0:00:10 > 0:00:13It may look just like any other London street right now
0:00:13 > 0:00:17but on Sunday 16th February, the red carpet will have been laid,
0:00:17 > 0:00:18the fans will be out in force
0:00:18 > 0:00:20and spirits will be high
0:00:20 > 0:00:23for this year's EE British Academy Film Awards.
0:00:38 > 0:00:41The biggest stars in the world of cinema will be drawn
0:00:41 > 0:00:45to London's esteemed Royal Opera House like moths to a flame,
0:00:45 > 0:00:48with this year's nominees hoping that their name will be
0:00:48 > 0:00:50drawn from one of those iconic golden envelopes.
0:00:51 > 0:00:53Welcome to the BAFTAs.
0:00:56 > 0:01:00It's been a bumper year for film, as Gravity leads the nominations pack
0:01:00 > 0:01:05with 11 nods, followed closely by 12 Years A Slave and American Hustle,
0:01:05 > 0:01:06with ten apiece.
0:01:06 > 0:01:08But it's all to play for with plenty of other contenders
0:01:08 > 0:01:09well in the frame.
0:01:09 > 0:01:12So, how on earth do you pick your favourites?
0:01:12 > 0:01:16Join me, Zoe Ball, as we take a closer look at the films that have
0:01:16 > 0:01:18racked up the most nominations this year.
0:01:18 > 0:01:20We have to go. We have to go, go, go.
0:01:44 > 0:01:45I think I did it.
0:01:55 > 0:01:57This is not a story about doping, it's a story about power.
0:02:04 > 0:02:07You don't wear make-up. You look like a lesbian.
0:02:07 > 0:02:09Can you see me now?
0:02:19 > 0:02:21See what you could have had, Keith?
0:02:21 > 0:02:26I was forced to take a job selling shoes on Madison Avenue. Oh!
0:02:26 > 0:02:27So humiliating.
0:02:28 > 0:02:33A total of 40 feature films and eight shorts make up the nominations
0:02:33 > 0:02:35for this year's awards, with entries from all over the world.
0:02:35 > 0:02:39Today, we're going to focus on just nine key titles,
0:02:39 > 0:02:42all of which have at least four nominations each.
0:02:44 > 0:02:47We start with a home-grown success, Philomena,
0:02:47 > 0:02:50from a whole team of past BAFTA winners that includes
0:02:50 > 0:02:53Steve Coogan, Judi Dench and director Stephen Frears.
0:02:53 > 0:02:57The film tells the remarkable true story of one woman's desperate search
0:02:57 > 0:03:00for the son taken from her 50 years earlier.
0:03:00 > 0:03:02- I met him. - Where?
0:03:02 > 0:03:04- At the White House. - Dear God!
0:03:04 > 0:03:06About ten years ago, when I was with the BBC.
0:03:06 > 0:03:08What was he like?
0:03:08 > 0:03:10I can't remember, it was a Republican thing...
0:03:10 > 0:03:11You must remember something.
0:03:11 > 0:03:15I... He was by the door when we went. I shook hands with him.
0:03:15 > 0:03:17But...well, what kind of a handshake did he have?
0:03:17 > 0:03:19It... It was firm.
0:03:19 > 0:03:21I mean, I would remember if he'd had a weak handshake.
0:03:21 > 0:03:23You don't get to that position with a weak handshake.
0:03:23 > 0:03:26So he had a firm handshake. What else?
0:03:26 > 0:03:27He was smart.
0:03:27 > 0:03:31Oh, I always kept him smart. Did you remember anything he said?
0:03:32 > 0:03:33Hello.
0:03:33 > 0:03:35- Hello, hello. - Might have been "hi".
0:03:35 > 0:03:38- Hello. - He was polite.
0:03:38 > 0:03:41No, well...he was smart and he had a firm handshake.
0:03:41 > 0:03:42He said hello.
0:03:42 > 0:03:44And he said hello, hello.
0:03:44 > 0:03:45He was polite.
0:03:45 > 0:03:47Oh, Martin!
0:03:47 > 0:03:51'Incredibly, the film marks Judi Dench's 26th BAFTA nomination
0:03:51 > 0:03:56'and if she wins, she'll take home her 11th BAFTA mask.
0:03:56 > 0:03:59'Dench says she felt a great responsibility to the real life
0:03:59 > 0:04:02'Philomena Lee in translating her story to film.'
0:04:02 > 0:04:06God in his infinite wisdom decided to spare that from the flames.
