EE British Academy Film Awards In 2014 programme – 12 Years A Slave
The official programme given to attendees at the EE British Academy Film Awards on 16 February 2014. Five variant covers were created, each one representing a nominee in the Best Film category. The programme includes exclusive interviews with Dame Helen Mirren and Peter Greenaway, as well as bespoke photography of legendary actors and crafts people.
12 BAFTA NOMINATIONS CONGRATULATIONS & GOOD LUCK TO ALL OUR NOMINEES 12 YEARS A SLAVE: Best Film | Director - Steve McQueen | Adapted Screenplay - John Ridley Leading Actor - Chiwetel Ejiofor | Supporting Actress - Lupita Nyong’o | Supporting Actor - Michael Fassbender | Original Music - Hans Zimmer | Cinematography - Sean Bobbitt Editing - Joe Walker | Production Design - Adam Stockhausen & Alice Baker FOR THOSE IN PERIL: Outstanding Debut by a British Writer, Director or Producer - Paul Wright (Director/Writer) & Polly Stokes (Producer) THE SELFISH GIANT: Outstanding British Film - Clio Barnard & Tracy O’Riordan FROM THE TEAM AT FILM4 CONTENTS WELCO M E 6 62 Philomena Peppered with sharp wit, emotions run high in this provocative adaptation of a scandalous true story about an aged mother looking for her adopted son. Words by Catherine Shoard HRH The Duke Of Cambridge, KG, President of the Academy John Willis, Chairman of the Academy Olaf Swantee, CEO EE SPECIA L AWA RDS 68 7 9 The Fellowship She’s played everything from East End trophy wife to sovereign of an empire – Dame Helen Mirren is the recipient of the Academy’s highest accolade. Words by Quentin Falk NOM INATIONS 13 39 The nominations in full 80 Juries and Chapters Outstanding British Contribution to Cinema Artist, visionary, provocateur – all have been used to describe this year’s Special Award recipient, lmmaker Peter Greenaway. Words by Rich Matthews BEST FILM NOMINEES C O N T E N T S 42 12 Years A Slave An un inching and intense exploration of slavery, set to the backdrop of steamy 19th century Louisiana. Words by Nev Pierce 97 Cinemmersive: A Photographic Essay Films take us on extraordinary journeys. They immerse us in another world. Our photographic essay explores BAFTA-winning and nominated lm talent whose work excels at connecting with an audience on an emotional level. By Dr Andy Gotts MBE MA 5 46 American Hustle An irresistible, often uproarious black comedy, based on the true story of the FBI’s attempt to entrap corrupt politicians. Words by Matthew Leyland 90 In Memoriam O cers of the Academy Partners of the Academy Film Awards Partners Film Awards Gift Providers 52 Captain Phillips Almost unbearably taut, this hijack thriller becomes increasingly claustrophobic as the tension is relentlessly cranked up. Words by Helen O’Hara 115 116 119 56 Gravity An atmospheric and spectacular modern take on the disaster lm, boasting groundbreaking visual e ects. Words by Jonathan Crocker 121 123 Film Awards Meal: Behind the Menu 127 Acknowledgements 128 End Credits 6 HRH The Duke Of Cambridge, KG President of the Academy WELCOME — BAFTA Chairman’s Message he EE British Academy Film Awards are a celebration of the very best in international lm in the past year, as delivered by the world’s greatest practitioners, and what a remarkable year it has been. BAFTA’s Film Awards are, of course, a particularly British celebration of excellence: we’ve added an extra nomination to the Outstanding British Film category, recognising just how many incredible lms worthy of the honour are being created with signi cant UK involvement. This adds to our other exclusively British awards which include Outstanding Debut By A British Writer, Director Or Producer and Outstanding British Contribution