friend and teacher. You have to understand it
:42:00. > :42:02.is an ironic way of talking. So Alfonso thank you for allowing me to
:42:03. > :42:09.destroy your dreams to r the last 20 years. It has been incredible.
:42:10. > :42:15.Thank you for coming one this story. Sandy for giving this film a face.
:42:16. > :42:20.And the wizard of effects and the frame store nurds for making this
:42:21. > :42:27.adventure possible. And for shooting a big part of this
:42:28. > :42:33.movie. David Heyman. Warner Brothers for making this movie and my family,
:42:34. > :42:36.my friends and the audience - thank you.
:42:37. > :42:47.APPLAUSE And now we move on to Supporting
:42:48. > :42:54.Actress. To present it a Titanic star to be seen in the ride that is
:42:55. > :43:04.The Wolf Of Wall Street, where there is excessive drugs and I will simply
:43:05. > :43:14.say, please, howl, howl and howl again for Leonardo DiCaprio.
:43:15. > :43:28.When I saw the five actresses nominated I was completely blown
:43:29. > :43:32.away. The talent is enormous. Separating this emis an enormous
:43:33. > :43:35.task. I am pleased I was not one who had to do it. It is my pleasure to
:43:36. > :43:45.announce the winner tonight. Let's take a look at the nominees.
:43:46. > :43:52.All the nutrition out of our food is empty - just like your deals! Empty!
:43:53. > :44:00.Empty. I read it in an article. Look! Print
:44:01. > :44:04.something into this house that will take the nutrition out of our food
:44:05. > :44:14.and then light our house on fire. Thank God for me!
:44:15. > :44:21.What am I going to do without you! I don't!
:44:22. > :44:28.Stop it. Stop it! Please! Would you like to sit in my office. Look,
:44:29. > :44:32.who's this guy, Al? What does he do? I know what he doesn't do - he
:44:33. > :44:45.doesn't make scenes where I work in public!
:44:46. > :45:10.I take so much... 400,000 cotton - day in, day out. And for that...
:45:11. > :45:32.I don't care what else you do, where you go, screw up your life, just...
:45:33. > :45:38.Survive. Please. Oprah Winfrey, the Butler.
:45:39. > :45:47.Get out. Please, please. I can't take this no more. We ain't seen
:45:48. > :45:54.this boy for seven years. Sorry, Mr Butler, I didn't mean to make fun of
:45:55. > :46:01.your hero. Everything you are and everything you have is because of
:46:02. > :46:12.that Butler. And the BAFTA goes to Jennifer
:46:13. > :46:18.Lawrence Lawrence. Jennifer is unable to be here tonight as she's
:46:19. > :46:26.filming, but to collect the award is the brilliant David Russell.
:46:27. > :46:37.Jennifer asked me to read something that said she'd like to thank
:46:38. > :46:43.everybody here at BAFTA, it's an honour for me, she wants to thank
:46:44. > :46:47.Sony, Megan, the producers and her costars, the actors who created this
:46:48. > :46:52.magnificent world with her, Christian Bale, Amy Adams, Bradley
:46:53. > :47:01.Cooper, Robert Dee know row, all the cast and producers -- de Niro, Eric
:47:02. > :47:12.Singh and me and David O Russell, me, and it's a great honour. Here is
:47:13. > :47:16.to telling stories of culture, heartbreak, romance and rebirth and
:47:17. > :47:27.music and life. Thank you very much. This is for Jennifer.
:47:28. > :47:32.APPLAUSE The third of the best film nominees
:47:33. > :47:42.waiting to be forensically examined by us is the heart wrenching
:47:43. > :47:46.exquisite phenomena which is Philomena and it's phenomenal. I
:47:47. > :47:54.struggle to find anything in my life that might mirror events in this
:47:55. > :48:03.genius work. My mother has spent many, many years wondering what on
:48:04. > :48:09.earth has happened to her son! And I have been enchanted and overwhelmed
:48:10. > :48:15.by Philomena. Hello. You must be Philomena. The
:48:16. > :48:20.idea originated with Steve Coogan. He read an article about Martin
:48:21. > :48:26.Sixsmith's book, about a little old Irish lady searching for her long
:48:27. > :48:31.lost son. What really grabbed my attention was in the article in The
:48:32. > :48:36.Guardian, there was a picture of Martin with Philomena. The image
:48:37. > :48:43.struck me because they seemed like very, very different people. Do you
:48:44. > :48:48.want a tune? If I hum it would you play it? It's the most extraordinary
:48:49. > :48:55.true story, finding he was pregnant, her family sent her to the school
:48:56. > :49:03.for Nuns to have the baby and he was taken from her. One, tworks three,
:49:04. > :49:08.action... It's an astonishing story. But it's
:49:09. > :49:12.not a miserable film, it's a very cheerful film because the two of
:49:13. > :49:16.them are such extraordinary characters. Your wife tells me you
:49:17. > :49:22.think you're mildly depressed. Well I got the sack, I'm unemployed. It
:49:23. > :49:26.wasn't your fault. Well, that's why I'm depressed. Steve made me laugh
:49:27. > :49:33.every single day of the shoot. The film is laced with humour which
:49:34. > :49:39.makes it easy to watch. It's a remarkable journey that she and
:49:40. > :49:43.Martin Sixsmith made. To only way you can get through things some
:49:44. > :49:57.times is to laugh or joke. You have to pay for everything on Ryanair...
:49:58. > :50:00.APPLAUSE Dame Judi Dench and Steve Coogan are
:50:01. > :50:04.here tonight. In preparing to play the role of a journalist, such was
:50:05. > :50:08.Steve's desire to know the effect that they have on people, he event
:50:09. > :50:13.went so far as to have his own phone hacked. That's commitment!
:50:14. > :50:17.The next presentation is for outstanding contribution to British
:50:18. > :50:21.cinema, give none honour of the Great British producer Michael
:50:22. > :50:24.Balkan to. Make the presentation, the lead of the British acting
:50:25. > :50:29.establishment who's shone brightly for many years, in 1999 she received
:50:30. > :50:36.a CBE in the Queen's birthday honours list and last year receive
:50:37. > :50:49.add bottle of Prosecco. Go madly ballistic for Juliet Stevenson.