0:04:06 > 0:04:09I signed it because I believed I committed a terrible sin
0:04:09 > 0:04:11and had to be punished.
0:04:11 > 0:04:14'Steve Coogan was so moved by a Guardian article
0:04:14 > 0:04:15'about Philomena's tale
0:04:15 > 0:04:18'that he optioned journalist Martin Sixsmith's book
0:04:18 > 0:04:21'and committed to co-writing and starring in the film.'
0:04:21 > 0:04:24Just wonderful, Martin. I thought I was floating on air.
0:04:25 > 0:04:26He was so handsome.
0:04:26 > 0:04:29'It's one of two films this year, alongside Gravity,
0:04:29 > 0:04:33'that feature on both the Best Film and Best British Film categories.
0:04:33 > 0:04:35'Can it do the double?'
0:04:37 > 0:04:40I¹m in the Opera House¹s magnificent Paul Hamlyn Hall,
0:04:40 > 0:04:43where the stars will gather straight from the red carpet
0:04:43 > 0:04:47to take a breath and settle their nerves with a glass of champagne.
0:04:47 > 0:04:49One man more than accustomed to the champagne lifestyle
0:04:49 > 0:04:52is Jordan Belfort, the high-living stockbroker
0:04:52 > 0:04:56at the heart of Martin Scorsese¹s The Wolf Of Wall Street,
0:04:56 > 0:04:58which has four nominations.
0:04:58 > 0:05:00'Leonardo DiCaprio¹s third BAFTA nomination
0:05:00 > 0:05:02'sees the actor on fine form.
0:05:02 > 0:05:06'He says the film is an exploration of greed,
0:05:06 > 0:05:08'the most destructive force in our modern era.'
0:05:08 > 0:05:13Jordie, look what you got here? Look at this. 26,000 for one dinner?
0:05:13 > 0:05:15No, no, no, this can be explained.
0:05:15 > 0:05:17Dad, we had clients. We had Pfizer...the Pfizer clients.
0:05:17 > 0:05:19Right, the porterhouse from Argentina.
0:05:19 > 0:05:22Expensive champagne, the wine. We had to buy champagne.
0:05:22 > 0:05:24And you ordered all the sides, tell him about the sides?
0:05:24 > 0:05:25I ordered sides.
0:05:25 > 0:05:27Sides? 26,000 worth of sides!
0:05:27 > 0:05:30What are these sides? They cure cancer?
0:05:30 > 0:05:32The sides did cure cancer, that¹s the problem.
0:05:32 > 0:05:34- That¹s why they were expensive. - Shut up!
0:05:34 > 0:05:36- I¹m serious... - Stop!
0:05:36 > 0:05:40'Scorsese insisted to his long-time editor, Thelma Schoonmaker,
0:05:40 > 0:05:43'that the film be ferocious, like an attack.
0:05:43 > 0:05:45'The result is Schoonmaker¹s ninth nomination
0:05:45 > 0:05:49'in this category, having last won for Scorsese¹s Goodfellas in 1990.'
0:05:49 > 0:05:52We live in the same building. I'm just... I'm not understand...
0:05:52 > 0:05:54How much money do you make?
0:05:55 > 0:05:57I don¹t know, 70,000 last month.
0:05:59 > 0:06:02'The film has attracted more than its fair share of criticism
0:06:02 > 0:06:06'for its no-holds-barred portrayal of life within Belfort¹s firm.
0:06:06 > 0:06:09' "All I know," says Martin Scorsese, "is that if you don¹t show it,
0:06:09 > 0:06:10' "it¹s not going to go away." '
0:06:10 > 0:06:13You make 72 grand in one month?
0:06:13 > 0:06:15Yeah.
0:06:18 > 0:06:20I tell you what...
0:06:21 > 0:06:24..you show me a pay stub for 72,000, I quit my job right now
0:06:24 > 0:06:26and I work for you.
0:06:26 > 0:06:29'Martin Scorsese considers The Wolf Of Wall Street
0:06:29 > 0:06:32'to be the third part of a loose trilogy exploring
0:06:32 > 0:06:35'the allure of crime, after Goodfellas and Casino.'
0:06:35 > 0:06:38No, yeah, yeah, everything¹s fine. Hey, listen, I quit.
0:06:40 > 0:06:44Rush, from director Ron Howard, also receives four nominations.
0:06:44 > 0:06:47In telling the true story of Formula One¹s bitter rivals
0:06:47 > 0:06:48James Hunt and Niki Lauda,
0:06:48 > 0:06:53the film shows the allure and the danger of this thrilling sport.