To Cinema. It is also rewarding to see so much British talent at the heart of the nominated lms made outside of the UK. However, BAFTA is part of an international lm culture and tonight’s ceremony is a celebration of the most remarkably talented individuals working in front of and behind the camera, wherever they hail from. Congratulations to all the nominees this evening. Tonight is a retrospective of sorts, but tomorrow we look to the future: our charitable work is built on taking your outstanding achievements and inspiring the next generation of talent. BAFTA’s charitable work is about expanding the horizons of young people, ensuring that the most talented aren’t dissuaded from considering a career in lm, television or games, whatever their background. Our year-round programme of learning events and initiatives – more than 250 a year – are open to the public and re ected on our BAFTA Guru website, where BAFTA nominees and other expert practitioners share their knowledge through Q&As, masterclasses, lectures, career tips and advice. There are few better ways to impart knowledge and wisdom than through direct interaction and personal mentoring, in person or online – it can help them take a career-de ning step into the industry. Many of you can name the person that opened the door for you, who helped guide you into your craft and the world you’re very much part of today. So in 2014, we’re campaigning to extend young people’s networks by increasing our pool of mentors, and people o ering work placements at their companies. Please support Give Something Back, our new campaign supporting young creative people, by visiting bafta.org to nd out ways in which you can help. And thank you to those who already have. Finally, congratulations to the leading lady of her generation, Dame Helen Mirren, who receives the Fellowship this evening, and to Peter Greenaway, the innovative lmmaker who is justly rewarded with the Outstanding British Contribution To Cinema award. Have an excellent evening. W E L C O M E 7 John Willis Chairman of the Academy WELCOME — Sponsor’s Message s CEO of EE, it is my pleasure to once again be partnering with BAFTA – a relationship that is now in its 16th year. The EE British Academy Film Awards is the most important night in the UK lm industry calendar, and the international and domestic talent walking the red carpet tonight is testimony to its continued importance, both here and across the globe. Like BAFTA, EE has grown, evolved and innovated over the years. For us, that has never been more exciting than over the past 18 months, when we pioneered superfast 4G technology and created a new digital backbone for the UK. Our 4G service has expanded rapidly across the country, and the UK is now a global leader in data speeds, with the EE network capable of delivering up to 300mbps – that’s three times faster than the fastest xed-line broadband speeds. And it’s those kinds of speeds that are changing industries and opening up more opportunities for connectivity and creativity than ever before. The lm industry is a great example. Behind the scenes, we are helping teams speed up production times, enabling the faster coding of lms, and giving editors the power to work in isolated locations anywhere in the world. Audiences are also bene ting from our superfast 4GEE network with customers accessing lms anywhere, anytime, whether they are at home, or out and about. These truly are exciting times for the lm industry and its fans. As tonight’s lead sponsor, we are proud to present our own award – the EE Rising Star Award, which identi es and celebrates the best in emerging talent. Established nine years ago, in honour of casting