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