0:06:53 > 0:06:55James, do you think you can cope with the pressure?
0:06:57 > 0:06:59Well, I¹ve never really understood what that means,.
0:06:59 > 0:07:02'The Outstanding British Film nominee passed its toughest test
0:07:02 > 0:07:04'in July of last year
0:07:04 > 0:07:07'when the film screened at the German Grand Prix.
0:07:07 > 0:07:10'In the audience, Formula One drivers, team owners
0:07:10 > 0:07:14'and Formula One boss, Bernie Ecclestone. They lapped it up.'
0:07:14 > 0:07:17Hunt now has opportunity to win but it¹s not so easy
0:07:17 > 0:07:19to become a champion.
0:07:19 > 0:07:22You have to really believe it to make it possible.
0:07:22 > 0:07:24James, is there anything you¹d like to add?
0:07:24 > 0:07:27If Niki is being tricky and getting a kickie out of playing mind games,
0:07:27 > 0:07:30then fine. I¹m flattered.
0:07:30 > 0:07:33But the fact is momentum is with me. I¹ve never felt better.
0:07:33 > 0:07:36And I fully expect the next press conference we all have
0:07:36 > 0:07:38will be with me as world champion.
0:07:38 > 0:07:41Five races in, how is it going so far?
0:07:41 > 0:07:43It¹s fine.
0:07:43 > 0:07:46'Daniel Bruhl, nominated for Best Supporting Actor,
0:07:46 > 0:07:50'wore a prosthetic overbite to make him look more like Niki Lauda.
0:07:50 > 0:07:51'He described the role as a gift,
0:07:51 > 0:07:55'and spent a lot of time getting to know the real racing driver
0:07:55 > 0:07:57'before filming began.'
0:07:57 > 0:07:59But you complained, and your team of lawyers leaned
0:07:59 > 0:08:01on the authorities. Now we¹ve had to rebuild the car
0:08:01 > 0:08:02and it¹s become a monster.
0:08:02 > 0:08:04At least it¹s a legal monster.
0:08:04 > 0:08:07'The real Niki Lauda is thrilled with Bruhl¹s performance as him
0:08:07 > 0:08:10'and wishes James Hunt were alive to see the film.
0:08:10 > 0:08:13' "I know for sure he would have enjoyed it," he says.'
0:08:16 > 0:08:19Do you really think it upsets me, James, calling me a rat
0:08:19 > 0:08:22because I look like one?
0:08:22 > 0:08:23I don¹t mind it.
0:08:23 > 0:08:25Rats are ugly, sure, and nobody likes them
0:08:25 > 0:08:28but they¹re very intelligent and they have a strong survival instinct.
0:08:28 > 0:08:29Wonderful.
0:08:29 > 0:08:33'There¹s little doubt that Rush¹s spectacular racing sequences
0:08:33 > 0:08:35'helped land the film¹s sound and editing teams
0:08:35 > 0:08:37'with their nominations.
0:08:37 > 0:08:41'Ron Howard and his team went to Germany¹s infamous Nurburgring
0:08:41 > 0:08:45'and shot a real historical race meeting to get footage for the film.'
0:08:47 > 0:08:50Behind The Candelabra, directed by Stephen Soderbergh,
0:08:50 > 0:08:56celebrates an opulence of its own, the extravagant world of Liberace.
0:08:56 > 0:08:59'The film tells the tale of the tempestuous relationship
0:08:59 > 0:09:01'between the singer, played by Michael Douglas,
0:09:01 > 0:09:04'and his much younger lover, Scott Thorson,
0:09:04 > 0:09:06'brought to life by Matt Damon.'
0:09:06 > 0:09:07As what?
0:09:07 > 0:09:10Well, you could be my secretary.
0:09:10 > 0:09:12I don¹t type.
0:09:12 > 0:09:15Hell, Scott, I can pay people to type.
0:09:15 > 0:09:17I need a companion, a bodyguard,
0:09:17 > 0:09:19someone to keep people off my back,
0:09:19 > 0:09:23someone I can talk to, the way we talked tonight.
0:09:24 > 0:09:28You'd be my right-hand man, you can take care of the animals.
0:09:28 > 0:09:30Now, Jack, I want to talk to you
0:09:30 > 0:09:32about doing some surgery on Scott here.
0:09:32 > 0:09:33What?
0:09:33 > 0:09:37Fine. What would you like me to do with Scott?