director Mary Selway, the award recognises a young actor or actress who has demonstrated exceptional talent and ambition, and has begun to capture the imagination of the British public. It remains the only one of tonight’s awards to be voted for by the British public, and its roll call of previous winners includes Tom Hardy, Kristen Stewart, Noel Clarke, James McAvoy and Adam Deacon, with Juno Temple winning the award in 2013. I would like to take this opportunity to thank our EE Rising Star jury for their expertise, time and commitment in selecting the shortlist of ve Rising Stars: Pippa Harris (jury chair), Gemma Arterton, Kirk Jones, Peter Czernin, Priya Elan, Charles Gant, Chris Hewitt, Larushka Ivan-Zadeh, Mark Kermode, Kate Lee, Karen Lindsay-Stewart and Martin Robinson. It’s going to be a wonderful evening, so let’s settle in, enjoy and celebrate the very best of creativity in lm. W E L C O M E 9 Olaf Swantee CEO, EE Warner Bros. Pictures Congratulates Our Nominees At The EE British Academy Film Awards In 2014 ALFONSO CUARÓN DAVID HEYMAN ALFONSO CUARÓN ALFONSO CUARÓN JONÁS CUARÓN SANDRA BULLOCK STEVEN PRICE Original Music Leading Actress Original Screenplay Director Best Film EMMANUEL LUBEZKI Outstanding British Film Cinematography Sound ALFONSO CUARÓN DAVID HEYMAN JONÁS CUARÓN Editing GLENN FREEMANTLE SKIP LIEVSAY CHRISTOPHER BENSTEAD NIV ADIRI CHRIS MUNRO Special Visual Effects ALFONSO CUARÓN MARK SANGER ANDY NICHOLSON ROSIE GOODWIN JOANNE WOOLLARD Production Design TIM WEBBER CHRIS LAWRENCE DAVID SHIRK NEIL CORBOULD NIKKI PENNY Original Screenplay WOODY ALLEN CATE BLANCHETT Leading Actress Supporting Actress SALLY HAWKINS PETER SWORDS KING RICHARD TAYLOR • RICK FINDLATER Make-Up & Hair JOE LETTERI • ERIC SAINDON DAVID CLAYTON • ERIC REYNOLDS Special Visual Effects MAURIZIO SILVI KERRY WARN Make-Up & Hair CATHERINE MARTIN Costume Design CATHERINE MARTIN BEVERLEY DUNN Production Design HAL HICKEL • JOHN KNOLL • LINDY DE QUATTRO • NIGEL SUMNER Special Visual Effects © 2014 Warner Bros. Entertainment Inc. All Rights Reserved. Lâ€™Instant Champagne, with Vitalie Taittinger. Vitalie Taittinger is an active member of the family Champagne House. Champagne for the Independently Minded Official Champagne to BAFTA Champagne Taittinger is widely stocked in national retailers such as Majestic Wine Warehouse, Asda, Sainsburyâ€™s, Tesco, Waitrose, Harrods, Fortnum & Mason, www.yourfavouritewines.com, as well as many independent wine merchants. www.taittinger.com Film Finances congratulates all of this yearâ€™s BAFTA Nominees and is proud to have been the Completion Guarantor of Good Vibrations, Mandela: Long Walk To Freedom, Philomena and Rush. Film Finances, the world leader in the provision of Completion Guarantees for the Film and Television Industry since 1950. EE BRITISH ACADEMY FILM AWARDS IN 2014 N O M I N A T I O N S 13 T H E THE NOMINATIONS THE WALT DISNEY COMPANY UK THANKS THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS AND PROUDLY CONGRATULATES OUR EE BRITISH ACADEMY FILM AWARDS NOMINEES OUTSTANDING BRITISH FILM John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue Smith LEADING ACTRESS Emma Thompson OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER Kelly Marcel ORIGINAL MUSIC Thomas Newman COSTUME DESIGN Daniel Orlandi ANIMATED FILM Chris Buck, Jennifer Lee ANIMATED FILM Dan Scanlon SPECIAL VISUAL EFFECTS Bryan Grill, Christopher Townsend, Guy Williams, Dan Sudick © Disney 2014 ADAPTED SCREEN PL AY ANIM ATED FILM 12 YEARS A SLAVE John Ridley DESPICABLE ME 2 Chris Renaud, Pierre Co n N O M I N A T I O N S BEHIND THE CANDELABRA Richard LaGravenese 15 CAPTAIN PHILLIPS Billy Ray T H E FROZEN Chris Buck, Jennifer Lee