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This programme contains scenes of repetitive flashing images. | :00:35. | :00:39. | |
I am a huge fan of British cinema. The excitement, the glamour. The | :00:40. | :00:47. | |
anticipation. It is my first time, so I am excited. It is fantastic. It | :00:48. | :00:53. | |
is a great night. It is a real honour to be here. It is especially | :00:54. | :00:58. | |
nice to come back and present after winning last year. It is a really | :00:59. | :01:05. | |
nice thing to do. I live in London. I was in south-west London just this | :01:06. | :01:07. | |
morning buying some bread. Now I have just put on a tuxedo and it is | :01:08. | :01:15. | |
a different world! It feels great to behind in London, and at the Baftas, | :01:16. | :01:19. | |
which is the pinnacle part of this awards season. I'm just turn a try | :01:20. | :01:28. | |
and relax and enjoy it and hopefully someone will give me a glass of | :01:29. | :01:32. | |
champagne so I will feel a bit more relaxed. But it is just amazing to | :01:33. | :01:39. | |
be here. It feels wonderful. I always get excited about this | :01:40. | :01:42. | |
particular street, and the Royal Opera House. It is very British. It | :01:43. | :01:47. | |
is wonderful to be here. It is amazing to be here at the Baftas. A | :01:48. | :01:52. | |
little bit cold, but really good. I was invited before but was unable to | :01:53. | :01:56. | |
come. To actually be here in this surreal. But who will be taking home | :01:57. | :02:02. | |
a love it Bafta mask? We are about to find out. It is time for the EE | :02:03. | :02:06. | |
British Academy Film Awards. Let the Baftas begin. Please welcome our | :02:07. | :02:16. | |
host for this evening, Stephen Fry. Well, good evening and welcome | :02:17. | :02:29. | |
to the EE British Academy Film Look at you, how shiny and lovely | :02:30. | :02:37. | |
you are, how gorgeous with glamour, effulgent with style | :02:38. | :02:42. | |
and radiant with beauty. I don't mean that - | :02:43. | :02:44. | |
I just want you to like me. Now, this year, the stars have | :02:45. | :02:48. | |
colluded and collided in such a way as to make British film's annual | :02:49. | :02:52. | |
outpouring of love coincide Especially fitting as love | :02:53. | :02:56. | |
abounds this year in film. The love | :02:57. | :03:07. | |
between two women, love between a young Irish girl | :03:08. | :03:08. | |
and an Italian American, Love between the Roman Catholic | :03:09. | :03:15. | |
priests and... And lawyers. in Matt Damon's case, | :03:16. | :03:22. | |
love between man and potato. First, let's meet some of the | :03:23. | :03:36. | |
superstars out here, sending out very detectable gravitational | :03:37. | :03:37. | |
ripples. Wow, it's almost impossible for me | :03:38. | :03:41. | |
to look out without meeting the gaze Right before me, I see some | :03:42. | :03:44. | |
of the cast of that stunning epic The Revenant - Domhnall Gleeson, | :03:45. | :03:51. | |
Will Poulter and Leonardo DiCaprio. I congratulate all three | :03:52. | :03:58. | |
of you on making it through the hostile, wet, | :03:59. | :04:07. | |
windy terrain, all the way up to the end of the red carpet | :04:08. | :04:12. | |
and into the Opera House. When my agent told me I had been | :04:13. | :04:18. | |
booked to do a bare scene with Leonardo DiCaprio, | :04:19. | :04:28. | |
I did a cartwheel. It didn't turn out quite how I had | :04:29. | :04:31. | |
imagined a bare scene. But I did my best to be fierce | :04:32. | :04:35. | |
and frightening in a very hot Of course we must talk about Star | :04:36. | :04:38. | |
Wars. Yes, the Force finally | :04:39. | :04:46. | |
woke up - the lazy tit. But what a cracking film - | :04:47. | :04:50. | |
notable not least for introducing us to some fabulous new British talent | :04:51. | :04:53. | |
in the shape of Daisy Ridley Of course, things are well underway | :04:54. | :04:56. | |
for the next film in the series, which I happen to know has some | :04:57. | :05:03. | |
very interesting casting. In fact I don't believe John's | :05:04. | :05:05. | |
been told about it yet, but now | :05:06. | :05:08. | |
is as good a time as any... The director of Bridge Of Spies is | :05:09. | :05:34. | |
here, Stephen Spielberg. I absolutely loved this film and its | :05:35. | :05:38. | |
wonderful depiction of a time when we were teetering on the brink of | :05:39. | :05:42. | |
nuclear war. Of course all of that is over now. Nowadays we are more | :05:43. | :05:45. | |
likely to sit down with our Russian friends and enjoy a nice warm cup of | :05:46. | :05:56. | |
polonium. The stars of the sublime | :05:57. | :06:04. | |
Carol are here. In this remarkable film, | :06:05. | :06:06. | |
Cate plays a refined upper class lady who goes in to a department | :06:07. | :06:10. | |
store to get a train set and ends up Of course that's unlikely to happen | :06:11. | :06:14. | |
today, as most people do that sort That's certainly where I've got hold | :06:15. | :06:19. | |
of all my shop assistants. And it's wonderful to see | :06:20. | :06:27. | |
Bryan Cranston here. I believe you're already planning | :06:28. | :06:35. | |
a modern-day sequel, once more set in a dark time | :06:36. | :06:43. | |
when bigotry stalks the land and progressive thought | :06:44. | :06:46. | |
is banned from America... And talking of America, | :06:47. | :06:52. | |
one of the wonderful things that great nation has given the world, | :06:53. | :07:06. | |
along with giant foam fingers, leaf blowers, Creationism and syrup | :07:07. | :07:17. | |
on bacon, It is common at basketball games | :07:18. | :07:23. | |
and so on. So, if you look to the screen now, | :07:24. | :07:29. | |
you should see a heart. But on this day of Valentine's, | :07:30. | :07:38. | |
which two lovebirds will it embrace? Oh, yes! Stanley Tucci and Cuba | :07:39. | :08:03. | |
Gooding Jnr! That is more like it! Who next?! It is Maggie Smith and | :08:04. | :08:16. | |
Leonardo DiCaprio! Yes! That is a marriage made in heaven if ever | :08:17. | :08:26. | |
there were one! Julianne Moore and Bryan Cranston! | :08:27. | :08:36. | |
One more... Oh, it is Eddie Izzard and Rebel Wilson! | :08:37. | :09:03. | |
Leo tried to kiss Maggie. She soon gave him the rough edge of | :09:04. | :09:17. | |
Spotlight - the brilliant Mark Ruffalo. | :09:18. | :09:24. | |
Yes, tricky subject matter, not easy to find humour in, | :09:25. | :09:27. | |
Though actually, confess is probably not the most tactful word to use | :09:28. | :09:33. | |
I am confused - after Black Mass and now Spotlight, | :09:34. | :09:46. | |
Only one man here can help us - actually sound like? | :09:47. | :09:56. | |
Only one man here can help us - Bostonian Matt Damon! He is the star | :09:57. | :10:16. | |
of the fantastic science-fiction award-winning comedy The Martian! | :10:17. | :10:21. | |
Ultimately it's a tale of courage and intelligence in which, | :10:22. | :10:27. | |
by resorting to a lot of shouting and shooting, but by resorting | :10:28. | :10:29. | |
Sometimes in this job there are moments of real pleasure. | :10:30. | :10:39. | |
And being able to say four words that will cause an outburst | :10:40. | :10:43. | |
Dame Maggie, star of Lady In A Van, of course. | :10:44. | :11:05. | |
If she was any more of a national institution, she would have | :11:06. | :11:13. | |
The film tells the story of a woman who parked up and lived | :11:14. | :11:16. | |
Apparently she even went to the toilet in her van - | :11:17. | :11:19. | |
though I can't verify that because, as we now know, Volkswagen are well | :11:20. | :11:22. | |
And now for some reason, it seems appropriate to move | :11:23. | :11:29. | |
The star of this captivating page-turner of a film, | :11:30. | :11:33. | |
He was magnificent as the computing genius behind Apple, | :11:34. | :11:47. | |
and looking so foxy this evening, I just want to click | :11:48. | :11:49. | |
on him, drag him on stage and then, a short while later, | :11:50. | :11:52. | |
Well, that's quite enough drooling at the stars in our audience. | :11:53. | :12:01. | |
Now let's drool at them on screen doing what they do best as we look | :12:02. | :12:12. | |
She shall go to the ball. We're about to get dumped. | :12:13. | :12:23. | |
Starting to see pictures, aren't you? | :12:24. | :12:30. | |
# Though nothing, nothing will keep us | :12:31. | :12:47. | |
# And you, you will be queen | :12:48. | :13:42. | |
# Though nothing will drive them away | :13:43. | :13:48. | |
No, no, no, no, stay happy. | :13:49. | :14:13. | |
Not least the musical accompaniment from the creative powerhouse | :14:14. | :14:50. | |
that was the magical and deeply-missed David Bowie. | :14:51. | :14:54. | |
Film benefited from his unique genius as an actor, producer | :14:55. | :14:58. | |
The world is a far more monochrome place without his | :14:59. | :15:09. | |
So, we are now ready to take our first, tentative steps | :15:10. | :15:14. | |
towards the opening award for Outstanding British Film, | :15:15. | :15:16. | |
And to present it, call me a silly old yenta, but I've done a bit | :15:17. | :15:21. | |