0:09:37 > 0:09:39'The real life Scott Thorson wrote the book
0:09:39 > 0:09:41'on which Behind The Candelabra
0:09:41 > 0:09:44'is based but Best Supporting Actor nominee Matt Damon
0:09:44 > 0:09:47'chose not to meet the man he played during shooting.
0:09:47 > 0:09:50'He feared the passage of time would make the Thorson of today
0:09:50 > 0:09:53'a different person than the boy who first met Liberace.'
0:09:53 > 0:09:55He¹s going to need a nose job,
0:09:55 > 0:09:58and I¹m going to have to restructure his cheekbones
0:09:58 > 0:10:02and his chin with silicone implants, but it¹s not impossible.
0:10:02 > 0:10:05But first, we¹ve got to slim him down.
0:10:05 > 0:10:08'Hair and make-up nominees Kate Biscoe and Marie Larkin
0:10:08 > 0:10:10'had their work cut out for them too,
0:10:10 > 0:10:15'most memorably transforming Rob Lowe into Dr Jack Startz,
0:10:15 > 0:10:17'Liberace¹s plastic surgeon.
0:10:17 > 0:10:21'The actor says his face was literally pulled back with tape
0:10:21 > 0:10:23'to mimic the effect of a face-lift.'
0:10:23 > 0:10:27Back then, classical piano players always wore black tuxedos,
0:10:27 > 0:10:31plain old black tuxedos.
0:10:31 > 0:10:33'The glittering lifestyle Liberace enjoyed was a gift
0:10:33 > 0:10:36'for costume designer Ellen Mirojnick,
0:10:36 > 0:10:38'nominated for her work on the film.
0:10:38 > 0:10:40'She enlisted the help of the Liberace Foundation
0:10:40 > 0:10:42'and was able to get hands-on with the entertainer¹s
0:10:42 > 0:10:45'extensive archive of fabulous clothes.'
0:10:45 > 0:10:50And I look at the black piano, I think,
0:10:50 > 0:10:56"Hm, black piano, black tuxedo.
0:10:56 > 0:10:59"Who is going to see me in this giant clam shell?"
0:10:59 > 0:11:00LAUGHTER AND APPLAUSE
0:11:02 > 0:11:05Well, I ask you, can you see me now?
0:11:05 > 0:11:08CHEERING AND APPLAUSE
0:11:17 > 0:11:19With the excitement of the red carpet coming to a close,
0:11:19 > 0:11:22guests will start making their way to their seats
0:11:22 > 0:11:24through the magnificent corridors of the Royal Opera House.
0:11:24 > 0:11:28Among them will be the creative team behind Saving Mr Banks,
0:11:28 > 0:11:30which is nominated for five awards.
0:11:30 > 0:11:34The making of Disney's Mary Poppins was fraught with difficulties,
0:11:34 > 0:11:37most of them owing to the stern strictures of the novel's author,
0:11:37 > 0:11:41PL Travers, who resisted Walt Disney's pleas to adapt her book
0:11:41 > 0:11:44for more than 20 years.
0:11:44 > 0:11:45What's happening?
0:11:45 > 0:11:47What are you doing?
0:11:48 > 0:11:52'Saving Mr Banks picks up the story as Mrs Travers' financial situation
0:11:52 > 0:11:55'forces her to relent to Disney's proposals
0:11:55 > 0:12:00'and nominee Emma Thompson plays Travers as she travels to America
0:12:00 > 0:12:02'to meet with Disney, played by Tom Hanks.
0:12:02 > 0:12:04'Thompson benefited from
0:12:04 > 0:12:07'access to more than 39 hours' worth of audio tapes
0:12:07 > 0:12:10'that recorded the tense atmosphere at the story meetings
0:12:10 > 0:12:12'Travers took on the Disney lot.'
0:12:12 > 0:12:15"Responstible..." is not a word.
0:12:15 > 0:12:19'The author insisted that every decision she approved and denied
0:12:19 > 0:12:22'be properly recorded, so there could be no misunderstanding.
0:12:22 > 0:12:24'The film flashes back to Travers' young life
0:12:24 > 0:12:26'with her family in Australia
0:12:26 > 0:12:29'and offers an insight into the memorable characters she created
0:12:29 > 0:12:32'for the book, especially that of Mr Banks,
0:12:32 > 0:12:34'based loosely on her father.
0:12:34 > 0:12:37'Remarkably, it's Kelly Marcel's first screenplay
0:12:37 > 0:12:38'and she's recognised with
0:12:38 > 0:12:41'an Outstanding Debut nomination for her work.'