:50:50. > :50:55.Good evening, everybody, I am very, very happy to be here and very
:50:56. > :51:02.honoured to be presenting this award. You could say that the work
:51:03. > :51:06.of Pete Peter Greenaway is characterised by challenge to his
:51:07. > :51:12.audiences, to existing cinematic forms, to his designers and to his
:51:13. > :51:18.actors. I can speak to the last of those. Working with him in 1987 on
:51:19. > :51:25.his film Drowning By Numbers, I found myself stretched to my limits
:51:26. > :51:29.in many interesting ways. Having to push a large naked woman
:51:30. > :51:35.in a wheel barrow up a slippery wet slope in five inch heels, finding
:51:36. > :51:40.myself dropped into a turbulent North Sea in November half a mile
:51:41. > :51:44.out from shore in order to drown my his who let it slip fairly quickly
:51:45. > :51:51.that he couldn't actually swim but hadn't mentioned that at the time
:51:52. > :51:56.because he wanted the part and Thursdayly doing some surprising and
:51:57. > :52:00.inventive things with an ice lolly, a raspberry Mivvi as I recall. I
:52:01. > :52:06.loved every minute of the challenges. Pets Peter Greenaway was
:52:07. > :52:10.always receptive, collaborative and demanding in all the right ways,
:52:11. > :52:14.visionary and inspirational and I was very proud to be a part of that
:52:15. > :52:19.very beautiful film. He does seem to relish going to the edges, observing
:52:20. > :52:24.and recording the furthest extremes of human appetites, the cutting edge
:52:25. > :52:29.of what is sin matically possible and the boundaries where cinema and
:52:30. > :52:35.painting meet. He understands that going to the edges, you often find
:52:36. > :52:39.the centre. He has no time for convention or Orthodoxy, while
:52:40. > :52:45.lovingly paying tribute to the artists who've inspired him and
:52:46. > :52:49.their influence is always present in the exquisite compositions of his
:52:50. > :52:53.frames, beauty and invention in every shot.
:52:54. > :52:58.Peter once told me that if he could have been a Painter, he would have
:52:59. > :53:01.been. But for him, cinema was a second choice. Let's look at some of
:53:02. > :53:25.his incredible creative output. Films to satisfy their sexual
:53:26. > :53:30.fantasies. Who does that? I would imagine most. Privateer Greenaway
:53:31. > :53:40.has explored eroticism in a raw, surreal and darkly cometic way.
:53:41. > :53:46.Don't be stupid. He's a distinctive, iconic film maker who continues to
:53:47. > :53:51.shock and inspire in equal measure. Having trained as a Painter, this
:53:52. > :53:56.background in visual arts transfers into the screen with extraordinary
:53:57. > :54:04.stage designs, elaborate costumes and an appreciation of art. Your
:54:05. > :54:13.face is very red. No redder than your backside. The 1982 film
:54:14. > :54:18.established him as an innovative and established British film maker. I'll
:54:19. > :54:23.kill and eat him. He went on to make the Cook, the Thief, his wife and
:54:24. > :54:28.Her lover, starring Helen Mirren and Michael Gambon. Try a little harder,
:54:29. > :54:32.please. Refounded for his exploration of the cinematic medium,
:54:33. > :54:38.the imaginative director continues to push in new and exciting ways the
:54:39. > :54:46.boundaries of cinema. Having waited so many years to honour this
:54:47. > :54:48.visionary architect whom I have so passionately admired, for me, this
:54:49. > :55:10.moment is very sweet indeed. Ladies and gentlemen, the BAFTA for
:55:11. > :55:37.outstanding contribution to British cinema goes to Peter Greenaway.
:55:38. > :55:45.Well, I certainly thank BAFTA for this award. I have to say, I'm very,
:55:46. > :55:51.very surprised to receive it. But I'd like to imagine it was an
:55:52. > :55:55.acknowledgement indeed of contemporary changing cinema which
:55:56. > :56:00.we all know is not the same cinema as our fathers and forefathers, so
:56:01. > :56:06.as an encouragement not only to me but ath but to all those people who
:56:07. > :56:11.believe that cinema continually has to be reinvented. I have a huge
:56:12. > :56:15.number of people the thank. I've been making films now for 30 years
:56:16. > :56:19.and I suppose there's nearly 80 films on the record and all those
:56:20. > :56:24.people I've worked with continually on both sides of the camera have
:56:25. > :56:31.always been extremely loyal and are very happy to that travel -- to
:56:32. > :56:37.travel with me. I have to thank all those people in. The last ten years,
:56:38. > :56:43.probably in the last 20, my Dutch film produce, case Cassander who's
:56:44. > :56:48.always found the money and the circumstances for us to continue. I
:56:49. > :56:52.thank BAFTA for this reward and regard it as an encouragement for,
:56:53. > :57:06.let me repeat, the continual reinvention of cinema. Thank you.
:57:07. > :57:09.APPLAUSE Come along, it's time for the
:57:10. > :57:13.original screen play and, to do the presenting, we have a man with
:57:14. > :57:18.lovely bones who does devilish in Prada and who will add his
:57:19. > :57:23.considerable talents to the Hunger Games, mocking J part one. It's an
:57:24. > :57:27.actor who simply does not know how to give a bad performance. The
:57:28. > :57:42.wonderful Stanley T Tubb tchi. Thank you very much. There is
:57:43. > :57:45.nothing quite as terrifying as being faced with a blank page and having
:57:46. > :57:49.to write something original. You trust me, I know. It took me hours
:57:50. > :57:57.to write this. Let's take a look at the nominations
:57:58. > :58:09.for original screen play. Nebraska. Bob Nelson.
:58:10. > :58:15.Have you ever seen the steel machinery before? I never know what
:58:16. > :58:20.you boys are up to. Why didn't you say it was yours? I thought you
:58:21. > :58:27.wanted it? What for? That's what I couldn't figure out. Blue Jasmine.
:58:28. > :58:33.Woody Allen. Business lunch. Did you take her hand? Are you nuts? Do you
:58:34. > :58:38.think if I was having an affair I would be crazy enough to have it in
:58:39. > :58:42.public in the Four Seasons? It's obvious she has a crush on you. You
:58:43. > :58:46.are building a case. If you were having an affair, I would be upset.