of matchmaking, and brought together two huge film stars | :15:22. | :15:23. | |
Please welcome, Kate Winslet and Idris Elba! | :15:24. | :15:38. | |
I don't have my glasses. I'm so old now anyone. | :15:39. | :15:55. | |
I can't tell you how delighted we are to be here on such | :15:56. | :16:00. | |
a wonderful and important night for British cinema. | :16:01. | :16:01. | |
And as proud Brits, presenting this particular award means even more, | :16:02. | :16:04. | |
because I think it's fair to say that British film has had a very, | :16:05. | :16:07. | |
Let's take a look at the truly stunning nominees. | :16:08. | :16:18. | |
You may have known who I was, but I wasn't always me. | :16:19. | :16:22. | |
There was a moment when I was just Lily, | :16:23. | :16:26. | |
How big do you think you are going to be? | :16:27. | :16:43. | |
At all, because you know, my music is not on that scale | :16:44. | :16:47. | |
of the the music is not on that scale. | :16:48. | :16:54. | |
Sometimes I wish it was but I don't think I'm going to be at all famous. | :16:55. | :16:58. | |
Remember if people like it here, they'll come back. | :16:59. | :17:03. | |
So you treat every customer as if she's a new friend. | :17:04. | :17:06. | |
Do you try to wear panties every day? | :17:07. | :17:11. | |
I mean, I don't try, I just put them on. | :17:12. | :17:15. | |
It is like me discovering with what the smell | :17:16. | :17:26. | |
Like she's been standing in the corner of the room all this | :17:27. | :17:33. | |
I'm not going to be turned into some animal. | :17:34. | :17:48. | |
I'll come and visit you, though, with my partner. | :17:49. | :18:01. | |
When we are walking together in some park or when we are swimming | :18:02. | :18:04. | |
in the sea or when we are on one of our trips. | :18:05. | :18:07. | |
You are going to be the human component in the Turing test. | :18:08. | :18:11. | |
That's right, Caleb, you got it, because if that test is passed, | :18:12. | :18:16. | |
you are dead centre in the greatest scientific event | :18:17. | :18:18. | |
If you have created a conscious machine, | :18:19. | :18:21. | |
Thank you Bafta. First I have to thank - we have to thank Colm who | :18:22. | :19:43. | |
entrusted us with his novel, brought to life with Nick's masterful script | :19:44. | :19:47. | |
and John's impeccable direction. APPLAUSE | :19:48. | :19:55. | |
On behalf of the entire cast and crew, here in London, in Dublin, in | :19:56. | :20:06. | |
Eniscorthy, in mob treal and New York, thank you so much for | :20:07. | :20:09. | |
honouring our film in this way, behalf ta. -- Montreal. | :20:10. | :20:14. | |
One of the things this film is about is the kindness of strangers. As the | :20:15. | :20:19. | |
film has made its way out into the world, the warmth of the response | :20:20. | :20:22. | |
has been overwhelming. Whatever tiny bit of this I can play claim to, I | :20:23. | :20:28. | |
would like to share with Fiona Weir, who not only furnished us with a | :20:29. | :20:33. | |
marvellous cast, but she's got to put up with me every day, so happy | :20:34. | :20:38. | |
Valentine's day. Thank you so much. APPLAUSE | :20:39. | :21:15. | |
Now on to the award for special effects. | :21:16. | :21:27. | |
Please welcome Amelia clerk and Matt Smith. Good evening, marvellous to | :21:28. | :21:34. | |
be here, there is a reason why this award is for special visual effect. | :21:35. | :21:41. | |
It takes special and talented people to create something as good as these | :21:42. | :21:43. | |
effects. Let's lack at their work. The Bafta goes to - Star Wars: The | :21:44. | :22:51. | |
Force Awakens. APPLAUSE | :22:52. | :23:39. | |
Thank you so much Bafta. It is fantastic. We had an incredible, a | :23:40. | :23:44. | |
massive crew working on the movie. We are four guys, we are lucky to be | :23:45. | :23:48. | |
up here accepting the award. It really is an amazing experience. Of | :23:49. | :23:53. | |
course we have so many people to thank, Stephen? Yes. But, of course | :23:54. | :24:02. | |
we have to thank our director J j. JAbrhams who did an amazing job with | :24:03. | :24:09. | |
this movie. Incredible and our producers, Kathy Ken Dane Brian | :24:10. | :24:13. | |
Burke. The incredible crews, industrial, light and magic. I want | :24:14. | :24:19. | |
it give a shout out to Ben Morris and Mike Mulholland and those guys | :24:20. | :24:24. | |
in the London office. Thank you to my amazing crew, and thank you to | :24:25. | :24:27. | |
Kathy, Tommy and Brian and a personal thank you to JJ. And to | :24:28. | :24:33. | |
Amanda, my soul mate and you the Academy. And respect with all the | :24:34. | :24:38. | |
other nominees. Well done. Thank you, thank you very much. | :24:39. | :24:58. | |
Now it is time for the EE rising star award. The only award voted for | :24:59. | :25:07. | |
by the public. It'll be presented right now. Doing the presenting last | :25:08. | :25:11. | |
year's winner, who has worked with George Clooney and Judi Dench. I | :25:12. | :25:16. | |
would say his star has risen to perfection. Please welcome Jack | :25:17. | :25:17. | |
O'Connell. Thank you t gives us the chance to | :25:18. | :25:46. | |
celebrate performances of the past year and then so. Also special | :25:47. | :25:49. | |
because it is blue in colour which makes it rare. Or rarer. And so, | :25:50. | :25:55. | |
shall we see some of their work? Punch the sneaky brat in the face | :25:56. | :26:02. | |
in front of other people. I really don't think that's | :26:03. | :26:31. | |
the right thing to be Does this give | :26:32. | :26:34. | |
you pleasure? I feel so awkward and ugly | :26:35. | :26:39. | |
and naive and lonely. I don't want to go to | :26:40. | :26:53. | |
school ever again. Strange smoke that everyone | :26:54. | :27:00. | |
was just wild for. You don't want to be with that guy, | :27:01. | :27:06. | |
best sex you've ever had guy We nearly missed it | :27:07. | :27:21. | |
but we've got our chance. You are going to help me track | :27:22. | :27:25. | |
Cole's neck. There are too many things out | :27:26. | :27:35. | |
there out to get me, get me? Hell know, I'll go in and try | :27:36. | :27:43. | |
and find Ray, the Troopers will be The EE Rising Star winner is John | :27:44. | :27:48. | |
Boyega. Thank you so | :27:49. | :28:38. | |
foremost I want to thank God for this moment and a big thank you to | :28:39. | :28:46. | |
Bafta for this amazing opportunity and obviously to the members of | :28:47. | :28:51. | |
Bafta for this amazing opportunity Guys, I haven't been doing this for | :28:52. | :28:52. | |
a long time. It's a fluke. Guys, I haven't been doing this for | :28:53. | :28:58. | |
have some very, very special people in my life, who have been such a | :28:59. | :29:03. | |
blessing, my parents, family and friends, my agent, my manager, best | :29:04. | :29:09. | |
friend and brother and Femi, who has backed me since I was 16. Thank you | :29:10. | :29:15. | |
for everything. I'm going to share this award with all the young | :29:16. | :29:20. | |
dreamers who are determined, who are hard-working and who are, quite | :29:21. | :29:23. | |
frankly, amazing. This is also for you. Blessings to your path and God | :29:24. | :29:27. | |
bless, thank you. To present the award | :29:28. | :29:38. | |
for Supporting Actor, an award traditionally given | :29:39. | :29:42. | |
to a man, we have a lady She was perfect in Pitch Perfect, | :29:43. | :29:47. | |
she was too perfect in Pitch Perfect 2, and I have no doubt she'll be | :29:48. | :29:53. | |
three perfect in whatever they call She's not only a rebel by name, | :29:54. | :29:56. | |
she's also a Wilson by name. Soon to be seen in How To Be Single, | :29:57. | :30:05. | |
please welcome Rebel Wilson! Good evening, ladies and gentlemen. | :30:06. | :30:31. | |
It is so good to be here at this really serious event. I have never | :30:32. | :30:41. | |
been invited to the Oscars... Because as you know, they are | :30:42. | :30:48. | |
racist. But the Baftas have diverse members. And that is what we all | :30:49. | :30:54. | |
want to see in life, isn't it? Diverse members. | :30:55. | :30:59. | |
One day I hope to return here to win a Bafta myself. I have already been | :31:00. | :31:16. | |
practising my transgender phase. And now, to the award of Best Supporting | :31:17. | :31:25. | |
Actor. Sorry! Idris Elba, you are making me a bit nervous. I am just | :31:26. | :31:32. | |
sociologically programmed to want chocolate on Valentine's Day. Five | :31:33. | :31:43. | |
really attractive men have been nominated. And I really look forward | :31:44. | :31:55. | |
to any congratulating the winner. Although, I am looking forward even | :31:56. | :32:01. | |
more to consoling the four losers. Let's take a look at these actors' | :32:02. | :32:05. | |
incredible work. Are you being sarcastic | :32:06. | :32:13. | |
with us, Mike? Lawrence, I don't know | :32:14. | :32:17. | |
how to be sarcastic. I mean it, move away | :32:18. | :32:19. | |
from him right now. Don't ever point | :32:20. | :32:51. | |
a weapon at me again. A pencil, piece of paper, | :32:52. | :32:57. | |