0:12:41 > 0:12:44WALT DISNEY: I swear every time a person walks into a movie house,
0:12:44 > 0:12:46they will rejoice.
0:12:46 > 0:12:48Here you are. At last.
0:12:48 > 0:12:51Oh, my dear gal, you can't imagine...
0:12:51 > 0:12:55'Nominated composer Thomas Newman teased moments of that famous
0:12:55 > 0:12:58'Mary Poppins soundtrack in his score for Saving Mr Banks,
0:12:58 > 0:13:02'but he was adamant that his music have its own identity.'
0:13:02 > 0:13:04Come here, come here. Tommy!
0:13:04 > 0:13:09Say hello to the one and only Pamela Travers.
0:13:09 > 0:13:10It's so nice to meet you.
0:13:12 > 0:13:15You know, I-I-I can't believe it. PL Travers, right here, in my office.
0:13:15 > 0:13:16SHE LAUGHS
0:13:16 > 0:13:18After all these years, almost 20 of them?
0:13:18 > 0:13:22- Hmm, yes. - 20 long years.
0:13:22 > 0:13:24Ah, I wish you could have seen me then, Pam.
0:13:24 > 0:13:27Lean as a whippet, I was, a racehorse.
0:13:27 > 0:13:31Well, anyway, now here you are and look at you!
0:13:31 > 0:13:33Hell, I could just eat you up.
0:13:33 > 0:13:35Well, that wouldn't be appropriate.
0:13:37 > 0:13:40One of those nominees, Tom Hanks, has had a busy year.
0:13:40 > 0:13:44As well as playing Walt Disney in Saving Mr Banks, he's picked up
0:13:44 > 0:13:49a Best Actor nod for his turn in Paul Greengrass's Captain Phillips.
0:13:49 > 0:13:51GUNFIRE
0:13:52 > 0:13:54Shots fired, shot fired! Take the hoses.
0:13:56 > 0:13:58MECHANICAL WHIRRING
0:14:02 > 0:14:04'The film is adapted by nominee Billy Ray
0:14:04 > 0:14:08'from the shocking account of freighter captain Richard Phillips.
0:14:08 > 0:14:11'It's the harrowing story of an attack by Somali pirates
0:14:11 > 0:14:14'that resulted in Phillips being taken hostage.'
0:14:14 > 0:14:15CREW MEMBER: Coming in close, cap.
0:14:17 > 0:14:18- Whoa. - Whoa!
0:14:20 > 0:14:27Four pirates on board. Four pirates, coming towards us down the main deck.
0:14:27 > 0:14:29'Best Director nominee, Paul Greengrass,
0:14:29 > 0:14:32'was adamant that he shoot the film at sea for added authenticity.
0:14:32 > 0:14:37'The logistical challenge of working this way created prodigious problems,
0:14:37 > 0:14:40'he says, but for nominated cinematographer Barry Ackroyd,
0:14:40 > 0:14:43'the atmosphere it added was essential.
0:14:44 > 0:14:47'And Greengrass worked closely with his editor, Christopher Rouse,
0:14:47 > 0:14:49'before he'd even shot a frame of film,
0:14:49 > 0:14:51'to ensure they shot just the right material
0:14:51 > 0:14:53'to edit the fast-moving action.'
0:14:53 > 0:14:55- Don't get in there. - Got to get 'em off the ship!
0:14:55 > 0:14:57Not like this!
0:14:57 > 0:14:58'All of the interior shots of the lifeboat
0:14:58 > 0:15:00'happened while it was out at sea
0:15:00 > 0:15:05'and the cramped conditions caused many of the crew to be seasick.'
0:15:05 > 0:15:08I've come too far. I can't give up.
0:15:09 > 0:15:10Don't move!
0:15:10 > 0:15:12HE SHOUTS
0:15:12 > 0:15:14No, no.
0:15:16 > 0:15:19'It was by chance that Best Supporting Actor nominee,
0:15:19 > 0:15:20'Barkhad Abdi,
0:15:20 > 0:15:24'saw an announcement for the open casting call for the role of Muse
0:15:24 > 0:15:25'and decided to go along.
0:15:25 > 0:15:28'Having won the part, he didn't meet Tom Hanks
0:15:28 > 0:15:31'until the moment they shot their first scene together.'
0:15:31 > 0:15:32- The computer's now offline. - Captain.
0:15:32 > 0:15:33The ship's broken.