:58:47. > :58:50.Don't get your temper up, I don't like that side of you. Gravity,
:58:51. > :59:17.Alfonso and Jonas Cuaron. American Hustle. Eric Warren Singer
:59:18. > :59:26.and David O Russell. Pf You gisted my girl. That's what
:59:27. > :59:36.vision is. I gave you a compliment. Inside Llewyn Davis. Joel Coen and
:59:37. > :59:42.Ethan Coen. It's not a big re-education for the public. Mel?
:59:43. > :00:03.Snell! How you doing, kid? And the BAFTA goes to Eric Warren
:00:04. > :00:14.Singer and David for American Hustle.
:00:15. > :00:40.I was breast fed from a very young age on British cinema. It is a huge
:00:41. > :00:46.part of my life. Thank you BAFTA, thank you to my wonderful cast and
:00:47. > :00:51.to my studio, to my wife and wonderful children.
:00:52. > :00:56.APPLAUSE I thank you, Eric, for bringing this
:00:57. > :01:03.wonderful story. I thank you, David! I thank you so much.
:01:04. > :01:07.No, I think without Eric or Charles I wouldn't have been here, they
:01:08. > :01:11.brought me this story - characters which came to amazing life I was
:01:12. > :01:17.just extraordinary. Most of all, I just have to thank the actors who it
:01:18. > :01:22.has been my privilege to work with. Thank you, guys.
:01:23. > :01:30.It means the world to me. Thank you! APPLAUSE
:01:31. > :01:36.I think it was not who it was a great privilege of the work with,
:01:37. > :01:47.but with whom it was a great privilege to work. Never mind! So,
:01:48. > :01:55.we now embark on a thorough look at the uncompromising uncompromisingly
:01:56. > :02:00.12 Years A Slave. I too was duped by a couple of gentlemen and found
:02:01. > :02:04.myself in the deep south in intolerable conditions. Have you
:02:05. > :02:09.ever done a book-signing in Bournemouth? As Lord Byron once
:02:10. > :02:15.wrote, sometimes we may laugh so we may not weep. This is a serious film
:02:16. > :02:20.about a serious subject. Prepare to be blown away by 12 Years A Slave.
:02:21. > :02:41.APPLAUSE It's an astonishing story of one man
:02:42. > :02:48.who holds on to his faith. Holds on to his humanity through the worst
:02:49. > :02:53.kind of experience one can think of and I thought the world should know
:02:54. > :02:59.about. Days ago I was with my family and my home. Now you tell me All Is
:03:00. > :03:06.Lost. It feels like fate conspires against this man and puts him in
:03:07. > :03:14.this compromised position. There are ways he is a contemporary hero, I
:03:15. > :03:19.think. I will not fall into despair. I will keep my heart until freedom
:03:20. > :03:24.is offered to me. I am pleased on the page we didn't pull any punches
:03:25. > :03:31.and I know Steve and the actors haven't as well. I said, come here!
:03:32. > :03:37.Stephen is very good with human beings and understands human
:03:38. > :03:43.behaviour and has a curiousty in it and approaches it in a
:03:44. > :03:46.non-judgmental way. Help you, steers you if you need it. I like that
:03:47. > :03:53.about him. I had the book in my hand. I opened
:03:54. > :03:58.the first page of the book and I couldn't put it down. It is a gift
:03:59. > :04:04.from the middle of the 19th century right into the present day. It is a
:04:05. > :04:09.story that speak speaks - there are on-going debates. What it means,
:04:10. > :04:16.what human dignity and respect really mean.
:04:17. > :04:17.There is no justice in slavery. If justice had been done I would never
:04:18. > :04:31.have been here. APPLAUSE
:04:32. > :04:40.12 years a slave, whose stars have done us the privilege being here
:04:41. > :04:44.tonight. Chiwetel Ejiofor, Michael Fassbender
:04:45. > :04:49.and Steve McQueen. It fills me with anxious and horror that I have not
:04:50. > :04:59.experienced since seeing myself naked in sher Sherlock Holmes, Games
:05:00. > :05:03.of Shadows. Now to Adapted Screenplay. A top-notch actor in
:05:04. > :05:10.whose glittering career, to quote one of our contenders for Best Film
:05:11. > :05:16.- some of this actually happened. She stars in American Hustle and in
:05:17. > :05:22.Her and once ingested an entire antelope whole. I will let you work
:05:23. > :05:30.which which ones are true. Please welcome Amy Adams.
:05:31. > :05:42.Taking a story which has been told and adapting it for the screen is an
:05:43. > :05:47.uneve viable task. When it is done well, like really, really well, as
:05:48. > :05:48.with tonight's nominees, the end result is remarkable. Let's take a
:05:49. > :06:04.look at them. And then precisely seven-and-a-half
:06:05. > :06:09.minutes after that, you'll bring us two more and two more after that.
:06:10. > :06:16.Every five minutes until one of us passes out. Excellent strategy, Sir.
:06:17. > :06:19.I'm good with water for now, Sir. It's his first day on Wall Street,
:06:20. > :06:30.give him time! They will not let you win. They
:06:31. > :06:37.can't let you win. They would rather sink this boat than let you get me
:06:38. > :06:55.back to Somalia - it is over! I come too far. I can't pick you up.
:06:56. > :07:01.You have learnt how to read A word here or there. Don't trouble
:07:02. > :07:06.yourself. Same as the rest, the master brought you here to work.
:07:07. > :07:16.That's all. Any more will learn you 100 lashes.
:07:17. > :07:43.I have a California weight. Guaranteed 15 lbs in four weeks.
:07:44. > :07:50.I have always loved that name, Nancy. I have a niece called Nancy.
:07:51. > :07:56.Maybe they think it is her. What about Ann? We'll have to use your
:07:57. > :08:01.real name, Philomena. That is how these things work.