cigarettes, please. Mr Donovan, you have men like me | :32:58. | :33:11. | |
doing the same for your country. If they were caught, | :33:12. | :33:18. | |
I'm sure that you We have been defending ourselves | :33:19. | :33:21. | |
against the killings and rapings of our own people | :33:22. | :33:31. | |
from the PLF and now But it has awakened | :33:32. | :33:34. | |
a sleeping beast. It has put the weapons of this war | :33:35. | :33:40. | |
back in the hands of the young. They knew and they let | :33:41. | :33:48. | |
it happen to kids. We have to show people | :33:49. | :33:57. | |
that nobody can get away with this, not a priest, | :33:58. | :34:10. | |
a cardinal or a friggin Pope. And the Bafta goes to... Mark | :34:11. | :34:32. | |
Rylance for a Bridget Spies. Mark is currently performing on Broadway. | :34:33. | :34:36. | |
So, to accept the award, Stephen Spielberg! -- for Bridget Spies. | :34:37. | :34:49. | |
Thank you. Happy Valentine's Day. Mark, in the event that this | :34:50. | :34:57. | |
actually happened, asked me if I would stand in for him and read a | :34:58. | :35:03. | |
note. My sincere thanks to the British Academy for celebrating my | :35:04. | :35:07. | |
acting with this award. My apologies as my theatre work in New York City | :35:08. | :35:10. | |
means that I cannot be with you. I am particularly pleased to be | :35:11. | :35:14. | |
celebrated as a supporting actor as I very much enjoyed the wonderful | :35:15. | :35:19. | |
quality of work which supporting actors do in films these days - | :35:20. | :35:23. | |
especially all my Fellow nominees. Lead actors are of course unique and | :35:24. | :35:29. | |
gifted and often, as in the case of Tom Hanks, generous, humble and | :35:30. | :35:34. | |
supportive as well. I had an unfair advantage this evening working with | :35:35. | :35:38. | |
Tom and my dear friend Steven Spielberg who has graciously | :35:39. | :35:41. | |
supported me this evening, as he has done since we met. Thank you to all. | :35:42. | :35:57. | |
Now, I've been given the plum job of voicing the introduction | :35:58. | :36:04. | |
To make the presentation, a supreme comedian, actor | :36:05. | :36:10. | |
and writer, a genuinely unique talent - and I don't mean that | :36:11. | :36:13. | |
in the showbiz, non-unique way, I mean it in the "there really is no | :36:14. | :36:16. | |
Please go ballistic for Eddie Izzard! | :36:17. | :36:28. | |
Now, Animated Film is a powerful medium. But the pitch meetings can | :36:29. | :36:48. | |
be somewhat unusual. So, there is a pig and he plays the banjo. But the | :36:49. | :36:52. | |
monkeys do not want him to do that so they nail the pig to the back of | :36:53. | :36:56. | |
a spaceship and he is off to another galaxy. But the pig discovers that | :36:57. | :37:00. | |
he can control the spaceship and he plays different chords on the banjo. | :37:01. | :37:09. | |
It is like The Godfather meets Zulu. I love it! Here is $20 million! I | :37:10. | :37:16. | |
believe that is how it works! And the nominations are... | :37:17. | :37:29. | |
And the Bafta is awarded to... Inside Out! | :37:30. | :38:16. | |
Thank you Bafta. It is amazing being here. I was fully expecting to see a | :38:17. | :38:35. | |
charming, domesticated farm animal appearing! I am honoured to be in | :38:36. | :38:41. | |
this company. Our film takes place inside the mind of a in your old | :38:42. | :38:47. | |
girl. That was hard to figure out. Though not as not as tough as | :38:48. | :38:51. | |
actually being 11. For anyone out there who is struggling to figure | :38:52. | :38:54. | |
things out in secondary school, it is OK to feel scared or angry or | :38:55. | :38:59. | |
sad. But please do us a favour and express yourself. Seeing, draw, | :39:00. | :39:09. | |
write - the world will be a better place for it. I want to thank our | :39:10. | :39:16. | |
amazing team. We make a pretty good team. Everyone at Pixar and Disney | :39:17. | :39:25. | |
for supporting us on this weird and wonderful journey. Lastly, I want to | :39:26. | :39:29. | |
thank my wife Amanda, who kept the family together even as the film was | :39:30. | :39:32. | |
falling apart. Thank you. We now scooch along | :39:33. | :39:42. | |
to Supporting Actress. To present it, one of the finest | :39:43. | :39:46. | |
British talents of recent times, an actor who has played a man | :39:47. | :39:50. | |
trapped in his own body, and, if I had my way, a man trapped | :39:51. | :39:53. | |
in my basement. Please | :39:54. | :40:01. | |
welcome Eddie Redmayne. Do you think I might be | :40:02. | :40:07. | |
switched off because I don't I don't know the answer | :40:08. | :41:04. | |
to your question. I love that you don't care | :41:05. | :41:10. | |
how much money a person makes, you care what they make, | :41:11. | :41:21. | |
but what you make isn't supposed When you're a father, | :41:22. | :41:24. | |
that's what's supposed to be the best part of you and it's | :41:25. | :41:33. | |
caused me two decades of agony, Steve, that it is | :41:34. | :41:36. | |
for you, the worst. She's going to get | :41:37. | :41:44. | |
tired of you and you are going to wish | :41:45. | :41:46. | |
that you've never... I have never been more | :41:47. | :41:48. | |
awake in my life. Though why should I want to be | :41:49. | :41:57. | |
with you when all you do is argue It's a letter from Lincoln, | :41:58. | :42:05. | |
a letter from Lincoln, to him. They was penpals and this | :42:06. | :42:17. | |
is just one of the letters. And the Bafta goes to... Kate | :42:18. | :42:23. | |
Winslet for Steve Jobs. Oh, my gosh! What an incredible year | :42:24. | :43:26. | |
to be nominated. What an incredible year to be in this room. Thank you, | :43:27. | :43:31. | |
Bafta, so much for voting for me, for nominating me. It has been an | :43:32. | :43:35. | |
extraordinary year for women and I feel so proud to stand alongside all | :43:36. | :43:40. | |
four of you. Your performances are also extraordinary. I really am | :43:41. | :43:47. | |
quite overwhelmed, actually. I must thank Donna Langley and your team at | :43:48. | :43:52. | |
universal for supporting Danny Boyle and his unconventional shooting and | :43:53. | :43:56. | |
rehearsals structure, which was so precious to all of us. Danny Boyle, | :43:57. | :44:00. | |
you were amazing to work with. Thank you forecasting me when you really | :44:01. | :44:04. | |
did not have to. This film was so much about the words the actors were | :44:05. | :44:08. | |
saying. Aaron Sorkin, I don't know how you do it. You're out of your | :44:09. | :44:14. | |
mind! Thank you so much. Michael Fassbender, you lead us through | :44:15. | :44:18. | |
this. I don't know how you did it. I would watch you every day and be | :44:19. | :44:23. | |
completely blown away. You are an extraordinary actor. Thank you for | :44:24. | :44:26. | |
everything you gave to this film. Our brilliant cast. I want to just | :44:27. | :44:31. | |
mention if I may a woman who would prefer to remain completely | :44:32. | :44:36. | |
anonymous, which is the real Joanna Hoffman, who was a devoted and loyal | :44:37. | :44:39. | |
friend to Steve Jobs and was so wonderful in sharing her stories | :44:40. | :44:45. | |
with me. Dallas Smith, thank you for making sure that I have always got a | :44:46. | :44:49. | |
job. And my husband, you're in this room, I know you are! Hi, babe, | :44:50. | :44:56. | |
happy Valentine's Day! And my children, who are probably more | :44:57. | :45:00. | |
excited than I am! Thank you, everybody! | :45:01. | :45:13. | |
To present Costume Design, by design and in costume, | :45:14. | :45:15. | |
You'll know her from Quantum Of Solace and him from Nightcrawler. | :45:16. | :45:19. | |
They're perfect to present this award because they are hugely | :45:20. | :45:21. | |
gifted, well turned out and, crucially here, it's Olga Kurylenko | :45:22. | :45:24. | |
Film is all about taking someone's vision and making it come to life | :45:25. | :45:46. | |
The greater the vision, the greater the expertise, | :45:47. | :45:51. | |
dedication and creativity needed to realize it. | :45:52. | :45:54. | |
Which are precisely the qualities tonight's nominees | :45:55. | :45:57. | |
for Costume Design have in abundance. | :45:58. | :46:01. | |
They have not just brought someone's vision to life, | :46:02. | :46:03. | |
they brought it to life with startling colour, | :46:04. | :46:05. | |
deep brilliance and exquisite attention to detail. | :46:06. | :46:09. | |
And the Bafta goes to... Jenny Beavan, Massed Max. -- Mad Max. | :46:10. | :47:30. | |
Oh what a lovely day. I live, I die, I live again. I just have to tell | :47:31. | :48:12. | |
you one thing, that I think I've worked with some of the most amazing | :48:13. | :48:16. | |
directors in film and George, thank you so much for taking me on. The | :48:17. | :48:22. | |
bonnets and corsets, girl. I can't thank you enough for giving me this | :48:23. | :48:26. | |
chance. It's absolutely brilliant. Thank you Bafta and thank you my | :48:27. | :48:32. | |
team and it's great. Thank you. APPLAUSE | :48:33. | :48:44. | |