0:15:33 > 0:15:38Captain, no-one gets hurt if you don't play no game.
0:15:39 > 0:15:42Ah, it's... The ship's broken. We had to go...
0:15:42 > 0:15:44Nobody gets hurt. Easy.
0:15:46 > 0:15:47Hey!
0:15:48 > 0:15:50- Look at me. - Sure.
0:15:50 > 0:15:51Look at me.
0:15:51 > 0:15:53- Sure. - I'm the captain now.
0:15:57 > 0:15:59Eight of the nine films we're exploring today
0:15:59 > 0:16:01are based on true stories,
0:16:01 > 0:16:05though American Hustle probably has the subtlest of connections.
0:16:05 > 0:16:07'The film, which is up for ten awards,
0:16:07 > 0:16:09'is very loosely based on the Abscam scandal -
0:16:09 > 0:16:13' a sting operation by the FBI that resulted in the conviction
0:16:13 > 0:16:15'of several members of the US Government.'
0:16:15 > 0:16:19I think...also, always take a favour over money.
0:16:19 > 0:16:21I think Jesus said that as well.
0:16:21 > 0:16:23But I don't know if he said the second one.
0:16:23 > 0:16:24He might have said the first one.
0:16:24 > 0:16:26I chipped that moving furniture.
0:16:26 > 0:16:29It's my new obsession - moving, redecorating...
0:16:29 > 0:16:31it makes me feel better, like exercise...
0:16:31 > 0:16:33- Oh, yeah. - ..but there's this...this top coat
0:16:33 > 0:16:35that you can only get from Switzerland
0:16:35 > 0:16:38and I don't know what I'm going to do because I'm running out of it,
0:16:38 > 0:16:39but I LOVE the smell of it.
0:16:39 > 0:16:42- Oh, I can get it for you. - That would be amazing.
0:16:42 > 0:16:44There's something... The top coat, it's, like, perfumey,
0:16:44 > 0:16:48but there's also something rotten and I know that sounds crazy,
0:16:48 > 0:16:51but I can't get enough of it. You can smell it, it's true.
0:16:51 > 0:16:53I don't like that you're in jail while he's going free.
0:16:53 > 0:16:55I don't like any of that. I want to help you.
0:16:55 > 0:16:59'David O Russell, it seems, is a BAFTA lucky charm for his cast
0:16:59 > 0:17:02'with four of the principal actors receiving nominations.
0:17:02 > 0:17:05'The director wrote the parts with his actors in mind,
0:17:05 > 0:17:09'but the real stars of the show are surely their hairdos.
0:17:09 > 0:17:12'Bradley Cooper insisted on giving his character a perm
0:17:12 > 0:17:14'and Christian Bale's comb-over was so convincing
0:17:14 > 0:17:18'that Robert De Niro didn't even recognise him.
0:17:18 > 0:17:21'Thanks to its rich setting, the film also earns nods for its production
0:17:21 > 0:17:23'and costume design.
0:17:23 > 0:17:24'Both teams worked hard
0:17:24 > 0:17:27'to nail period details of 1970s midtown Manhattan,
0:17:27 > 0:17:32'a world of Studio 54, Lucite furniture and fur coats.'
0:17:33 > 0:17:35Is that Duke Ellington on your bracelet?
0:17:35 > 0:17:37Yeah, as a matter of fact it is.
0:17:37 > 0:17:40- He died this year, you know. - I know.
0:17:40 > 0:17:43I doubt anyone else here knows or cares about it.
0:17:43 > 0:17:47Well, I care about it. He saved my life many times.
0:17:47 > 0:17:49'Costume designer Michael Wilkinson
0:17:49 > 0:17:52'used as much vintage clothing as possible
0:17:52 > 0:17:54'to get a sense of authenticity
0:17:54 > 0:17:57'and searched all over the United States for the right pieces,
0:17:57 > 0:18:00'even asking collectors to loan him their finest.'
0:18:00 > 0:18:04IRVING: I felt like we had a secret, just the two of us.
0:18:06 > 0:18:09This corridor leading to the Opera House stalls
0:18:09 > 0:18:11is one all of BAFTA night's nominees will enter.
0:18:11 > 0:18:14The stalls, of course, are the seats closest to the stage
0:18:14 > 0:18:17and all of our nominees will be hoping they'll be the ones
0:18:17 > 0:18:20to make that all-important walk to the front.
0:18:20 > 0:18:2412 Years A Slave is another film with ten chances to make that journey.