:08:02. > :08:13.APPLAUSE And the BAFTA is awarding to Steve
:08:14. > :08:32.Coogan and Jeff Pope for Philomena. APPLAUSE
:08:33. > :08:44.Gosh! This story started four years ago with a newspaper article I read
:08:45. > :08:48.and I pursued it because I hooked one this guy, Jeff Pope and we
:08:49. > :08:52.managed to bring this story to life. We couldn't have done that without
:08:53. > :08:59.obviously a whole host of people. First of all, we have to thank, of
:09:00. > :09:08.course, Martin Sixsmith for his book that we adapted. Philomena Lee, who
:09:09. > :09:16.is here tonight. The real Philomena. APPLAUSE
:09:17. > :09:20.Her story has been told and her story finished in the Vatican. She
:09:21. > :09:24.has been heard. There are 60,000 other women who are yet to trace
:09:25. > :09:29.their children and their story is not yet over. Briefly though, I
:09:30. > :09:37.would like to thank the dream team that we managed to assemble. Most
:09:38. > :09:44.notably Stephen for his fantastic director. The person who brought
:09:45. > :09:50.Philomena's story to life and gave flesh and blood to her on screen, my
:09:51. > :09:58.dream cast choice and someone whovy fallen in love with, Dame Judi
:09:59. > :10:04.Dench. APPLAUSE
:10:05. > :10:09.Thanks to Christine, who brought Steve and I together. I am so
:10:10. > :10:13.pleased to be able to make up for an appalling scarf that I was wearing
:10:14. > :10:17.earlier. I am thinking, right now, of my father, who I lost in November
:10:18. > :10:39.and my lovely wife, Tina. Thank you. Who brought Stephen Steve and me
:10:40. > :10:46.together. If it is a writing award, you might be able to speak popperly.
:10:47. > :10:51.My tiny production company we are working with Jeff Pope and we know
:10:52. > :10:58.will not be able to afford him. The esmt The EE Rising Star Award is on
:10:59. > :11:05.us now, to present it, two actors who are previous nominees of this
:11:06. > :11:18.very award - she is the Scandinavian star - a woman so Swedish, she comes
:11:19. > :11:28.flat-packed. And he was great in Les Misarable.
:11:29. > :11:43.So, all the nominees in this category are equally brilliant and
:11:44. > :11:47.deserving of this award. Yes, they are indeed. They are a staggering
:11:48. > :11:52.group of actors. I am thrilled that we don't have to make the choice -
:11:53. > :12:04.the public have to make the choice. Let's take a look at them in action.
:12:05. > :12:12.I'm returning from dinner. I live here and you - what are you doing
:12:13. > :12:45.here? All these rules. I think you've got
:12:46. > :12:48.to obey them. What are you talking about? All that noise inside your
:12:49. > :13:03.head. I've no comfort in this life.
:13:04. > :13:17.You can't buy mercy. Are you a writer? No. I'm not.
:13:18. > :13:24.You're not anything. Oh, my God!
:13:25. > :13:45.You know me now? We're not interested in what you
:13:46. > :13:57.think. You are nothing to us. Get what you need and go.
:13:58. > :14:05.It bit me. Where. Trust me, Kenny is fine.
:14:06. > :14:16.So the public has voted and the winner is... Will Poulter.
:14:17. > :14:51.APPLAUSE Start with a cliche - this is a
:14:52. > :14:56.surprise. Thank you so much. I almost cried watching other people
:14:57. > :15:03.go up and get their awards. I am famous in my family for crying and
:15:04. > :15:08.watching Finding Nemo with my dad. It is about a dad who couldn't find
:15:09. > :15:14.his dad, so I shouldn't have watched it with my dad. Jenny and Lee, this
:15:15. > :15:19.is such a huge honour. I am grateful to BAFTA and EE. Especially an
:15:20. > :15:24.honour given it is voted in part by the public, to everybody who voted,
:15:25. > :15:34.I am so grateful. What makes it so truly special and I know it is said
:15:35. > :15:43.a lot and this category and being considered among you - I forget your
:15:44. > :15:49.name. Dane, who I love... Sorry, I am very nervous, Dane. I am genuine
:15:50. > :15:55.fans of all your work. You are amazing. Some personal thanks to the
:15:56. > :16:01.most overqualified team in the world, Christian, Alexander and all
:16:02. > :16:04.the girls at Premier. My family and the best friends ever. Thank you
:16:05. > :16:27.very much. A sober moment now. Just as life
:16:28. > :16:31.itself as influenced your works this year, so it's inevitable dark twin
:16:32. > :16:37.death is responsible for taking from us some of our dearest friends and
:16:38. > :16:40.colleagues. As the author, Montgomerie said however, nothing's
:16:41. > :16:47.really lost to us so long as we remember it.
:16:48. > :16:50.# On the good ship, lollipop # It's a sweet trip
:16:51. > :17:11.# To a candy shop Rebecca's won. No, no, no matter
:17:12. > :17:21.what happens, she hasn't won. Promise me you'll come back for me.
:17:22. > :17:49.I promise I'll come back for you. Twhast you share with someone else
:17:50. > :17:52.when you are uncool. My advice to you, I know you think these guys are
:17:53. > :18:01.your friends. If you want to be a true friend to them be, honest. --
:18:02. > :18:41.if you want be a true friend to them, be honest and merciful.
:18:42. > :18:54.You know what I'm doing, placing my thoughts elsewhere. Why is that
:18:55. > :19:05.guilty smile on your face... Took care of it. You took care of me
:19:06. > :19:28.too. I'll call you, baby. I have 100-strong orchestra. It's
:19:29. > :19:39.not as good as mine, is it? E-I personally think it's better.
:19:40. > :19:53.He's plastered. If I were truly plastered, could I do this? !
:19:54. > :20:07.So our fifth outstanding work Gravity is a breathtaking
:20:08. > :20:12.bombardment of the senses that left me and everyone else that's seen it
:20:13. > :20:16.reeling. Again, eerily close to the experience I had only the other
:20:17. > :20:20.night which began embarrassingly when I invited Sandra Bullock to my
:20:21. > :20:24.house for what she thought was dinner when I just wanted her to fix
:20:25. > :20:28.my satellite dish. She didn't budge though, bless her. Made in Britain
:20:29. > :20:33.for the entertainment of the universe, ladies and gentlemen,
:20:34. > :20:42.Gravidad! Explorer, this is Houston. Mission
:20:43. > :20:48.abort. Repeat. Go, go, go. We wanted to do a film about adversity. It's a
:20:49. > :20:54.story about what makes us try when there's nothing left to try for. The
:20:55. > :20:59.journey she goes on, she ultimately makes the decision to choose life.
:21:00. > :21:02.When you are writing, you are not thinking how you are going to make
:21:03. > :21:08.it happen. I have to say, I thought it would be much simpler. It wasn't
:21:09. > :21:13.until late on, we realised what we were creating. It was designed
:21:14. > :21:19.around the extremely long shots. The camera is always moving. There's no
:21:20. > :21:26.right or left. It took a while to work tout best technique to do it.
