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This programme contains flash photography. | :00:00. | :00:15. | |
Hello and welcome to the British Academy Film Awards red carpet show. | :00:16. | :00:26. | |
I am Edith Bowman outside the world-famous London Royal Opera | :00:27. | :00:30. | |
House in Covent Garden. In just a few minutes, some of the world's | :00:31. | :00:34. | |
biggest, most talented, most celebrated film stars will be | :00:35. | :00:39. | |
walking this gorgeous red carpet. I am talking Leonardo DiCaprio. I am | :00:40. | :00:44. | |
talking Christian Bale, Angelina Jolie, even Oprah Winfrey. What am I | :00:45. | :00:49. | |
trying to say? It is time for the BAFTAs. | :00:50. | :01:30. | |
Welcome to the BAFTAs. I am going to be talking to as many of those | :01:31. | :01:36. | |
famous faces as is physically possible. We will also be looking at | :01:37. | :01:39. | |
a wardship etiquette with some famous friends. It has been another | :01:40. | :01:45. | |
exceptional year for brilliant films and extraordinary performances. | :01:46. | :01:49. | |
Leonardo DiCaprio turned into The Wolf Of Wall Street and Cate | :01:50. | :01:54. | |
Blanchett got sad in Blue Jasmine. We have also seen the effects of | :01:55. | :01:59. | |
Gravity. But what has been the best moment in film over the last 12 | :02:00. | :02:05. | |
months? Jennifer Lawrence in American Hustle. Matthew | :02:06. | :02:09. | |
McConaughey. Tom Hanks in Captain Phillips right at the end with the | :02:10. | :02:14. | |
nurse. Just the most phenomenal performance. The end of Despicable | :02:15. | :02:19. | |
Me when the minions started singing. 12 Years A Slave from five | :02:20. | :02:25. | |
minutes into the end. The Wolf Of Wall Street when he tries to get | :02:26. | :02:31. | |
into the car. Leonardo DiCaprio has this terrifying episode. That guy | :02:32. | :02:37. | |
was just crying with laughter. It is that classic moment when the brain | :02:38. | :02:41. | |
is switched on but your motor skills let you down spectacularly. 12 Years | :02:42. | :02:48. | |
A Slave. They are about to hang him on the tree and someone comes and | :02:49. | :02:54. | |
stops the guy is going to do it. They left him there. They held on | :02:55. | :02:59. | |
that shop for a very long time. Very poignant for me. When did he die? | :03:00. | :03:07. | |
The wife shows her vagina to the gravestone. See what you could have | :03:08. | :03:13. | |
had if you did not talk about wheat all the time. Ridiculous! My | :03:14. | :03:22. | |
favourite moment was... Socially acceptable insanity. When he opens | :03:23. | :03:31. | |
up the condom wrapper. One of the funniest things I have ever seen. It | :03:32. | :03:37. | |
is just the names of the condom is that I find funny. Who would have | :03:38. | :03:48. | |
guessed? Ridiculous. Pacific Rim! I just love seeing him get punched in | :03:49. | :03:50. | |
the face by a robot. I like that a lot. I like that a | :03:51. | :04:06. | |
lot. And also I liked 12 Years A Slave. We have to say | :04:07. | :04:10. | |
congratulations first of all. The nominations, the performance, the | :04:11. | :04:15. | |
film. It is one of the film moments of the year. You must be very proud. | :04:16. | :04:21. | |
Absolutely. I am very proud of the film. Steve McQueen has created | :04:22. | :04:25. | |
something very special. I am really proud to have been part of it. Have | :04:26. | :04:30. | |
you got a favourite film moment of the year as a film fan? Another | :04:31. | :04:35. | |
performance of film that had stayed with you? There are so many. So many | :04:36. | :04:43. | |
extraordinary moments. In all of the films there are things you take away | :04:44. | :04:47. | |
from them. They work so beautifully. Tom Hanks in the last seen in | :04:48. | :04:51. | |
Captain Phillips, that was really something completely remarkable. Do | :04:52. | :04:56. | |