Only one of the great cinematic costume designers would come to an | :48:45. | :48:51. | |
award ceremony dressed as a bag lady. | :48:52. | :48:55. | |
Our next award is for Outstanding Debut by a British Writer, | :48:56. | :48:58. | |
Director or Producer, given in honour of Carl Foreman. | :48:59. | :49:03. | |
It's just one example of how Bafta champions the next | :49:04. | :49:05. | |
It also develops and supports them through mentoring, | :49:06. | :49:09. | |
masterclasses and scholarships, ensuring they have the best chance | :49:10. | :49:12. | |
to succeed, regardless of who they know or where | :49:13. | :49:15. | |
Presenting it, two sparkling sparklers. | :49:16. | :49:20. | |
She is a stupendous actress who stars in A Bigger Splash | :49:21. | :49:23. | |
and Fifty Shades Of Grey, in honour of which tonight I'm | :49:24. | :49:27. | |
wearing a sort of charcoal grey nipple clamp, and he was brilliant | :49:28. | :49:33. | |
and very revenant - sorry, resident, resonant! | :49:34. | :49:35. | |
Please welcome Dakota Johnson and Will Poulter! | :49:36. | :50:00. | |
and will do my best to make no sense whatsoever. | :50:01. | :50:04. | |
I'm going to be making sense tonight, but I refuse | :50:05. | :50:13. | |
But I'm actually wearing Rebel Wilson's underwear. I have no idea | :50:14. | :50:15. | |
how it happened. All of tonight's nominees have not | :50:16. | :50:19. | |
only been able to break in to film, a feat in itself, but have produced | :50:20. | :50:22. | |
exceptional work in the process. A great achievement, but, | :50:23. | :50:25. | |
along with the accolades, However, such is their talent that | :50:26. | :50:27. | |
I am sure they will all go When scripting Ex Machina, | :50:28. | :50:34. | |
established novelist and screen writer Alex Garland tapped | :50:35. | :50:49. | |
into a topic that's always relationship between | :50:50. | :50:51. | |
man and machine. Producer and editor Rupert Lloyd | :50:52. | :51:03. | |
overcame the obstacles of shooting in a remote desert location | :51:04. | :51:05. | |
for debut feature film, But it was writer | :51:06. | :51:07. | |
and director, Naji Abu Nowar's keen interest in Bedouin law | :51:08. | :51:14. | |
that inspired this beautifully-shot story of one boy's treacherous | :51:15. | :51:21. | |
journey across the Arabian Desert. Stephen Fingleton began his film | :51:22. | :51:28. | |
career writing and directing short For his first feature film, | :51:29. | :51:30. | |
Stephen has written a dark and thrilling story | :51:31. | :51:36. | |
about a man whose secluded existence is shattered | :51:37. | :51:38. | |
when two women enter his world. With a keen interest in the lives | :51:39. | :51:48. | |
of ordinary people living day-to-day, director | :51:49. | :51:52. | |
Sean McAllister successfully delivered a tale of hope, | :51:53. | :51:54. | |
dreams and despair, filmed Partnered with producer | :51:55. | :51:58. | |
Elhum Shakerifar, whose background in documentaries helped to tell this | :51:59. | :52:03. | |
story which spans five years. Do you want it to be | :52:04. | :52:07. | |
a boy or a girl. Debbie Writer and | :52:08. | :52:12. | |
director, Debbie Tucker Green has theatre credits | :52:13. | :52:13. | |
and the Bafta-winning TV drama Second Coming, her intriguing debut | :52:14. | :52:16. | |
feature film is about a woman who discovers she's pregnant | :52:17. | :52:21. | |
but is played by doubts as to how And the Bafta is awarded to... Naji | :52:22. | :52:45. | |
Abu Nowar and Rupert Lloyd for Theeb. | :52:46. | :52:53. | |
Thank you very much. I have been working with Rupert since we were | :52:54. | :53:26. | |
five years old in kindergarten, so this is a long journey for us. There | :53:27. | :53:33. | |
are so many people we have to thank that made this possible and for us | :53:34. | :53:38. | |
to reach here today. From our parents, our families, our friends, | :53:39. | :53:41. | |
all our colleagues, all our mentors along the way. We hope we've | :53:42. | :53:45. | |
justified your support and injure generosity. Thank you very much to | :53:46. | :53:51. | |
poof at that. -- and your. We would like to thank the community behind | :53:52. | :53:54. | |
the film. We are here because of them. A special thanks must go to | :53:55. | :54:01. | |
our friend who produced and co-wrote the film. | :54:02. | :54:06. | |
This goes to him and the tribe. Thanks a lot. | :54:07. | :54:15. | |
We've come now to the moment where we remember those friends | :54:16. | :54:18. | |
and colleagues that the past year has taken from us. | :54:19. | :54:28. | |
I'm really, truly, madly, passionately, remarkably, | :54:29. | :54:30. | |
No more merciful beheadings and call off Christmas. | :54:31. | :54:40. | |
Well done, Kasper, the most exciting thing I have ever seen in my life. | :54:41. | :55:40. | |
I'm not a scientist but I know all things begin and end in eternity. | :55:41. | :55:43. | |
He's got his father's intellect, his mother's | :55:44. | :57:00. | |
good looks and the devil's own charm. | :57:01. | :57:15. | |
It's hard to believe some of those faces won't be with us any more. | :57:16. | :57:53. | |
We mourn their loss and thank them for what they have given us. | :57:54. | :57:57. | |
Adapted Screenplay is our next category and to present it a hugely | :57:58. | :58:02. | |
respected actress, star of Olympus Has Fallen | :58:03. | :58:04. | |
and its sequel, the upcoming London Has Fallen - | :58:05. | :58:19. | |
It's a never ending argument that, in many ways, is superfluous | :58:20. | :58:33. | |
as they are such different mediums, such different experiences. | :58:34. | :58:36. | |
But there is no argument about the skill, creativity | :58:37. | :58:39. | |
and craft of the writers whose wonderful adaptations brought | :58:40. | :58:44. | |
Your products are better than you are, brother. | :58:45. | :59:04. | |
And knowing that - that's the difference. | :59:05. | :59:07. | |
You can be decent and gifted at the same time. | :59:08. | :59:21. | |
I don't know the word, when you go along with everything. | :59:22. | :59:51. | |
Amenable. Yeah, amenable. | :59:52. | :59:55. | |
You have no idea the kind of crap people are pulling. | :59:56. | :59:58. | |
Everyone is walking around like they're in a damn Enya video. | :59:59. | :00:01. | |
They're all getting screwed, you know. | :00:02. | :00:02. | |
They care about the ball game, or they care about what actress just | :00:03. | :00:07. | |
You don't know why you are attracted to | :00:08. | :00:15. | |
The only thing you really know is, you either | :00:16. | :00:18. | |
Bouncing off each other like pinball. | :00:19. | :00:37. | |
And the Bafta goes to... Adam McKay and Charles Randolph for The Big | :00:38. | :00:49. | |
Short! Wow! This makes me happy! Thank you | :00:50. | :01:23. | |
so much. Thank you, Didi, Jeremy, Brad Pitt, you are phenomenal | :01:24. | :01:31. | |
producers. And mostly, thank you, Adam McKay. You are a man of | :01:32. | :01:37. | |
bottomless creativity and fears integrity and I am just so proud to | :01:38. | :01:46. | |
share this with you. Also, I want to thank Paramount for taking a risk on | :01:47. | :01:50. | |
this movie. I want to thank my amazing editor, Hank Corwen, for | :01:51. | :01:56. | |
going to creative places that I have never been before. He is an amazing | :01:57. | :02:02. | |
guy. He already said Jeremy Kleiner. I will thank him again. Really | :02:03. | :02:07. | |
thoughtful, brave producer. I want to thank my beautiful wife. This | :02:08. | :02:12. | |
movie is not just about banking. It is about income inequality, it is | :02:13. | :02:16. | |
about making choices for our society which are made by all of us, not | :02:17. | :02:21. | |
just a select few. And we thank you all for nominating us and giving us | :02:22. | :02:24. | |
this award. Thank you so much, Bafta. | :02:25. | :02:29. | |
We now make the pre-operative transition to the Outstanding | :02:30. | :02:35. | |
British Contribution to Cinema award, given in honour of the great | :02:36. | :02:39. | |
To make the presentation, a sensational actress known | :02:40. | :02:47. | |
for portraying strong women - much like herself, in fact. | :02:48. | :02:51. | |
Indeed, if a biopic of her life were ever made, she would be | :02:52. | :02:57. | |
Please hoot, holler and hiccup for Cate Blanchett. | :02:58. | :03:04. | |
The recipient of this year's Outstanding British Contribution | :03:05. | :03:20. | |
to Cinema is a costume house that is as old as film itself - | :03:21. | :03:25. | |
older, in fact, having been established 175 years ago. | :03:26. | :03:31. | |
They first supplied costumes to the film industry in 1913. | :03:32. | :03:36. | |
Since then, they have grown and are now established as world | :03:37. | :03:38. | |
Their creative genius has enhanced so many films over the years, | :03:39. | :03:44. | |
for which they have rightly received accolade after accolade. | :03:45. | :03:47. | |
In fact, last year they supplied costumes to all five films nominated | :03:48. | :03:51. | |
On a personal note, I had the pleasure of working with them | :03:52. | :04:00. | |