:21:27. > :21:31.Whatever reading system they had, these were all new creations,
:21:32. > :21:36.brilliant people who had to think of something that didn't exist to make
:21:37. > :21:45.a movie. Alfonso was told it couldn't be done. It was literally
:21:46. > :21:49.like, your life in their hands. Something could crash into my
:21:50. > :21:55.fashion. Nothing you could do, just say goodbye. Just lay yourself in
:21:56. > :22:03.the hands of the smartest guys in the room. No, no, no. Nudge. No, no,
:22:04. > :22:17.no. The complexity challenged everybody, but it was great.
:22:18. > :22:24.APPLAUSE The marvellous Gravity starring the
:22:25. > :22:29.out of this world Sandra Bullock. Sandra is soon to be seen in three
:22:30. > :22:40.more films inspired by Isaac Newton, the first being Calculous and also
:22:41. > :22:44.the Apple Fell on my Head. Many delights have we tasted but those
:22:45. > :22:49.that lie in wait are the most succulent fruits of them all, being
:22:50. > :22:52.the fellowship, best film, leading actress, director and the current
:22:53. > :22:56.object of our attention which, has there is no award for mis-Leading
:22:57. > :23:02.Actor, is for Leading Actor. To present it, a woman with exceptional
:23:03. > :23:06.movie star talents and looks and exceptional movie star starriness.
:23:07. > :23:11.In short, she's without exception, exceptional. Throw off the shackles
:23:12. > :23:13.of conformity and unrestrain your restraints as you welcome the one
:23:14. > :23:38.and only, Uma Thurman. In this incredible year for film,
:23:39. > :23:43.the following gentlemen gave brave, passionate, inspirational and
:23:44. > :23:53.utterly sincere performances, so let's take a look at them.
:23:54. > :23:57.Cassanderian Bale. American Hustle. You got too much attitude to be
:23:58. > :24:02.small and sleek. You have to be a conman, right, I'm in, I'm out, I
:24:03. > :24:10.was there all the time, you don't know it, all right. That's somebody
:24:11. > :24:16.who people can pin their beliefs on. Are we going to Lincoln today? Bruce
:24:17. > :24:22.Dern, Nebraska. A little bit. A lot. All right. So I drink a lot. God
:24:23. > :24:29.damn it. So what, you do what you wanna do, so do I. You'd drink too
:24:30. > :24:32.if you were married to your mother. Chiwetel Ejiofor, 12 year s Years A
:24:33. > :24:58.Slave. That's the only way to survive. I
:24:59. > :25:06.don't wanna survive. I wanna live. Tom Hanks, Captain Phillips. Keep
:25:07. > :25:15.them away from the important things like the generator and engine
:25:16. > :25:24.controls. Stick together and we'll be all right. Good luck. Leonardo
:25:25. > :25:29.DiCaprio, The Wolf Of Wall Street. You listen to me and you listen
:25:30. > :25:35.well. Pick up the phone and start dialling. Is your landlord ready to
:25:36. > :25:39.fix you? Good, pick up the phone and start dialling because your
:25:40. > :25:42.girlfriend thinks you are a worthless loser. Pick up the phone
:25:43. > :25:49.and start dialling. I want you to deal with your problems by becoming
:25:50. > :25:56.rich! And the BAFTA goes to Chiwetel
:25:57. > :26:31.Ejiofor, for 12 Years A Slave. Wow. Wow, wow, wow.
:26:32. > :26:39.CHEERING AND APPLAUSE Oh. Thank you, thank you so much.
:26:40. > :26:46.Thank you so much. Thank you. Thank you to BAFTA for this extraordinary,
:26:47. > :26:50.this incredible award, I'm so deeply honoured, privileged to receive it.
:26:51. > :26:57.I have so many people to thank for this. I want to start with Steve
:26:58. > :27:02.McQueen. Thank you. Thank you, Sir. Thank you for your work, for your
:27:03. > :27:08.artistry, for your passion in this project, you really just brought us
:27:09. > :27:13.all through it and had the real vision to tell this kind of
:27:14. > :27:19.remarkable story to introduce me to Solomon which I thank you for, the
:27:20. > :27:27.extraordinary life that he had and to tell this story in a way to make
:27:28. > :27:31.it of such value, of such worth to all of us who were there, all of us
:27:32. > :27:36.who worked with you, thank you for this, this is yours, by the way. I
:27:37. > :27:44.know that, you know that, it's yours, I'm going to keep it, but
:27:45. > :27:49.it's yours. I want to thank an incredible cast of actors that I had
:27:50. > :27:53.this remarkable opportunity to go on this journey with. Slightly unfair
:27:54. > :27:59.to pick out people, there are so many, but I would be remiss if I did
:28:00. > :28:07.not thank you, Michael Fassbender, for your extraordinary work. You are
:28:08. > :28:14.a marvel, as is Lupito N'Yongo, Benedict Cumberbatch, Paul Giamati,
:28:15. > :28:20.an extraordinary group, really, Michael Kay Williams, the list was
:28:21. > :28:24.endless with everybody bringing extraordinary passion to this
:28:25. > :28:29.project. I want to thank my family, my mother who is here, I love you,
:28:30. > :28:36.my late father who is not here, I love you too, my brothers, sisters,
:28:37. > :28:39.my niece and nephew who with brand-new actually, Hero and River,
:28:40. > :28:49.we'll endeavour to make a world that you are proud of. I want to thank
:28:50. > :28:53.Bob and Suzie Wallensthin, Laura Simons and Emma Scott, Michael
:28:54. > :28:59.Cooper and John Burnham. Thank you all so much for this. Thank you.
:29:00. > :29:13.CHEERING AND Congratulations to Chiwetel Ejiofor.
:29:14. > :29:19.In honour of the legendary David Lean, we advance to the award of
:29:20. > :29:22.Director. The super talent whose father, mother and brother are
:29:23. > :29:26.respectively a director, screenwriter and actor, hardly
:29:27. > :29:29.surprising she's followed in the tradition though she will perhaps
:29:30. > :29:33.one day achieve her dream of breaking away and pursuing her real
:29:34. > :29:39.ambition of becoming a quantity surveyor. With her, a brilliant
:29:40. > :29:43.character actress, Dara frost-Nixon and the Queen whose career is
:29:44. > :29:50.reaching such heights, he'll soon have to play it himself. Please
:29:51. > :29:59.welcome Maggie Gyllenhaal and Michael Sheen.