0:18:24 > 0:18:28Our final true story is about a free man, kidnapped from his home
0:18:28 > 0:18:31and sold into slavery for more than a decade.
0:18:33 > 0:18:35Where are you from, Platt?
0:18:37 > 0:18:40- I told you. - Tell me again.
0:18:41 > 0:18:43- Washington. - Who were your master?
0:18:43 > 0:18:46- Master name of Freeman. - Was he a learned man?
0:18:47 > 0:18:48I suppose so.
0:18:48 > 0:18:50He learn you to read?
0:18:51 > 0:18:56A word, here or there. But I've no understanding of the written text.
0:18:56 > 0:18:57Don't trouble yourself with it.
0:18:57 > 0:19:01'Director Steve McQueen had been planning to write a fictional story
0:19:01 > 0:19:04'following a similar narrative when his partner, Bianca Stigter,
0:19:04 > 0:19:09'found Solomon Northup's book about his real-life ordeal.
0:19:09 > 0:19:11'John Ridley wrote the script on spec,
0:19:11 > 0:19:14'with no guarantee that the film would be commissioned.
0:19:14 > 0:19:17'He says writing the script was eye-opening as he learned the truth
0:19:17 > 0:19:20'about one of the darkest chapters in American history.
0:19:20 > 0:19:22'Chiwetel Ejiofor, who plays Northup
0:19:22 > 0:19:25'and has been nominated for Best Leading Actor,
0:19:25 > 0:19:28'was initially uncertain he could do the part justice,
0:19:28 > 0:19:31'but as he settled into the production,
0:19:31 > 0:19:32'he realised the film, at its core,
0:19:32 > 0:19:35'was about the triumph of the human spirit,
0:19:35 > 0:19:37'something all of us can relate to.'
0:19:38 > 0:19:40Days ago I was with my family...
0:19:42 > 0:19:44..in my home.
0:19:46 > 0:19:47Now you tell me all is lost?
0:19:50 > 0:19:53Tell no-one who I am, that¹s the way to survive?
0:19:56 > 0:19:58Well, I don¹t want to survive.
0:20:00 > 0:20:01I want to live.
0:20:02 > 0:20:04'One of the film's greatest discoveries
0:20:04 > 0:20:06'is Supporting Actress nominee, Lupita Nyong'o.
0:20:06 > 0:20:08'She was offered the role of Patsey
0:20:08 > 0:20:10'weeks before graduating from drama school.
0:20:10 > 0:20:12'For McQueen, there was no other choice.
0:20:12 > 0:20:15' "She has this vulnerability to her", he says,
0:20:15 > 0:20:17' "but she's also a tremendous force." '
0:20:17 > 0:20:20I stink so much I make myself gag!
0:20:23 > 0:20:28500 pounds of cotton, day in, day out.
0:20:28 > 0:20:30More than any man here.
0:20:30 > 0:20:34And for that I will be clean, that's all I ask.
0:20:36 > 0:20:39Which brings us to our final film.
0:20:39 > 0:20:43Gravity is edging ahead of the pack with a total of 11 nominations.
0:20:43 > 0:20:47Directed by Alfonso Cuaron, best known for Y Tu Mama Tambien
0:20:47 > 0:20:50and Harry Potter And The Prisoner Of Azkaban,
0:20:50 > 0:20:53it's a space thriller like no other.
0:20:53 > 0:20:54STONE: Explorer, do you copy?
0:20:54 > 0:20:56KOWALSKI: Explorer, permission to retrieve Dr Stone?
0:20:56 > 0:21:00EXPLORER: You're a go, Kowalski. Houston, this is Explorer, copy.
0:21:00 > 0:21:01KOWALSKI: All right.
0:21:01 > 0:21:04EXPLORER: We¹ve lost Houston. We¹ve lost Houston.
0:21:04 > 0:21:06KOWALSKI: Look, we need to get the hell out of here.
0:21:06 > 0:21:08- STONE: Right. - SHARIFF: Need some help, Matt?
0:21:08 > 0:21:10- KOWALSKI: No, don¹t wait for us. - STONE: It's stuck!
0:21:10 > 0:21:11KOWALSKI: Man down, man down!
0:21:11 > 0:21:13EXPLORER: Houston, this is Explorer, copy.
0:21:13 > 0:21:16Houston, this is Explorer, copy.
0:21:16 > 0:21:19- Kowalski, report... - STONE: Aah, ah...
0:21:19 > 0:21:21KOWALSKI: Explorer's been hit. Explorer, do you read?