on the film Elizabeth and, as much as I prepared and rehearsed | :04:01. | :04:08. | |
for the role, I wasn't truly Elizabeth until I put | :04:09. | :04:10. | |
on the incredible costumes they made for me. | :04:11. | :04:12. | |
Let's take a look at these amazing costumiers | :04:13. | :04:17. | |
# Baby, give me diamonds, give me gold | :04:18. | :04:32. | |
When Morris Angel bought a small London store in 1840, | :04:33. | :04:52. | |
making and selling menswear and military uniforms, | :04:53. | :04:55. | |
little did he know that he would very quickly progress | :04:56. | :05:00. | |
to providing stage actors and actresses with incredible | :05:01. | :05:02. | |
With the birth of film, Morris Angel Son became | :05:03. | :05:09. | |
Now, seven generations and 175 years later, | :05:10. | :05:20. | |
Angels provides thousands of bespoke outfits and extras alike. | :05:21. | :05:23. | |
Working with many renowned costume designers, every item is kept | :05:24. | :05:32. | |
and used again or turned into something new. | :05:33. | :05:35. | |
Throughout the years, Angels have become an integral part | :05:36. | :05:38. | |
of the film industry, becoming the world's | :05:39. | :05:39. | |
longest-established costume house and providing beautiful costumes | :05:40. | :05:41. | |
for some of the world's most-loved, iconic | :05:42. | :05:44. | |
Ladies and gentlemen, to accept the Outstanding British Contribution | :05:45. | :06:36. | |
to Cinema award on behalf of Angels Costumes, please | :06:37. | :06:38. | |
welcome their chairman, Tim Angel OBE. | :06:39. | :06:51. | |
Team Angels, this is for you, wherever you are! | :06:52. | :07:15. | |
I am incredibly thrilled to accept the Michael Balcon Award on behalf | :07:16. | :07:20. | |
Seven generations of Angels have worked in the costume business for | :07:21. | :07:37. | |
175 years, from music hall to TV, from black and Whites to colour. | :07:38. | :07:40. | |
Now, digital, and who knows what next? | :07:41. | :07:45. | |
One thing that every generation has shared, | :07:46. | :07:48. | |
however, is a passion for clothes and getting things right, | :07:49. | :07:51. | |
and that continues to this day with my children and I. | :07:52. | :07:56. | |
We have always tried to ensure that all the stock from the great British | :07:57. | :08:04. | |
costume houses of the past are safe. We are the custodians of an | :08:05. | :08:07. | |
incredible history and we source which ensures that all of those | :08:08. | :08:09. | |
incredible history and we source costumes are available for | :08:10. | :08:14. | |
generations to come. Angels sends costumes all over the world, | :08:15. | :08:17. | |
generations to come. Angels sends international business to the UK and | :08:18. | :08:21. | |
has launched numerous careers in costume. And it | :08:22. | :08:26. | |
has launched numerous careers in training young people in our | :08:27. | :08:26. | |
industry. We have built a training young people in our | :08:27. | :08:31. | |
world-class family business around a passion for the clothes, | :08:32. | :08:38. | |
world-class family business around a and excellence. But as | :08:39. | :08:44. | |
world-class family business around a recognition from Bafta is simply | :08:45. | :08:49. | |
wonderful. To all the many designers, supervisors, wardrobe | :08:50. | :08:51. | |
teams, directors designers, supervisors, wardrobe | :08:52. | :08:56. | |
have worked with and continue to work with Angels, please, please, | :08:57. | :09:01. | |
please don't stop, and also, thank you. To all the actors who spend | :09:02. | :09:08. | |
hours in their underwear in our fitting rooms, thank you. To my | :09:09. | :09:17. | |
current team and all of the talented 120 people that currently make | :09:18. | :09:23. | |
Angels what it is today, thank you. To my dad up there, and my wife | :09:24. | :09:32. | |
Eleanor out there, without you both, I and we would not be up here today. | :09:33. | :09:42. | |
I know I speak for everyone past and present at Angels, | :09:43. | :09:44. | |
as well as my children, Emma, Daniel and Jeremy, | :09:45. | :09:47. | |
who are the future and the next generation, when I say it's been | :09:48. | :09:51. | |
a huge privilege and so much fun working in such an incredible | :09:52. | :09:54. | |
APPLAUSE for such a wonderful | :09:55. | :10:16. | |
Where would we be without the next award? If it were not for Original | :10:17. | :10:26. | |
Screenplay, Hollywood would just be making remakes of old movies and | :10:27. | :10:27. | |
sequels! To present the award | :10:28. | :10:29. | |
for Original Screenplay, a fabulous actor who was terrific | :10:30. | :10:34. | |
in The Butler and superb in Selma, and who also happens to be | :10:35. | :10:37. | |
the son of Cuba Gooding. Good evening, ladies and gentlemen. | :10:38. | :11:01. | |
The last time I was on this stage, young man | :11:02. | :11:11. | |
The last time I was on this stage, again? Oh, Cuba! Thank you. Bless | :11:12. | :11:15. | |
you. Here are the nominations | :11:16. | :11:21. | |
for Original Screenplay. Best chance is if the Supreme Court | :11:22. | :11:27. | |
agrees to review our case. I programmed her to be heterosexual | :11:28. | :11:36. | |
- just like you were programmed And to be honest, Caleb, | :11:37. | :11:52. | |
you're starting to annoy me now because this is your | :11:53. | :12:05. | |
insecurity talking. A bastard's work is never | :12:06. | :12:06. | |
done - huh, John Ruth? You're gonna have | :12:07. | :12:17. | |
to come and take... We think we have 13 priests | :12:18. | :12:27. | |
in Boston that fit this pattern, which would be | :12:28. | :12:43. | |
a very...very big story. Does that sound right to you, | :12:44. | :12:47. | |
er, in terms of scale? My estimate suggests 6% act out | :12:48. | :12:49. | |
sexually with minors. So that's how you want | :12:50. | :12:57. | |
to plate all that? We'll eat our dinner - | :12:58. | :13:09. | |
right after you eat this...! Aaaagh! | :13:10. | :13:15. | |
Here comes an airplane! Airplane! | :13:16. | :13:20. | |
We got an airplane, everybody. I have a ten-year-old daughter, so | :13:21. | :13:39. | |
we watched Spotlight 100 times! And the Bafta is awarded to... Tom | :13:40. | :13:44. | |
McCarthy and Josh Singer. Thank you very much, Bafta. I am Tom | :13:45. | :14:11. | |
McCarthy, the co-writer and director of Spotlight. My dear friend and | :14:12. | :14:23. | |
compatriot Josh Singer is at home with his pregnant wife. But I have | :14:24. | :14:27. | |
to pay him the utmost respect. He is just a brilliant mind and he really | :14:28. | :14:32. | |
drove me through this project. Josh, I share this with you. My entire | :14:33. | :14:37. | |
creative team and crew in Boston and Toronto, I share this most certainly | :14:38. | :14:43. | |
with them. And finally, real heroes, the reporters who broke this story, | :14:44. | :14:49. | |
and editors at the Boston Globe. And finally, the courageous survivors | :14:50. | :14:52. | |
who came forward to share their stories with us and with the world | :14:53. | :14:56. | |
and continue to do that now, to put pressure for change. A shout out to | :14:57. | :15:02. | |
Peter Saunders, a UK citizen and survivor and the great work he is | :15:03. | :15:06. | |
doing right now in this country and at the Vatican. You are an | :15:07. | :15:10. | |
inspiration to us all. And finally, to my wonderful Valentine Wendy | :15:11. | :15:14. | |
Hurrell is here tonight. I share this with you. Thank you all. It is | :15:15. | :15:19. | |
a tremendous privilege. Thank you, Bafta. | :15:20. | :15:27. | |
Now, hold on to your chapeaux, subtitles fans... | :15:28. | :15:35. | |
it's time for - Film Not In The English Language - | :15:36. | :15:38. | |
To present it, two stars of the recent Star Wars behemoth | :15:39. | :15:42. | |
who are set to reprise their roles in the next in the series, | :15:43. | :15:52. | |
One will always be remembered for an extraordinary and frankly | :15:53. | :15:56. | |
Please welcome into your hearts, but mainly onto this stage, | :15:57. | :16:00. | |
We are honoured to be here to present the award | :16:01. | :16:24. | |
for Film Not In The English Language. | :16:25. | :16:27. | |
Is that a joke because I'm Irish? I don't know, they wrote it. I don't | :16:28. | :16:43. | |
like making Irish jokes. I a parentally you are the only one. | :16:44. | :16:47. | |
Let's take a look at the five films that have been nominated. | :16:48. | :18:21. | |
My daughter Rossa won't believe who gave me this award. Princess Leia, | :18:22. | :19:09. | |
she will be very happy. I want to dedicate this to my daughters. You | :19:10. | :19:12. | |
are everything to me. The person who gave me those daughters, Maria, here | :19:13. | :19:14. | |
present. I gave me those daughters, Maria, here | :19:15. | :19:19. | |
course. I also love my mother. I want to thank to her and share this | :19:20. | :19:24. | |
with her. I want to thank and receive this award in the name of | :19:25. | :19:36. | |
our fantastic producers. Am I forgetting someone? A lot of people, | :19:37. | :19:44. | |