:30:00. > :30:05.Great directors are visionaries, dreamers with a goal to create a
:30:06. > :30:10.masterpiece. To be fair, so are the not so great
:30:11. > :30:13.ones. The difference is the great ones have the ability to follow
:30:14. > :30:20.through on those dreams and visions and turn them into astounding works.
:30:21. > :30:26.The five directors nominated tonight definitely fit into that category.
:30:27. > :30:31.Let's look at their remarkable achievements.
:30:32. > :30:37.You should alert your crew. Get your fire hoses ready and follow
:30:38. > :30:52.lock-down procedures. Is that it? So, you settle into your role then!
:30:53. > :31:04.My back is thick with scars! For protesting our freedom. Do not...
:31:05. > :31:11.Five, four, three, two, one... Can me and the man talk about business
:31:12. > :31:34.here? Expensive champagne. We had to buy
:31:35. > :31:43.champagne. Tell them about the sides. $26,000 worth... Do they cure
:31:44. > :32:03.cancer? And the BAFTA goes to... Alfonso
:32:04. > :32:19.Cuaron. APPLAUSE
:32:20. > :32:31.Thank you, BAFTA. After seven years of criticising
:32:32. > :32:38.Russell's English, I don't know if I can open my mouth! But, yeah, I
:32:39. > :32:43.mean, you cannot tell from my accent but I consider myself a part of the
:32:44. > :32:48.British film industry. I live in London the last 13 years. I have
:32:49. > :32:53.done almost half of my films in the UK.
:32:54. > :33:00.I guess that I make a very good case for curbing immigration!
:33:01. > :33:08.LAUGHTER APPLAUSE
:33:09. > :33:13.Well, this means a lot to me because this community who is giving this
:33:14. > :33:20.award - I want to share this and thank my teacher in film and master
:33:21. > :33:26.in life. Sandra Bullock, who is Gravity. You know, without her
:33:27. > :33:31.performance everything would have been nonsense. And in this
:33:32. > :33:38.distinction, this poor understanding of cinema that creates distinctions,
:33:39. > :33:43.upstairs and downstairs distinctions, in which some
:33:44. > :33:49.categories are artistic and others are the fineness and technical. I
:33:50. > :33:56.want to share this award with all the artists that live downstairs,
:33:57. > :34:06.that make these films possible and a couple of guys that is Ian and Alex
:34:07. > :34:17.because I cannot order breakfast without asking their advice and, as
:34:18. > :34:30.always, thank you so much. Well, it is now time for leading
:34:31. > :34:38.actress. To do the presenting a wonderful actor, you would have of
:34:39. > :34:46.sal vated over in Bronson and who it has been said, good gracious. He is
:34:47. > :34:50.man so handsome, we are relieved he's not followed in the current
:34:51. > :34:55.trend and turned up with a bag on his head. Please welcome Tom Hardy.
:34:56. > :35:13.APPLAUSE Thank you, it is a tremendous night
:35:14. > :35:21.to be here to of present the award to Best Leading Actress. Hard work,
:35:22. > :35:26.profound talent are what these five fantastic actresses have. Let's take
:35:27. > :35:42.a look. Probably did suspect. Not that
:35:43. > :35:48.everything was 100% above above. Christ, you would have to be an
:35:49. > :35:51.idiot not to think his phenomenal success was true. A cheat is a
:35:52. > :36:04.cheat! Do those children make letters for
:36:05. > :36:08.you? Do they write letters? Do they make drawings? Would you tear up
:36:09. > :36:13.those gifts in front of them? It is a dreadful thing to do! I don't
:36:14. > :36:18.understand why must father tear up the advertisement his children have
:36:19. > :36:28.made and throw it in the fire place? Why won't he mend their kite?
:36:29. > :36:39.To get us out of this - not just me, but us. I'm going to get really
:36:40. > :36:44.close with Ritchie, the cop in case we need to use him, if we need
:36:45. > :36:51.another move. We don't need another move. We need four busts and we're
:36:52. > :36:58.done. We'll need another move - trust me!
:36:59. > :37:13.I'm going to die today... Funny that, you know, to know, but the
:37:14. > :37:22.thing is I'm still scared. I'm really scared.
:37:23. > :37:30.A terrible sin and had to be punished. What made it so much worse
:37:31. > :37:36.was that I enjoyed it. What? The sex.
:37:37. > :37:40.It was wonderful, Martin. I thought I was floating on air. He was so
:37:41. > :37:43.handsome - the way he held me in his arms. The thing is, I didn't even
:37:44. > :37:50.know I had a clit rus, Martin. And the BAFTA goes to Cate
:37:51. > :38:28.Blanchett. Thank you BAFTA. I was sitting in
:38:29. > :38:32.row G. I thought that was a sign I wouldn't be getting up here tonight.
:38:33. > :38:36.Blue Jasmine was the most extraordinary opportunity for an
:38:37. > :38:42.actress, this actress. God, I'm unfit!
:38:43. > :38:45.So, to everyone who made that, not only possible, but so memorable and
:38:46. > :38:53.such a game-changer for me, I thank you. I would like to dedicate this
:38:54. > :38:58.to an actor who has been continual, profound touch-stone for me - a
:38:59. > :39:12.monumental presence, who is so sadly in absence. The late great Phillip
:39:13. > :39:17.Hoffman. And Phil, your monumental talent. Your generosity and your
:39:18. > :39:21.unflinching quest for truth, both in art and in life will be missed by
:39:22. > :39:24.not only me, but by so many people, not only in this room and the
:39:25. > :39:30.industry, but the audiences who loved you so dearly. You raised the
:39:31. > :39:35.bar continually, so very, very high, and I guess all we can do in your
:39:36. > :39:41.absence is to try and raise it continually through our work. So
:39:42. > :39:54.Phil, buddy, this is for you, you bustard, I hope you're proud.