you ever get used to the red carpet madness? I think if you ever got | :04:57. | :05:01. | |
used to it you would be in an asylum. It is great. A real festival | :05:02. | :05:06. | |
atmosphere. I think it is just a real celebration. What a year. | :05:07. | :05:13. | |
Really good. Great to chat to you and I wish you all the best. How are | :05:14. | :05:21. | |
you? Good. What does David O Russell do to pull out outstanding | :05:22. | :05:26. | |
performances from his family, as he refers to them? Who works from an | :05:27. | :05:31. | |
internal place. It is very internal to him. He demands a lot. He trusts | :05:32. | :05:34. | |
his actors and gives them the freedom to go for it. He is a | :05:35. | :05:40. | |
special guy, a magical person and one of the best film-makers out | :05:41. | :05:43. | |
there. You know when you are going to work for him that you really want | :05:44. | :05:48. | |
to give it your all. Great to chat to you. Have you thought about your | :05:49. | :05:53. | |
acceptance speech? No! I am happy to be here. Thank you so much. When I | :05:54. | :06:03. | |
do talk to Leonardo DiCaprio later on, I intend to pluck a hair from | :06:04. | :06:07. | |
his head, the idea being that I can replicate him in years to come. Just | :06:08. | :06:13. | |
think about it. Leonardo Park. Thousands of him running free. But | :06:14. | :06:19. | |
is pulling clumps of hair out of your favourite movie star really | :06:20. | :06:24. | |
acceptable behaviour? What is the correct etiquette on one's red | :06:25. | :06:25. | |
carpet? What would I do if I arrived on the | :06:26. | :06:36. | |
red carpet and there was another actress wearing the same frock? I | :06:37. | :06:41. | |
would try and spent most of the evening standing next to them. | :06:42. | :06:45. | |
Especially if they were more famous than me. That would be good. If they | :06:46. | :06:51. | |
see someone wearing the same outfit, don't panic. Throw eggs at | :06:52. | :06:58. | |
them. Engage with them, have a little joke, just complimented them. | :06:59. | :07:05. | |
It is a nightmare. Inevitably it will be all over the press about who | :07:06. | :07:11. | |
wore it best and if you are not taller and slimmer, you are screwed. | :07:12. | :07:16. | |
You make a quick decision whether to pull rank and tell them you are more | :07:17. | :07:22. | |
famous and they should go home, through your people, or you just go | :07:23. | :07:27. | |
home. I think it is perfectly reasonable to take the selfie. Tom | :07:28. | :07:33. | |
Cruise always allowed the public to get involved with that. Of course | :07:34. | :07:39. | |
the selfie is appropriate on the red carpet. David Cameron and Barack | :07:40. | :07:44. | |
Obama took one at Nelson Mandela's funeral. I think they are now | :07:45. | :07:50. | |
appropriate because he took that picture at his funeral. Seize the | :07:51. | :07:56. | |
moment. If I see Oprah Winfrey on the red carpet, I don't know how | :07:57. | :07:59. | |
much security she had got, I will fight them. I need to get that | :08:00. | :08:05. | |
selfie. Is my hero is my mum and she is not really aren't any red carpet. | :08:06. | :08:14. | |
What do you do if you forget someone's name on the red carpet? | :08:15. | :08:22. | |
Darling! How are you! Amy Adams, a pleasure to have you here. | :08:23. | :08:28. | |
Congratulations. Thank you. I am personally chuffed because my name | :08:29. | :08:32. | |
is Edith, like your character. Lady Edith. At least I made her a lady | :08:33. | :08:37. | |
when I lied about it. Somebody needs to give me that lady. You always | :08:38. | :08:42. | |
seem so poised and confident on the red carpet. Is that... And act! Is | :08:43. | :08:52. | |
it terrifying? Very terrifying. I focus on the positive and being | :08:53. | :08:56. | |
grateful and all that good stuff. It is very fun, too. These girls are | :08:57. | :09:03. | |