0:21:21 > 0:21:22STONE: Aah!
0:21:22 > 0:21:26'The film follows astronauts Ryan Stone and Matt Kowalski,
0:21:26 > 0:21:28'played by Sandra Bullock and George Clooney,
0:21:28 > 0:21:30'as a debris field destroys their shuttle
0:21:30 > 0:21:33'and leaves them stranded in space.
0:21:33 > 0:21:35'Alfonso Cuaron had to wait four years
0:21:35 > 0:21:38'for film-making technology to catch up
0:21:38 > 0:21:40'with the ambition of his orbital thriller.
0:21:40 > 0:21:43'He re-teamed with Harry Potter producer David Heyman
0:21:43 > 0:21:45'to bring the story to the big screen,
0:21:45 > 0:21:47'with filming taking place at Shepperton Studios.'
0:21:47 > 0:21:48STONE: Aah!
0:21:48 > 0:21:51KOWALSKI: Houston, I¹ve lost visual of Dr Stone.
0:21:51 > 0:21:53STONE WHIMPERS
0:21:53 > 0:21:56'Cuaron worked closely with cinematographer Emmanuel Lubezki
0:21:56 > 0:21:59'and visual effects supervisor Tim Webber
0:21:59 > 0:22:02'to work out the logistics of shooting the film.
0:22:02 > 0:22:04'They developed entirely new film-making techniques
0:22:04 > 0:22:08'to shoot actors so they appeared to be weightless whilst at the same time
0:22:08 > 0:22:12'delivering Cuaron's trademark kinetic shooting style.'
0:22:12 > 0:22:13STONE: What do I do?
0:22:13 > 0:22:15SHE PANTS
0:22:15 > 0:22:17What do I do?!
0:22:17 > 0:22:20'With so much of Gravity's visual impact created
0:22:20 > 0:22:22'after the fact in visual effects
0:22:22 > 0:22:25'and with director Alfonso Cuaron favouring long takes,
0:22:25 > 0:22:27'Leading Actress nominee Sandra Bullock
0:22:27 > 0:22:30'spent months prior to shooting preparing for a role
0:22:30 > 0:22:34'that she described as a well-rehearsed dance routine.
0:22:34 > 0:22:36'And while Gravity is the only
0:22:36 > 0:22:38'totally fictional film we're looking at,
0:22:38 > 0:22:42'its screenplay's attention to detail is so precise,
0:22:42 > 0:22:45'the premise is based in absolute scientific fact.
0:22:45 > 0:22:48'The orbital debris cascade scenario shown in the film
0:22:48 > 0:22:51'is known as the Kessler syndrome,
0:22:51 > 0:22:54'named after the NASA scientist who first proposed the theory.'
0:22:56 > 0:22:58KOWALSKI: Gimme five.
0:22:58 > 0:23:02STONE: I've got you. I've got you. I've got you...
0:23:05 > 0:23:09Preparations are already well under way for this year's ceremony
0:23:09 > 0:23:12and so the most exciting view in the house - of the stunning auditorium -
0:23:12 > 0:23:14will have to be saved for the night itself.
0:23:14 > 0:23:17By this point in the evening, the excitement will have reached
0:23:17 > 0:23:21a crescendo and it's all in anticipation of who will go home
0:23:21 > 0:23:26with this, British cinema's most coveted prize, the BAFTA mask.
0:23:26 > 0:23:29Be sure to join me on the night, Sunday 16th February,
0:23:29 > 0:23:31at the EE British Academy Film Awards,
0:23:31 > 0:23:34where I'll be chatting to the stars on the red carpet
0:23:34 > 0:23:37and getting reactions from the winners as they step off stage.
0:23:37 > 0:23:40For now though, I'm going to enjoy my moment.
0:23:41 > 0:23:44CHEERING AND APPLAUSE
0:23:58 > 0:24:00So, let's get right to it. The nominees are...
0:24:00 > 0:24:02And the BAFTA...
0:24:02 > 0:24:03..Goes to...
0:24:03 > 0:24:05LAUGHTER
0:24:10 > 0:24:11Well, a big thanks.
0:24:11 > 0:24:13Wow!
0:24:13 > 0:24:14Thank you very much.
0:24:14 > 0:24:15You guys are a really terrific organisation.
0:24:15 > 0:24:16I'm so honoured.
0:24:16 > 0:24:19This is incredibly flattering.
0:24:19 > 0:24:21Thank you, ladies and gentlemen. Thank you, BAFTA.