:39:55. > :40:02.Congratulations and fully endorsed. Before I disrobe and plunge into my
:40:03. > :40:09.bath of ass's milk there are two more awards we have to give out. The
:40:10. > :40:14.first of which is for best fill. To present it -- Best film. To present
:40:15. > :40:21.it, an actor showered with air wards in recent years, they have rained
:40:22. > :40:24.down on him, so much so he's had to build a new awards annex to his
:40:25. > :40:57.house. Please welcome (speaks . Thank you, Stephen for that
:40:58. > :41:02.introduction. It sounded good - whatever it meant!
:41:03. > :41:08.And the award for best film recognises not least the huge effort
:41:09. > :41:12.by everyone involved in putting on a production. Only when all those
:41:13. > :41:18.elements, those many pieces come together and work in harmony is the
:41:19. > :41:20.end result as astonishing as those films nominated this evening.
:41:21. > :41:58.Let's take a look at them. You have no choice. You work for me.
:41:59. > :42:01.You keep changing the rules and not only are you getting a little
:42:02. > :42:41.power-drunk... . The BAFTA is awarded to 12 Years A
:42:42. > :42:52.Slave. Anthony Katagas, Brad Pitt, Jeremy
:42:53. > :43:00.Kleiner, Chiwetel Ejiofor and Steve McQueen.
:43:01. > :43:29.Wow! OK! What is that song? What is that song
:43:30. > :43:34.we sang at the end of the movie? Help me, people. Roll, Jordan, roll.
:43:35. > :43:39.Thank you BAFTA so much for this award. I would like to thank my wife
:43:40. > :43:46.for giving us this award. I would like to thank Sean Bobbitt. I love
:43:47. > :44:00.you Sean. I would love to fact the actors - a star is born.
:44:01. > :44:08.Michael Fassbender - genius and Chiwetel Ejiofor for uniting this
:44:09. > :44:22.film. I would like to thank Bradd. I thank Jeremy Kleiner. Arnold, Bradd
:44:23. > :44:30.Weston. Channel 4, Tessa Ross - the genius. Patrick and of course the
:44:31. > :44:35.one and only Paula wap Woods and my one and only mother - thank you for
:44:36. > :44:42.having the faith. Never give up, mummy. Thank you. Finally, right
:44:43. > :44:47.now, there are 21 million people in slavery as we sit here. 21 million
:44:48. > :44:52.people. I just hope that 150 years from now,
:44:53. > :44:56.our ambivalence will not allow another film-maker to make this
:44:57. > :45:00.film. Thank you so much for this trophy. Thank you.
:45:01. > :45:23.Thank you! Thank you! Thank you!
:45:24. > :45:29.What an extraordinary evening. The final cherry is coming to this
:45:30. > :45:35.year's fellowship. To present it, a unique combination of acting Royalty
:45:36. > :45:39.and actual Royalty in the majestic form of Jeremy Irons and His Royal
:45:40. > :45:42.Highness, the Duke of Cambridge. For one of them, this is the nearest
:45:43. > :45:47.he's ever been to appearing in the King and I. For the other, this is
:45:48. > :45:53.the nearest he's ever been to an iron! Please welcome, Jeremy Irons
:45:54. > :46:10.and His Royal Highness, prince Will I am!
:46:11. > :46:14.APPLAUSE Good evening, ladies and gentlemen.
:46:15. > :46:20.As President of BAFTA, it gives me great pleasure to present the
:46:21. > :46:24.Fellowship. It's the highest honour the academy can bestow and is
:46:25. > :46:29.presented to an individual who's made an outstanding exceptional
:46:30. > :46:34.contribution to film. The recipient of this year's Fellowship is an
:46:35. > :46:40.extremely talented British actress whom I should probably call granny.
:46:41. > :46:52.To tell you more about her remarkable career, Jeremy Irons.
:46:53. > :47:02.Helen Mirren has always been an actress impossible to ignore. Early
:47:03. > :47:07.in my career, I, like the rest of my 'res, was always aware of the
:47:08. > :47:12.theatre work she engaged in -- my peers. It was always worthwhile,
:47:13. > :47:17.serious and, because of her, it was always intrinsically sexy.
:47:18. > :47:28.As she worked, more and more in film, it was her role as Jane
:47:29. > :47:33.Tennison in Prime Suspect that captured the audiences here and in
:47:34. > :47:38.America. She was at the peak of her powers here, middle aged and tough,
:47:39. > :47:45.without having lost any of her immense sex appeal. She played your
:47:46. > :47:50.grandmother then, Sir. Not juries, Stephen!
:47:51. > :47:57.And there was no going back. She won the hearts of an international
:47:58. > :48:01.audience -- not yours, Stephen. When I worked with her on Elizabeth I.
:48:02. > :48:05.What a dream come true that was for me. I still found her to be
:48:06. > :48:11.grounded, powerful and a superb leader to those around her. I think
:48:12. > :48:19.it's as much that groundedness as her great talent that draws us
:48:20. > :48:27.towards her. She has to her name 11 BAFTA nominations and she's won
:48:28. > :48:31.four. She is won hell of a Dame. Of course, she should be a BAFTA
:48:32. > :48:37.Fellow. Anything Emms would be an oversight. -- anything else. Let's
:48:38. > :48:49.remind ourselves of some of her work.
:48:50. > :49:04.Celebrate you, I cry for you, I hoped your fantasy remanslaughters
:49:05. > :49:14.with leading ladies... How do you know it looked like that? Can anyone
:49:15. > :49:18.see my nipples? Three sheets to the wind, pimpy brown. Nowadays people
:49:19. > :49:19.want glamour and tears, the grand performance. I'm not very good at
:49:20. > :49:34.that. I never have been. What are you doing? No, get me
:49:35. > :50:13.Cecil. I'm the Queen of England. You've got him. Now you use him. Mr
:50:14. > :50:16.Wiseman's an American, they do things differently there. Now, good
:50:17. > :50:22.servant, I'm the good, I'm the best, I'm the perfect servant. So this
:50:23. > :50:32.must be a fun job. Yes, it has its moments. Vouch, that really hurt.
:50:33. > :50:43.Told me you behave like a pig. Well, piggish. I have a little snout, huh.
:50:44. > :50:52.What's your game, you monster. I should hope you're all properly
:50:53. > :50:59.inspired. That's that. Short and very sweet.
:51:00. > :51:12.Fascinating stuff. Let's have it again.
:51:13. > :51:28.Please welcome to the stage, Dame Helen Mirren.