saying, Leo, marry me. And it is recognition for you in terms of | :09:04. | :09:08. | |
these amazing films. Back again with Mr Russell, who pulls out great | :09:09. | :09:12. | |
performances. He gives you a chance to go somewhere. He really does. He | :09:13. | :09:17. | |
is amazing. He creates these characters that are so different for | :09:18. | :09:21. | |
each actor that gets to play them, something different. We get to | :09:22. | :09:27. | |
explore something. I am so grateful to him for that. What is it like | :09:28. | :09:32. | |
working with Christian for a second time? I love it. I would work with | :09:33. | :09:37. | |
him every time. He brings something different to every character though | :09:38. | :09:40. | |
it does not feel like you are working with him again. An | :09:41. | :09:43. | |
outstanding performance. Thank you for talking to us. Thank you. Steve | :09:44. | :09:52. | |
Coogan, how are you? Do you like red carpets? Not in my living room. I | :09:53. | :09:58. | |
like walking along them at the premiere. Is there an etiquette, | :09:59. | :10:02. | |
things you should and should not do? Wipe your feet before you walk | :10:03. | :10:06. | |
on it. You don't want to mess it up for the list is behind me. -- A | :10:07. | :10:19. | |
listers. Congratulations. You have captured people's hearts. Thank you. | :10:20. | :10:24. | |
I made it before the Alan Partridge film and I worked very hard. There | :10:25. | :10:28. | |
was a lot of fuss about the Alan Partridge film but we had high hopes | :10:29. | :10:34. | |
for Philomena. Internationally it has exploded and it is doing great | :10:35. | :10:37. | |
at the box office and in America and in the rest of the world. It has | :10:38. | :10:42. | |
gone beyond whatever we hoped it would do. Does it feel different for | :10:43. | :10:48. | |
you being nominated in a writing capacity rather than acting? Yes, it | :10:49. | :10:54. | |
is nice. It is the first time I have tried writing a drama so it is very | :10:55. | :10:59. | |
unusual. It is great. It feels like vindication. It is not something I | :11:00. | :11:03. | |
was expecting. It is great and I will do more writing of people offer | :11:04. | :11:10. | |
me BAFTAs. Good luck tonight. I really hope to see you up there. | :11:11. | :11:15. | |
Have you thought about a speech? Things to say? No. It will come | :11:16. | :11:19. | |
naturally and I will see what happens. They put learning something | :11:20. | :11:23. | |
because you might lose. What is the point of learning a speech? Speech | :11:24. | :11:29. | |
etiquette right there. Be spontaneous. We wish you all the | :11:30. | :11:32. | |
best. Thank you. It is not just about chatting to | :11:33. | :11:42. | |
famous people. It is also about looking at famous people from a | :11:43. | :11:46. | |
distance and seeing what shiny, pretty clothing they are wearing. | :11:47. | :11:50. | |
Yes, it is time to take a look at what everybody has been wearing this | :11:51. | :11:51. | |
evening. I am a little bit nervous about this | :11:52. | :12:44. | |
one. It is Oprah Winfrey and David. How are you? Really good. You look | :12:45. | :12:50. | |
fab. Stella McCartney came to seem yesterday for the first fitting | :12:51. | :12:55. | |
because I just arrived. Stella McCartney! Then they wanted me to | :12:56. | :13:00. | |
change something, the sleeves. Her guys just sent it to me ten minutes | :13:01. | :13:04. | |
before I got in the car. Stitching the thing. I was like, OK, I have to | :13:05. | :13:10. | |
go. If it is not stitched now, I have to go. I am stitched in. The | :13:11. | :13:16. | |
red carpet is tricky. You look great but it is much easier for guys. | :13:17. | :13:21. | |
Much. As I walked out, the guy said to me, good luck. Oh, yeah, it is an | :13:22. | :13:29. | |
award! BAFTAs! You spend so much time worrying about shoes. I have | :13:30. | :13:34. | |
never been stitched into anything in my life. Tonight could be your lucky | :13:35. | :13:38. | |