of course. Everyone involved. The people at Carson. Artificial Eye | :19:45. | :19:49. | |
of course. Everyone involved. The here in the UK. I want to share | :19:50. | :19:52. | |
of course. Everyone involved. The award with the actors, magnificent | :19:53. | :19:52. | |
cast and crew. award with the actors, magnificent | :19:53. | :19:58. | |
going to forget everyone. At award with the actors, magnificent | :19:59. | :20:04. | |
want to dedicate this award to my father, the memory | :20:05. | :20:05. | |
best friend, my greatest teacher. Thank you. Please, come on. | :20:06. | :20:22. | |
You. Thank you very much to and my granddaughter. And thank you | :20:23. | :20:29. | |
very much to Bafta for giving this. Thank you very much. | :20:30. | :20:48. | |
We now come to this year's Fellowship Award - | :20:49. | :20:50. | |
the highest honour that Bafta can bestow. | :20:51. | :20:52. | |
Receiving it, one the few actors who without the slightest hint | :20:53. | :20:54. | |
of hyperbole can genuinely lay claim to the title of screen legend. | :20:55. | :20:57. | |
Let's take a look at some of his work, spanning a truly | :20:58. | :21:08. | |
I don't know how much you know, so we'll start from scratch. | :21:09. | :21:29. | |
Don't cry, white boy. You're going to live. | :21:30. | :21:46. | |
Sydney potaway is -- Potier is the greatest example of what it means to | :21:47. | :21:51. | |
live your life with power and grace. I just love this man. How long do | :21:52. | :21:59. | |
you think before they pick me up? Get off my back, I'm not married to | :22:00. | :22:04. | |
you. What do I care. You are married to me all right. Here is the ring. I | :22:05. | :22:10. | |
ain't going souted on no honeymoon. He is captivating on screen. The | :22:11. | :22:14. | |
gravitas he has, the presence he brings to the screen, the | :22:15. | :22:17. | |
performances, he handles himself with elegance and dignity. You can | :22:18. | :22:23. | |
see this is on and off camera. All I wanted is to make a future for this | :22:24. | :22:28. | |
family, to stand in front of my boy, like my father was never able to do | :22:29. | :22:32. | |
to me and tell him he will be anybody in this world besides a | :22:33. | :22:45. | |
servant and a chauffeur. He came a symbol of what was possible as an | :22:46. | :22:49. | |
African-American in the United States. I get up when I feel like | :22:50. | :23:02. | |
getting up, if I don't want to work, I don't work. | :23:03. | :23:20. | |
Sir Sydney's importance to the industry should never be overlooked. | :23:21. | :23:28. | |
I know all the actors today, actors of colour, black, white, whatever, | :23:29. | :23:31. | |
people that are really struggling it get what they want across, we have a | :23:32. | :23:39. | |
voice and we have a voice because of people like Sir Sidney Poitier. What | :23:40. | :23:45. | |
about that speech you were going to give me this morning? Give me | :23:46. | :23:50. | |
another day. I'm close, I can pull that fat cat down. You are, Mr | :23:51. | :23:58. | |
Poitier, an unyielding xachl of how true strength of character has the | :23:59. | :24:05. | |
power to actually shift an industry. You ever been broke, Sir, real | :24:06. | :24:11. | |
broke, skint? Yes, many, many, many times? In the script, he was my | :24:12. | :24:16. | |
teacher and my mentor and off camera, off the set, it was the same | :24:17. | :24:26. | |
as well. So, Mr Poitier, I will always be indebted to you for your | :24:27. | :24:32. | |
lessons in grace and humanity. You know what she said - the good guys | :24:33. | :24:35. | |
don't hide. No more hitting. All right turn | :24:36. | :24:47. | |
around. Do you want to stay late tonight? Turn around. Come on, I'm | :24:48. | :24:54. | |
freaking. So long, suckers. I would like to say congrtlations to Sidney. | :24:55. | :24:59. | |
You are an inspiration to us all and a fantastic achievement that is | :25:00. | :25:03. | |
well-deserved. I sang it to you then, I would like to say it to you | :25:04. | :25:09. | |
now, all the very best, to Sir, with love. I am just so honoured to call | :25:10. | :25:18. | |
you a friend and I offer a deep and heart-felt congratulations on | :25:19. | :25:19. | |
tonight's Bafta Fellowship Award. We gave them a hell of a run for it, | :25:20. | :25:33. | |
didn't we? Praus | :25:34. | :25:37. | |
APPLAUSE -- | :25:38. | :25:37. | |
APPLAUSE Never was a Bafta Fellowship better | :25:38. | :25:52. | |
deserved. Such a hugely influential and gifted actor. | :25:53. | :25:55. | |
Unfortunately due to ill health, Sidney couldn't be here in person | :25:56. | :25:58. | |
So, presenting it to him and his daughter on our | :25:59. | :26:01. | |
It's an honour to be here with Sir Sidney Poitier and his lovely | :26:02. | :26:11. | |
daughter Sidney to be able to give him this incredible award. How he | :26:12. | :26:17. | |
impacted on me in so many difference ways, not just an African-American | :26:18. | :26:21. | |
or a black man, a man who transcended race, who happened to be | :26:22. | :26:24. | |
a person who happened to come to America, to Hollywood and who | :26:25. | :26:28. | |
happens to be the most incredible actor of our time. I am completely | :26:29. | :26:36. | |
honoured and excited to be able to give him this award, the Fellowship | :26:37. | :26:42. | |
Bafta. Thank you to the British Academy of | :26:43. | :26:48. | |
film and television arts for honouring my father with the Bafta | :26:49. | :26:51. | |
Fellowship. There is little that peel don't already know about his | :26:52. | :26:55. | |
career so I will speak to him as a mavenlt he is a scholar, a seeker, a | :26:56. | :27:01. | |
mentor. -- as a man. He is a humanitarian and he is a terrible | :27:02. | :27:05. | |
dancer. Lest you start to think he is perfect, he is not it is really | :27:06. | :27:10. | |
quite something to see. While he has inspired countless actors, myself | :27:11. | :27:13. | |
included with his talent and grace, the role that is truest to his | :27:14. | :27:17. | |
nature, that comes closest to defining him, is he is a dad. I'm | :27:18. | :27:21. | |
happy to share him. He is too good not to share. He has shown us all, | :27:22. | :27:26. | |
not only how to be better actors and artists, but how to be better human | :27:27. | :27:31. | |
beings. I am proud to present my dad, Sir Sidney Poitier, with this | :27:32. | :27:35. | |
year's of about at that Fellowship. Oh my goodness me. My goodness. I am | :27:36. | :27:45. | |
sorry I am unable to be there with you in London for this wonderful | :27:46. | :27:51. | |
occasion because I hold a very special place in my heart for your | :27:52. | :27:59. | |
great city. I've been honoured by Her Royal Highness the Queen and | :28:00. | :28:06. | |
have had the privilege of being recognised by Bafta for my previous | :28:07. | :28:15. | |
work on a few occasions. But today, my cup run et over because I am here | :28:16. | :28:22. | |
with my daughter and our future film-makers of the world, in | :28:23. | :28:30. | |
celebration of this wonderful artform, moving pictures, that has | :28:31. | :28:37. | |
brought me tremendous joy. To the wonderfully talented and courageous | :28:38. | :28:41. | |
film-makers I have worked with through the years, I thank you for | :28:42. | :28:47. | |
being a part of bringing me to this moment. And to my family, my life | :28:48. | :28:59. | |
force, I am nothing without you. And to all of you, thank you for your | :29:00. | :29:11. | |
warm embrace. And this extraordinary moment and memory I shall cherish, | :29:12. | :29:13. | |
always. We now find ourselves | :29:14. | :29:36. | |
in the astonishing position Forming an orderly queue just | :29:37. | :29:40. | |
round the corner are the awards But having wormed its way to the top | :29:41. | :29:49. | |
of the pile is Director, which is awarded in | :29:50. | :29:55. | |
honour of David Lean. And to present it, a simply | :29:56. | :29:57. | |
outstanding actor who shone in Spotlight, and as Ceasar | :29:58. | :30:05. | |
in The Hunger Games presides over a contest where the participants | :30:06. | :30:10. | |
kill, maim and turn in to wild He should be perfectly | :30:11. | :30:13. | |
at home here tonight. Very honoured to be here tonight to | :30:14. | :30:16. | |
present this award. As an actor, I believe | :30:17. | :30:41. | |
the role of the director A great director is the creative | :30:42. | :30:44. | |
glue that holds it all together. They inspire you, they challenge | :30:45. | :30:49. | |
you and in some cases scare You have no idea what it was like on | :30:50. | :31:03. | |
the set of Spotlight! It was like mucking out a stall at the end of | :31:04. | :31:05. | |
everyday! But it's all for a very good reason, | :31:06. | :31:08. | |
and that is to create wonderful work such as we are celebrating tonight, | :31:09. | :31:12. | |
from five of the best exponents Let's see what you got. You smell | :31:13. | :31:28. | |
that? What is that smell? Cologne? No. Opportunity. No, money. | :31:29. | :32:23. | |
I have a mandate to serve you. Nobody else does. Quite frankly, | :32:24. | :32:43. | |