:51:29. > :51:56.Thank you. Thank you so much. Thank you.
:51:57. > :52:04.I just want to just quickly blow a kiss to my his who can't be here
:52:05. > :52:11.tonight and he's such a great supporter. Taylor. Got it? Good.
:52:12. > :52:17.Now, my journey to this place, right here, right now, began with a great
:52:18. > :52:22.teacher. Alice Welding, who died just two weeks ago at the age of
:52:23. > :52:26.102. She revealed to me the power of literature and she recognised my
:52:27. > :52:29.need to live in that world of imagination, that world of poetry.
:52:30. > :52:35.She alone was the person who encouraged me to become an actor.
:52:36. > :52:42.So, I'm standing up here thanking Mrs Welding and all the great
:52:43. > :52:48.teachers who've inspired the many creative people sitting here in this
:52:49. > :52:52.beautiful room. In fact, how many of you remember a great teach teacher
:52:53. > :52:59.who inspired you and opened the gate to the path that led you here? I
:53:00. > :53:04.want you all to put your hands up. That's a lot of teachers. So let's
:53:05. > :53:07.right now thank those teachers, all of us together.
:53:08. > :53:22.APPLAUSE So, my teachers in film have of
:53:23. > :53:29.course included directors, several of whom are here today, producers,
:53:30. > :53:35.ADs, costume people, make-up artists, caterers, grips, cinemaing
:53:36. > :53:40.to radio federals, Clapper loaders, writers, drivers, drivers especially
:53:41. > :53:46.of that Honey wagon without whom we'd all be squatting in the bushes,
:53:47. > :53:51.in fact I did that quite often! All those incredible carnival of
:53:52. > :53:56.characters who make up the brilliant and the astoundingly hard working
:53:57. > :54:02.army that march into battle on any film. I thank you all, all of you in
:54:03. > :54:10.my past. It's been an amazing journey up to now. I'm going to
:54:11. > :54:18.finish with the words of a great write writer. I think the words are
:54:19. > :54:23.kind of in a way apt. So, as I foretold you, our revels now are
:54:24. > :54:31.ended and these are actors, as I foretold you, were all spirits and
:54:32. > :54:39.are melted into air, into thin air, and like the baseless fabric of this
:54:40. > :54:44.vision, the cloud Towers, the gorgeous passes, the solemn temples,
:54:45. > :54:51.the great globe itself yay all of which it inherits shall dissolve and
:54:52. > :54:57.like this insubstantial pageant faded leave not a rack behind. We
:54:58. > :55:04.are such stuff as dreams are made on and our little life is round it with
:55:05. > :55:06.a sleep. My little life is rounded with this honour. Thank you very
:55:07. > :55:31.much indeed. These cards are going to earn me a
:55:32. > :55:37.lot on eBay! Well, that's all from the EE British academy film awards
:55:38. > :55:42.2014. Thank you your Royal highness and everybody who's contributed and
:55:43. > :55:46.congratulations to all those who're nominated or involved in any of the
:55:47. > :55:52.films that have here been recognised. After nine outings of
:55:53. > :55:56.hosting this event I can only speak truthfully and think this year's
:55:57. > :55:59.presented the greatest variety of captivating compelling, but always
:56:00. > :56:05.utterly watchable and engrossing stories. There are new stories being
:56:06. > :56:08.enacted in the world every day and there are stories that always need
:56:09. > :56:12.telling in new ways. There are stories being born in the minds of
:56:13. > :56:16.imaginative writers the world over and maybe there's a story that you
:56:17. > :56:21.have fermenting in your mind. Everyone in the film world starts
:56:22. > :56:26.out somewhere and contrary to what you mange, it's not a closed world.
:56:27. > :56:29.Everyone is welcome. So to the established masters of the form,
:56:30. > :56:35.good luck with your next story and to anyone out there who knows they
:56:36. > :56:37.can tell a story in film too, go for it. I mean it. Thank you so very
:56:38. > :56:53.much and good night. Awards presented earlier. British
:56:54. > :56:57.short film. The BAFTA is awarded to James W Griffith and Sophie Banner,
:56:58. > :57:11.Room 8. Thank you very much. Not in a
:57:12. > :57:16.million years did we ever imagine when making this we'd be nominated
:57:17. > :57:23.for a BAFTA. British Short Animation. The BAFTA is awarded to
:57:24. > :57:36.Sleeping with the Fishes, James Walker, Sarah woolner and co.
:57:37. > :57:47.Thank you to our friends and family most importantly. Thank you.
:57:48. > :57:55.Production Design. The Great Gatsby. Catherine Martin and Beverley Dunn.
:57:56. > :58:01.Film is a profoundly collaborative art form and obvious obviously we
:58:02. > :58:26.stand on the shoulders of an extraordinary team. Sound. Gravity.
:58:27. > :58:33.Glenn Freemantle. Skip Livesey. There's no sound in space. There you
:58:34. > :58:39.go, we 're all right. Editing. The BAFTA is awarded to Dan Hanley and
:58:40. > :58:54.Mike Hill. I think they should thank the hell
:58:55. > :58:59.out of me, I really do. Who knows how emotional it would be. They
:59:00. > :59:04.should be glad they weren't here. Documentary. The BAFTA goes to
:59:05. > :59:30.Joshua Oppenheimer. Thank you. Thank you so very much.
:59:31. > :59:46.Make-up Hair. American Hustle. Katherine Gordon, Lori McRoy-Bell.
:59:47. > :59:53.We really thank you for spending so much time in our trailer. Three
:59:54. > :00:07.hours of rollers and comovers. Costume Design. The Great Gatsby.
:00:08. > :00:20.-- come-overs. Original music. Gravity. Steven Price.
:00:21. > :00:25.Thank you my mum and dad for having such a great record collection when
:00:26. > :00:38.I was a kid and starting this whole thing off!
:00:39. > :00:47.Gravity. Tim Webber, Chris Lawrence, David
:00:48. > :00:54.Shirk. Massive thanks to all of the crew
:00:55. > :01:02.for their incredible talent and incredible dedication. And Film not
:01:03. > :01:14.in the English Language. The Great Beauty.
:01:15. > :01:31.I would love to dedicate this award to a great Italian director and his
:01:32. > :01:40.name was (inaudible). Thank you very much.