night! What does it mean to you to be recognised by BAFTA for this | :13:39. | :13:43. | |
role? It is extraordinary. As you know, this is the first time in, I | :13:44. | :13:49. | |
don't know, 15 years... I do know, 15 years. 15 years since I picked up | :13:50. | :14:03. | |
the acting instrument. To be recognised by anybody is a good | :14:04. | :14:06. | |
thing because I was trying not to embarrass myself. And then I heard | :14:07. | :14:08. | |
it was BAFTA. The British Academy Film Awards. I was like... It is | :14:09. | :14:11. | |
deep. You make it so hard for everybody else. She has done three | :14:12. | :14:14. | |
movies. Three! BAFTA nominated for the other one. I mean, really! Are | :14:15. | :14:20. | |
you saying she is showing off? Shias is an overachiever. -- she is an | :14:21. | :14:30. | |
overachiever. It is my first time. I had not worked in 15 years so nobody | :14:31. | :14:34. | |
could invite me because I had not done anything. What do you think of | :14:35. | :14:39. | |
the BAFTA ceremony? Extraordinary. The screaming and stuff, I thought | :14:40. | :14:42. | |
you were much more reserved than this. I am surprised. That is | :14:43. | :14:47. | |
because she hangs with me. That is the reserved thing. You guys have | :14:48. | :14:52. | |
let me down. It is great to have you here. Good luck and enjoy. I am just | :14:53. | :15:05. | |
going to have fun. This is just fun. I came here to have a good time. I | :15:06. | :15:08. | |
hope you do. I will. I already am. Thank you. It's just Brad Pitt and | :15:09. | :15:17. | |
Angelina Jolie. Acceptance speeches can be remembered for a very, very | :15:18. | :15:20. | |
long time. Not always for the right reasons. I'm naming no names. Here | :15:21. | :15:28. | |
are some famous faces to give us the dos and doents of acceptance awards' | :15:29. | :15:33. | |
speeches. Stand up straight and don't fall over. With an audience, | :15:34. | :15:37. | |
it is like an assault course. You find it difficult to maintain the | :15:38. | :15:41. | |
poise and posture. Ideally don't fall over on the way up and down. As | :15:42. | :15:47. | |
someone with a prosthetic leg, I think about that more than most. | :15:48. | :15:54. | |
That couldn't be worse. I want to be taken to heaven and hell and back to | :15:55. | :16:01. | |
heaven in an acceptance speech. Guy rile. | :16:02. | :16:12. | |
-- guy rile. -- Gabrielle. I like an emotional | :16:13. | :16:18. | |
one. I don't understand a complete breakdown. I always like England. I | :16:19. | :16:24. | |
can get very drunk and be very repressed. I think you have to | :16:25. | :16:31. | |
swear. He gave me a second chance after I (BEEP) my career for 15 | :16:32. | :16:36. | |
years. Swearing is never really appropriate. What words? (BEEP). A | :16:37. | :16:42. | |
lot of Americans love thanking God. That doesn't really wash in England. | :16:43. | :16:49. | |
Thank God instantly. Insult the people you beat. Tell them why you | :16:50. | :16:53. | |
should have beat them. Don't do graciousness. Children, if you are | :16:54. | :16:57. | |
watching, it is not about the winning. Also reciting a sheet list. | :16:58. | :17:03. | |
It is very tempting. I think it is probably not going to go over that | :17:04. | :17:07. | |
well. I want to thank a couple of enemies that make this victory | :17:08. | :17:11. | |
better. Make sure you thank everybody. Once you get home, if you | :17:12. | :17:15. | |
haven't thanked someone in particular, they will let you know | :17:16. | :17:20. | |
about it. I thank my mum. Did I think Peter Rice? I don't want to | :17:21. | :17:25. | |
forget anybody. My memory is not that great. I can understand why | :17:26. | :17:29. | |
people are shocked and you don't think you are going to win. But if | :17:30. | :17:32. | |
you are one of four people, it is possible. Maybe have a little bit of | :17:33. | :17:37. | |