everybody else has a mandate to send you to the electric chair. You don't | :32:44. | :32:56. | |
seem alarmed. Would it help? You cannot imagine what he is going | :32:57. | :33:00. | |
through at that. He is 50 million miles away from home. He thinks he | :33:01. | :33:04. | |
is totally alone, he thinks we gave up on him. What does that do to a | :33:05. | :33:09. | |
man psychologically? What the hell is he thinking right now? I'm | :33:10. | :33:18. | |
definitely going to die up here. If I have to listen to any more god | :33:19. | :33:20. | |
awful disco music! A la hand in a read to for The | :33:21. | :33:24. | |
Revenant. Thank you the British Academy for | :33:25. | :34:06. | |
this award. It is a true honour, not just being nominated, but with such | :34:07. | :34:12. | |
amazing directors, it is truly an honour to receive this. This award | :34:13. | :34:20. | |
comes with remarkable British punctuality, because I wanted to | :34:21. | :34:27. | |
celebrate, to share and to dedicate to my wife Maria, with whom | :34:28. | :34:32. | |
tomorrow, we both together we will be yes, abating our 24th anniversary | :34:33. | :34:40. | |
together. -- will be celebrating. So, that is what I call heroism, | :34:41. | :34:47. | |
endurance and survival! And talking about survivors, Leo, your work, | :34:48. | :34:56. | |
your talent, your commitment everyday kept this film breathing. | :34:57. | :35:01. | |
And all of us thank you very much for that. Without you would not be | :35:02. | :35:06. | |
possible. And I would not be here without the work of all the crew | :35:07. | :35:10. | |
around the world, people from all around that we worked together to | :35:11. | :35:13. | |
make this possible in very extreme circumstances. Trying to tell this | :35:14. | :35:21. | |
human and tender story of a father with a mixed-race son which I felt | :35:22. | :35:27. | |
very, very close to, in the Times that we are living. And I would like | :35:28. | :35:31. | |
to give thanks to all the cast, the Native American cast, all the people | :35:32. | :35:37. | |
in Native American lands that allow us to shoot there. And now that I am | :35:38. | :35:44. | |
here in the UK, I want to salute Mr Will Poulter, who is here. To Paul | :35:45. | :35:51. | |
Anderson, to the incredible, in comp rubble Tom Hardy, which I love. And | :35:52. | :36:01. | |
my Irish friend, but I cannot pronounce, it is worse than Inarritu | :36:02. | :36:10. | |
to pronounce - Domhnall Gleeson! Finally, all the people from New | :36:11. | :36:18. | |
Regency Fox. Really thank you for trusting that we could make this | :36:19. | :36:24. | |
together very risky project. Thank you. I am sorry if I forgot anybody. | :36:25. | :36:29. | |
But I love you all. Thank you very much. | :36:30. | :36:42. | |
So, Alejandro Inarritu thinks Domhnall Gleeson is hard to | :36:43. | :36:47. | |
pronounce! Presenting the award for Actress | :36:48. | :36:50. | |
is a prodigious talent, whose characters are known | :36:51. | :36:53. | |
all over the world. Such a man, such a talent, | :36:54. | :36:54. | |
such a hero - Sacha Baron Cohen! Good evening. The main reason I | :36:55. | :37:23. | |
agreed to present at this award ceremony is because Bafta has shown | :37:24. | :37:30. | |
none of the discrimination and prejudice which is so shamefully on | :37:31. | :37:34. | |
display at the Oscars. It gives me great pride that every single year, | :37:35. | :37:38. | |
Bafta makes sure that at least one of the nominees for Best Actress is | :37:39. | :37:43. | |
a dame. Dench, Smith... And the nominations | :37:44. | :38:05. | |
for best to... White actress go to... | :38:06. | :38:15. | |
What with all this to do, I think I am about to be taken short. Can I | :38:16. | :38:23. | |
use your lavatory? It is on the blink. I don't mind. Where is it?! | :38:24. | :38:42. | |
Go and get him. I can't. I need to talk to my husband. I need to hold | :38:43. | :38:54. | |
get him? It is real oceans, real trees, real cats. How do they | :38:55. | :38:58. | |
get him? It is real oceans, real fit? They just do. They | :38:59. | :39:04. | |
get him? It is real oceans, real in the world. Jack, come on. You're | :39:05. | :39:05. | |
so smart, I know that in the world. Jack, come on. You're | :39:06. | :39:16. | |
take it or leave it. But if you leave it, we | :39:17. | :39:20. | |
take it or leave it. But if you go to court, it will | :39:21. | :39:25. | |
take it or leave it. But if you we are not ugly people. | :39:26. | :39:32. | |
I have thought about you. And I like you. And I like being with you. | :39:33. | :39:37. | |
And... May be I feel the same way. Brie Larson! Brie Larson is | :39:38. | :40:01. | |
currently filming in Australia. To accept the award on her behalf, the | :40:02. | :40:07. | |
direct, the fabulous Lenny Abrahamson. | :40:08. | :40:13. | |
Yes, Brie is looking for a little bit of something nice and light to | :40:14. | :40:31. | |
do. Wrestling a large gorilla in Australia! But she wanted me to | :40:32. | :40:36. | |
thank Bafta. She is incredibly honoured by this award. She wanted | :40:37. | :40:46. | |
me to thank FilmFour and the producer of Room, and also Film | :40:47. | :40:57. | |
Canal, and also the actor who played Jack in the movie. The fact that she | :40:58. | :41:03. | |
is not here allows me to say things about her which she would never say | :41:04. | :41:09. | |
herself. She is an extraordinary person, she is warm and furiously | :41:10. | :41:12. | |
intelligent and I think she is one of the best actors of her | :41:13. | :41:17. | |
generation. The dimension is of the room we shot much of the movie in | :41:18. | :41:25. | |
word pretty tiny. But I think with Brie at the centre of this story, | :41:26. | :41:30. | |
and with all the cast and crew, we managed to make something of real | :41:31. | :41:31. | |
emotional scale. Thank you, Bafta. To present the award | :41:32. | :41:38. | |
for Leading Actor, a super talent who this time last year was picking | :41:39. | :41:42. | |
up the Leading Actress award for her astonishing | :41:43. | :41:46. | |
performance in Still Alice. Well, since then I can report | :41:47. | :41:49. | |
that she is still astonishing, still super-talented and still, | :41:50. | :41:52. | |
would you believe, Julianne Moore! I'm so happy to have | :41:53. | :42:02. | |
been asked to present I'm happy because some | :42:03. | :42:23. | |
of the greatest actors in the world have given us so many truly | :42:24. | :42:28. | |
exceptional lead performances over Let's take a look at some | :42:29. | :42:30. | |
of their extraordinary work. Hello, I am adult and trombone. If | :42:31. | :42:48. | |
you're going to talk about World War II as if you personally won it, | :42:49. | :42:55. | |
let's be clear. On a film set, shooting blanks, wearing make-up. | :42:56. | :42:59. | |
And if you are going to hit me, I would like to take off my glasses. I | :43:00. | :43:09. | |
am not afraid to die any more. Don't send him out to slap me around | :43:10. | :43:32. | |
in the press. Anyone but rain man. What ever you may think, I'm always | :43:33. | :43:37. | |
going to protect him. Come on, Steve. That is what men do. | :43:38. | :43:49. | |
Never spend the night. It does not matter what I wear. When I dream, | :43:50. | :44:00. | |
they are Lily's dreams. I am warm because I have a decaying | :44:01. | :44:15. | |
radioactive isotope right behind me. Right now I have got ego problems on | :44:16. | :44:21. | |
my hands. I have scanned every single data file on Amanda Lewis's | :44:22. | :44:27. | |
personal drive. This is a officially the least this go file she owns. -- | :44:28. | :44:35. | |
disco file. And the Bafta for leading actor goes | :44:36. | :44:38. | |
to... Leonardo DiCaprio! Thank you Bafta. I am absolutely | :44:39. | :45:11. | |
humbled and I'm absolutely honoured by this award tonight. I have to | :45:12. | :45:16. | |
say, as an actor I have been so influenced by so many British actors | :45:17. | :45:22. | |
throughout the years. I remember watching Tom Courtney in skop | :45:23. | :45:26. | |
loneliness of the Long Distance Runner whivens 15 all wait to Gary | :45:27. | :45:34. | |
Oldman in State of Grace which influenced an entire generation of | :45:35. | :45:38. | |
actors and the late, great Peter O'Toole and everything Daniel | :45:39. | :45:44. | |
Day-Lewis has done. I want to thank one British actor, my partner in | :45:45. | :45:49. | |
this process, Mr Tom Hardy. # APPLAUSE | :45:50. | :45:53. | |
Tom, I want to thank you for your fierce loyalty, not only as a | :45:54. | :45:57. | |
collaborator but as a friend. I could not have done this journey | :45:58. | :46:03. | |
without you. I want to thank the entire crew, and our writer. Sean | :46:04. | :46:09. | |
and Duncan my make-up artist who is spent hours a day turning me into a | :46:10. | :46:14. | |
living zombie. The entire crew that we got to work with, all the entire | :46:15. | :46:23. | |
cast. We stood shoulder-to-shoulder in this entire process. Ricky, you | :46:24. | :46:28. | |