a plan. I can't wait it hear what I've got to say. Welcome to BAFTA, | :17:38. | :17:41. | |
Sir. Thank you very much. I'm wondering whether there might be a | :17:42. | :17:44. | |
little bit of folded up paper somewhere in those pockets with a | :17:45. | :17:49. | |
few names. No paper. All in here? I never expect to win anything but, to | :17:50. | :17:53. | |
be honest, just to have this film be recognised the way it has been, a | :17:54. | :17:58. | |
film that was really hard to get off the ground, a film that I don't | :17:59. | :18:03. | |
think is traditionally made by studios, it is an honour in its own | :18:04. | :18:08. | |
right. And to be here with, you know, with the rest of the people | :18:09. | :18:11. | |
involved in making the movie, it is a big deal. You were involved in the | :18:12. | :18:14. | |
film right from the off. This was something you wanted to be made for | :18:15. | :18:18. | |
a long time. Why was this story so important for you to tell? Well in a | :18:19. | :18:24. | |
non-die dabbing particular way, I think it explores, although as | :18:25. | :18:29. | |
ridiculous as it may seem on screen, it explores the corruption of wealth | :18:30. | :18:33. | |
and power in our very culture. And after 2008, this was a movie that I | :18:34. | :18:39. | |
was sort of dying to put up on screen. I wanted this part of our | :18:40. | :18:43. | |
society to be exposed in a lot of ways. So, I mean, this movie was | :18:44. | :18:48. | |
very meaningful for me. I knew that Martin Scorsese was really the only | :18:49. | :18:51. | |
director that could Paul it off in the right way. As actors, you want | :18:52. | :18:55. | |
things to challenge you and push you in places that you have never been | :18:56. | :19:00. | |
before. Is this what this offered you? And that's traditionally been | :19:01. | :19:05. | |
why I have tried to - not create my own material but develop my own | :19:06. | :19:10. | |
material. A lot of this stuff I have gotten offered through the years has | :19:11. | :19:14. | |
been more traditional, so to speak. So I have tried to find films that | :19:15. | :19:19. | |
have taken some sort of risk. There has only been two movies that I have | :19:20. | :19:26. | |
pushed so hard for. One was the Aviator, and the second was this. | :19:27. | :19:30. | |
I'm doing whatever I can to promote the hell out of it. I want to make | :19:31. | :19:42. | |
more. This feels like you are going to be going behind the camera. Is | :19:43. | :19:47. | |
that where this is heading? Well, what I have learned by working with | :19:48. | :19:51. | |
Mr Scorsese, could fill a library. I'm there to do my job and focus on | :19:52. | :19:56. | |
my craft. Until I find something like I feel like I could be the only | :19:57. | :20:00. | |
film-making for, I won't step behind the camera. I know there's so much | :20:01. | :20:05. | |
involved with being a director. You really are responsible for | :20:06. | :20:08. | |
everything. Well, don't change what you do yet. We love watching you. | :20:09. | :20:12. | |
Congratulations on this film. Thank you. | :20:13. | :20:20. | |
This year, a lot of films have been made about real people. Nelson | :20:21. | :20:26. | |
Mandela la. Fill meania. Walt Disney. Of course, Alan Partridge. | :20:27. | :20:31. | |
Who would play you in a film of your life? I'm thinking Scarlet Johan is | :20:32. | :20:41. | |
en. Is in. Cameron Diaz. Anyway, here is some people with an idea of | :20:42. | :20:46. | |
who would play them in a film of their life. Some deluded. Someone | :20:47. | :20:53. | |
really fit Well obviously, Jennifer Lawrence would be amazing. Angelina | :20:54. | :21:03. | |
Jolie. Good old Ange. Maybe Jared Letto. Eminem. A young Sean Penn. It | :21:04. | :21:12. | |
would need to be someone who looks like me, George Clooney, Brad Pitt. | :21:13. | :21:17. | |