had the vision of this fi. Thank you so very much for pushing me every | :46:29. | :46:34. | |
day. I want to thank the entire team back home, all the producers at Fox | :46:35. | :46:40. | |
and in particular, Arnold. You stood by this film to the bitter end. I | :46:41. | :46:47. | |
cannot thank you enough. And of course, Alejandro G Inarritu this | :46:48. | :46:50. | |
would not have been possible without your commitment, your fierce | :46:51. | :46:54. | |
commitment to authenticity every day. Thank you for becoming a great | :46:55. | :46:58. | |
friend more than anything throughout this entire process. Lastly, one | :46:59. | :47:02. | |
person I have to thank. I would not be standing up here if it wasn't for | :47:03. | :47:07. | |
this person. I didn't grow up in a life of privilege. I grew up in a | :47:08. | :47:12. | |
rough neighbourhood in East Los Angeles. This woman drove me three | :47:13. | :47:17. | |
hours a day to a different school to show me a different opportunity. It | :47:18. | :47:22. | |
is her birthday today. Mom, happy birthday, I love you very much. | :47:23. | :47:26. | |
APPLAUSE You see, cut his hair, shave him and | :47:27. | :47:43. | |
scrub him, he turns out rather nice, doesn't he? Congratulations. | :47:44. | :47:46. | |
And so we come to the final award, Best Film, and I'm somewhat | :47:47. | :47:49. | |
embarrassed to say that we've run out of presenters. | :47:50. | :47:55. | |
No worries though - during the last award, | :47:56. | :47:59. | |
I wandered backstage to see if anyone was hanging around, | :48:00. | :48:02. | |
and thankfully, curled up on the sofa in a sleeping bag, | :48:03. | :48:04. | |
still here from last year, I only found... | :48:05. | :48:08. | |
As we've seen throughout this evening, this year's filmmaking has | :48:09. | :48:29. | |
I'm honoured to be here to recognise and celebrate the creative talent | :48:30. | :48:35. | |
I'm Irish, you're German, but what makes us both American? Just one | :48:36. | :49:00. | |
thing... The rule book. We call it the constitution. We agree to the | :49:01. | :49:04. | |
rules and that's what makes us Americans. It's all that makes us | :49:05. | :49:08. | |
Americans. So don't tell me there's no rule book and don't nod at me | :49:09. | :49:10. | |
like that, you son of a bitch. No-one is paying attention because | :49:11. | :49:21. | |
the banks are too busy getting paid obscene fees to sell these bonds. | :49:22. | :49:26. | |
Wait, you are the bank, you work for the bank, I bet your margins are | :49:27. | :49:30. | |
fat. Let's in the talk about my margins. Being nice and fat, that's | :49:31. | :49:35. | |
a nice shirt. Do they make it for men? | :49:36. | :49:40. | |
You can come and visit me sometime. You are welcome to. Would you like | :49:41. | :49:48. | |
to come and visit me this Sunday? Yes. What a strange girl you are? | :49:49. | :49:56. | |
Why? Show meet church manipulated the | :49:57. | :50:16. | |
system so these guys wouldn't face charges, show me they put back in | :50:17. | :50:20. | |
parishes time and time again. Show it it was systemic, that it came | :50:21. | :50:24. | |
from the top down. Sounds like we are going after law. We are going | :50:25. | :50:26. | |
after the system. Wait until morning, we'll have a | :50:27. | :50:37. | |
day's head start and get away. No, you won't. It's afraid. You know so | :50:38. | :50:51. | |
far, with a they came for, the same, when they get afraid they run deep | :50:52. | :50:56. | |
into the woods. We have him trapped. He doesn't know it yet. How can you | :50:57. | :51:00. | |
be so sure? It has everything to lose. | :51:01. | :51:04. | |
APPLAUSE The Bafta goes to The Revenant. | :51:05. | :51:23. | |
OK, well, this is overwhelming. You know, so the tradition of | :51:24. | :51:57. | |
film-making here is amazing, my father's favourite actors were the | :51:58. | :52:01. | |
British actors. He was always telling me that's acting acting, not | :52:02. | :52:11. | |
acting, it is really acting. And, you know, tomorrow, funnily, I'm | :52:12. | :52:17. | |
celebrating my anniversary, I'm celebrating, too, the two years | :52:18. | :52:20. | |
anniversary of my father's death. I'm sure he is involved in this | :52:21. | :52:23. | |
award working upstairs. I promised my mum I would not be sad, I would | :52:24. | :52:29. | |
be celebrating his life, that life gave me 50 years of the most | :52:30. | :52:33. | |
beautiful man and I have to be thankful for that as I'm thankful | :52:34. | :52:36. | |
for this. There are so many people to give thanks that it is | :52:37. | :52:40. | |
overwhelming. They know that, I hope. But the one that is pop into | :52:41. | :52:46. | |
my mind now, is an amazing visionary and brother and incredible cinemaing | :52:47. | :52:59. | |
to graph. And the co--writer -- | :53:00. | :53:01. | |
simematopgrapher. My brother, so many people to give things but I | :53:02. | :53:06. | |
want to shut up and please, guys, who wants to talk? A joke, a dance? | :53:07. | :53:11. | |
. Thank you Bafta for this incredible honour. It's a beautiful | :53:12. | :53:16. | |
award, too. Every day getting to be a part of the Revenant was an honour | :53:17. | :53:21. | |
and to be able to support one of a kind artists like this and to be | :53:22. | :53:25. | |
part of something that I think hopefully 20 years from now we may | :53:26. | :53:29. | |
all be able to look back on and be proud. Leo and Tom should be up here | :53:30. | :53:33. | |
accepting this award because when they were in front of the camera, | :53:34. | :53:36. | |
doing something brill yapted, when they weren't they were behind the | :53:37. | :53:43. | |
scenes helping us do a better job. Alejandro G Inarritu, nobody better, | :53:44. | :53:48. | |
you are amazing, your commitment and passion. | :53:49. | :54:02. | |
And like and happy Valentine's day, Javier Without Andres's commitment | :54:03. | :54:05. | |
to this movie it wouldn't have what happened. Every body at Fox and | :54:06. | :54:13. | |
everyone else, thank you all so much. | :54:14. | :54:17. | |
APPLAUSE Congratulations to all nominees and, | :54:18. | :54:27. | |
of course, winners. Woody Allen said - I don't want to | :54:28. | :54:36. | |
achieve immortality through my work. I want to achieve it through not | :54:37. | :54:41. | |
dying. If only that could be. Maybe it's a function of ageing. But every | :54:42. | :54:45. | |
time there is what is called an owe by the package, the clip showing | :54:46. | :54:49. | |
those in the film business who have died over the course of the year it | :54:50. | :54:59. | |
seems that each year death's sickle has felled a greater number than | :55:00. | :55:11. | |
before. Generations yet unborn will enjoy the work of those we have | :55:12. | :55:16. | |
lost. Film is forever. Film defies death, shakes a fist at it and with | :55:17. | :55:21. | |
that in mind, I'm going off now to Hayesen my own demise, by eating and | :55:22. | :55:28. | |
drinking like a wild raffling warthog, who knows no shame and in | :55:29. | :55:31. | |
table manners. I suggest that you do the same. I'll see you at the | :55:32. | :55:40. | |
trough. Good night from the EE Film Academy Awards. Thank you very much. | :55:41. | :55:45. | |
APPLAUSE. Awards presented earlier. Make-up | :55:46. | :55:50. | |
and hair: The Bafta is awarded to... Max Max | :55:51. | :56:07. | |
Max. -- Mad Max. We need to thank George Miller for | :56:08. | :56:09. | |
taking us on this journey. The Revenant. Unfortunately Emmanuel | :56:10. | :56:23. | |
couldn't be here. We will look after this and make sure he gets it. Thank | :56:24. | :56:25. | |
you very much. Amy. I look like a floating head. | :56:26. | :56:40. | |
You know. I've got no hair. Our aim and mission was to tell the truth | :56:41. | :56:44. | |
about her, to show the world what an amazing person she was. Original | :56:45. | :56:46. | |
music: I am sorry I cannot be there in | :56:47. | :57:01. | |
person in London, I'm conducting a concert in Dublin tonight including | :57:02. | :57:03. | |
the score for The Hateful Eight. All right, OK. Try and calm down. | :57:04. | :57:19. | |
Listen, listen. I need you to stay where you are. | :57:20. | :57:23. | |
Thank you, I will keep this short. So many people to thank. Cate and | :57:24. | :57:27. | |
Vicky for being in the film. Our amazing crew who worked for nothing. | :57:28. | :57:30. | |
# Edmund. | :57:31. | :57:42. | |
# Happy birthday little Eddie. # Happy birthday my dear son...# | :57:43. | :57:47. | |
A year ago we were think being how this character was going to be, you | :57:48. | :57:51. | |
know, how we could empathise with this character who actually eats the | :57:52. | :57:53. | |
people he loves. Mad Max: Fury Road. Every day, in | :57:54. | :58:11. | |
the cutting room an adventure. George, thank you so much. | :58:12. | :58:15. | |
The Revenant. You are an amazing director but you are a better and | :58:16. | :58:24. | |
more amazing human being. Mad Max: Fury Road. | :58:25. | :58:43. | |
When Charl ease Theron sits in a couple of used cars, you get to win | :58:44. | :58:45. | |
one of these. | :58:46. | :58:49. |