Perhaps Jonnie Depp. He is maybe a bit small but could do it. | :21:18. | :21:33. | |
Luke Tredaway. I would have McAuley Kaulkin. Weirder and uglier as I get | :21:34. | :21:45. | |
older. So does he? ? I love her and John Goodman. Either or. Probably | :21:46. | :21:50. | |
end up being a very tall man. I need to pick someone with big ears. | :21:51. | :21:59. | |
Martin Cloones would be ideal. Playing me would be incredibly | :22:00. | :22:04. | |
exciting. In a one hour 30 minutes movie of just sitting on your Xbox. | :22:05. | :22:10. | |
I would pick Matt Damon I will take Jennifer Aniston. You have to have | :22:11. | :22:14. | |
someone o to make the Mickey out of themselves a bit. | :22:15. | :22:19. | |
I don't know any actors' names. I have to go to someone else for | :22:20. | :22:26. | |
casting. Samuel L Jackson. Donald Trump I think would have | :22:27. | :22:31. | |
quite a good likeness. Tom and Rita Hanks, how are you? Very W thank | :22:32. | :22:36. | |
you. You look all nice and reddy-cheeked. You have a little | :22:37. | :22:41. | |
bluster. The Scot in me. That's good. Congratulations on the | :22:42. | :22:46. | |
recognition this year, for two films that are represented here. Thank | :22:47. | :22:50. | |
you. They were both extraordinary experiences. Wonderful working with | :22:51. | :22:57. | |
Emma and playing the nature of the great Walt Disney. Boy, I would | :22:58. | :23:02. | |
never cast myself as Walt Disney. And to work with Paul Greengrass and | :23:03. | :23:09. | |
everybody on the great adventure, Captain Phillips. What was it about | :23:10. | :23:13. | |
Captain Phillips that you wanted to be involved? There is a lot to play, | :23:14. | :23:18. | |
the human nature, but that it was as recent as it was, I mean it happened | :23:19. | :23:22. | |
in 2008. We were as authentic to the actual feelings and events as we | :23:23. | :23:25. | |
were. When you can do that and have it not be - not have editorial | :23:26. | :23:31. | |
combat, you are just dealing with the human reactions, to everybody | :23:32. | :23:35. | |
involved in the story, both sides of the opportunity coin, you are | :23:36. | :23:39. | |
treading some - it is pretty bold territory to aim for but with Mr | :23:40. | :23:44. | |
Greengrass we were in good hands. I imagine you wanted to stay as far | :23:45. | :23:49. | |
away from water after, that as well? I don't mind water. I want it stay | :23:50. | :23:54. | |
away from big, steel-hulled vessels. Hard on the knees. The water is not | :23:55. | :23:58. | |
so bad. It is the steel. All those hard stairs to go up and down. My | :23:59. | :24:04. | |
knees and hips needed a bit of a vacation. Rinchts ta. I have | :24:05. | :24:08. | |
question for you. Tom played two real-life characters in Walt Disney | :24:09. | :24:12. | |
and Captain Phillips. Someone has to start making a story of this man's | :24:13. | :24:17. | |
incredible life. Who do you reckon to play TomIng hattings really -- | :24:18. | :24:26. | |
Tom Hanks really well. One of our children. Each child could play him | :24:27. | :24:29. | |
at a different point. I thought you were going to ask something | :24:30. | :24:32. | |
different, about his facial hair. He has had a lot. Are you a fan or not? | :24:33. | :24:39. | |
I plead the fifth. A sad state of affairs, my facial hair. Sad, sad. I | :24:40. | :24:43. | |
like theed why of the family playing you at different parts of yourself. | :24:44. | :24:47. | |
They would never be able to take it seriously. They would play me like | :24:48. | :24:53. | |
an idiot, a clueless jerk, which is how they view me but that's only | :24:54. | :24:58. | |
fair. We love you and are happy you are here. Congratulations. Thank | :24:59. | :25:05. | |
you. Thank you. Five excellent films have been | :25:06. | :25:10. | |
nominated in the Best film category at tonight's British Academy Film | :25:11. | :25:16. | |
Awards. Let's familiarise ourselves with those, so we know who to cheer | :25:17. | :25:19. | |
for later on Man down, man down. You fit the description given. Why | :25:20. | :25:35. | |
didn't you answer when someone called. My name is not Platt... My | :25:36. | :25:44. | |
name is... Your name is Platt. You are going to do this because you | :25:45. | :25:48. | |
have no choice, you work for me. You keep changing the rules. You are | :25:49. | :25:50. | |
getting a little power drunk. We have to get him off the ship. Not | :25:51. | :26:03. | |
like this. You can't do this. God damn it. | :26:04. | :26:09. | |
Mike and Pete were... It's all right mayory. I know Anthony was a gay | :26:10. | :26:14. | |
homosexual. We met Marcia, who I believe was his beard, is that | :26:15. | :26:19. | |
right? Yes, that's about right. You may have heard a few people talking | :26:20. | :26:23. | |
about this man's exceptional film, twelve twelve twelve. Good luck | :26:24. | :26:27. | |
tonight. You must be -- 12 Years A Slave. You must be feeling | :26:28. | :26:30. | |
incredibly proud but excited about the reception and number nations? It | :26:31. | :26:34. | |
is great to be home and to have this response to the film. It has been a | :26:35. | :26:40. | |
phenomenon, it is one of the things you dream about. It has been an | :26:41. | :26:45. | |
exceptional year, in terms of the films nominated. It is striking. It | :26:46. | :26:49. | |
is one of the moments in fi. Last time I can think of one of those | :26:50. | :26:53. | |
years was 1999 when there was a string of films. Every time you went | :26:54. | :26:58. | |
to the movies you are coming out - oh my goodness. It is great to be | :26:59. | :27:02. | |
included in that group. How do you go about getting this in incredible | :27:03. | :27:07. | |
cast together. Is it a no-brainer because your films are exceptional | :27:08. | :27:10. | |
and high will have-regarded, when you ask someone to take on a role, | :27:11. | :27:15. | |
it is a yes straight away. It has to be organic. It is not a question of | :27:16. | :27:19. | |
picking film from photographs. And who they are. And we auditioned 1 | :27:20. | :27:27. | |
thousand girls for a role. : The similar thing with Michael | :27:28. | :27:33. | |
Fassbender with Hunger. And when Benedict auditioned, I didn't know | :27:34. | :27:38. | |
Sherlock, I had never seen it. Through his audition he shined. It | :27:39. | :27:43. | |
has to happen organically he for me, otherwise you are picking people | :27:44. | :27:48. | |
from a page. When you see to see and get to know the person, you know how | :27:49. | :27:54. | |
well they can do. Sayeria, famous alongside Michael Fassbender -- | :27:55. | :27:58. | |
Sarah. She was a find, a genius. As film fans, has there been a | :27:59. | :28:02. | |
performance that has stood out of you this year? I can at thatting | :28:03. | :28:06. | |
yourself from being in the industry, as film fans, whether it is a | :28:07. | :28:09. | |
performance or a film, what has stood out? So many. I would say my | :28:10. | :28:14. | |
film, Chiwetel Ejiofor, Leonardo Dicaprio. You know, Cate Blanchett. | :28:15. | :28:26. | |
And Blue Jasmine, the Woody Allen movie. Bradley Cooper. So many. | :28:27. | :28:30. | |
Listen, I can't wish you more luck tonight. I really think it is going | :28:31. | :28:34. | |
to be another Steve McQueen night tonight. Fingers crossed. I hope so. | :28:35. | :28:38. | |
Lots of luck. Good luck. Goodbye. What a fantastic night. So many | :28:39. | :28:52. | |
utterly charming and chatty stars here on the red carpet. As I speak, | :28:53. | :28:57. | |
they are walking up this red carpet, out of our BBC3 show and into the | :28:58. | :29:04. | |
main show on BBC One for the etch E British Academy Film Awards. -- the | :29:05. | :29:09. | |
EE British Academy Filmp Awards. Thank you for watching. I've been | :29:10. | :29:17. | |
Eid it Bowman. -- Edith Bowman. | :29:18. | :29:23. |