PHILOMENA Steve Coogan, Je Pope THE WOLF OF WALL STREET Terence Winter MONSTERS UNIVERSITY Dan Scanlon Proud airline partner BEST FILM BRITISH SHORT ANIM ATION 12 YEARS A SLAVE Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen A MERICAN HUSTLE Charles Roven, Richard Suckle, Megan Ellison, Jonathan Gordon EVERYTHING I CAN SEE FROM HERE Bj酶rn-Erik Aschim, Friederike Nicolaus, Sam Taylor N O M I N A T I O N S 17 T H E CAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De Luca I A M TOM MOODY Ainslie Henderson GRAVITY Alfonso Cuar贸n, David Heyman PHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward SLEEPING WITH THE FISHES James Walker, Sarah Woolner, Yousif Al-Khalifa ORBIT EVER AFTER KEEPING UP WITH THE JONESES SEA VIEW FOR THOSE IN PERIL SHELL FROM BRITISH SHORT FILM TO BEST FILM THE INVISIBLE WOMAN THE GREAT BEAUTY (and everything in between) CONGRATULATIONS TO ALL THE NOMINEES SUPPORTED BY THE BFI FILM FUND WADJDA BLUE IS THE WARMEST COLOUR THE SELFISH GIANT PHILOMENA BRITISH SHORT FILM CI N E M ATO G R A PHY ISLAND QUEEN Ben Mallaby, Nat Luurtsema, Emma Hughes 12 YEARS A SLAVE Sean Bobbitt KEEPING UP WITH THE JONESES Megan Rubens, Michael Pearce, Selina Lim CAPTAIN PHILLIPS Barry Ackroyd N O M I N A T I O N S ORBIT EVER AFTER Chee-Lan Chan, Jamie Stone, Len Rowles 19 T H E GRAVITY Emmanuel Lubezki ROOM 8 James W. Gri ths, Sophie Venner INSIDE LLEWYN DAVIS Bruno Delbonnel SEA VIEW Anna Du eld, Jane Linfoot NEBRASKA Phedon Papamichael COSTUME DESIGN DIRECTO R A MERICAN HUSTLE Michael Wilkinson 12 YEARS A SLAVE Steve McQueen BEHIND THE CANDELABRA Ellen Mirojnick N O M I N A T I O N S A MERICAN HUSTLE David O. Russell 21 T H E THE GREAT GATSBY Catherine Martin CAPTAIN PHILLIPS Paul Greengrass THE INVISIBLE WOMAN Michael O’Connor GRAVITY Alfonso Cuarón SAVING MR. BANKS Daniel Orlandi THE WOLF OF WALL STREET Martin Scorsese New Zealandâ€™s Most Awarded Winery OFFICIAL WINE SUPPLIER T O B A F TA Villa Maria wines are widely available in the UK from Booths, Majestic, Morrisons, Tesco, Sainsburyâ€™s, Waitrose, www.nzhouseofwine.co.uk and many independent retailers. For further information please visit www.villamariaestate.co.uk V I L L A M A R I A E S TAT E . C O . U K D O CU M EN TA RY EDITING THE ACT OF KILLING Joshua Oppenheimer 12 YEARS A SLAVE Joe Walker THE ARMSTRONG LIE Alex Gibney N O M I N A T I O N S CAPTAIN PHILLIPS Christopher Rouse 23 T H E BLACKFISH Gabriela Cowperthwaite GRAVITY Alfonso Cuarón, Mark Sanger TIM’S VERMEER Teller, Penn Jillette, Farley Ziegler RUSH Dan Hanley, Mike Hill WE STEAL SECRETS: THE STORY OF WIKILEAKS Alex Gibney THE WOLF OF WALL STREET Thelma Schoonmaker would like to thank the British Academy of Film and Television Arts and proudly congratulate its nominees Animated Film Universal Pictures Director Leading Actor Adapted Screenplay Editing Documentary Sound universalpicturesuk @universaluk universalpicturesuk www.universalpictures.co.uk FI L M N OT I N TH E ENGLISH LANGUAGE LEADING ACTO R THE ACT OF KILLING Joshua Oppenheimer, Signe Byrge Sørensen BRUCE DERN Nebraska BLUE IS THE WARMEST COLOUR Abdellatif Kechiche, Brahim Chioua, Vincent Maraval CHIWETEL EJIOFOR 12 Years A Slave N O M I N A T I O N S THE GREAT BEAUTY Paolo Sorrentino, Nicola Giuliano, Francesca Cima 25 T H E CHRISTIAN BALE American Hustle METRO MANILA Sean Ellis, Mathilde Charpentier LEONARDO DICAPRIO The Wolf Of Wall Street WADJDA Haifaa Al-Mansour, Gerhard Meixner, Roman Paul TOM HANKS Captain Phillips THANKS THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS AND PROUDLY CONGRATULATES OUR NOMINEES BEST FILM GABRIELLE TANA, STEVE COOGAN, TRACEY SEAWARD OUTSTANDING BRITISH FILM STEPHEN FREARS, GABRIELLE TANA, STEVE COOGAN, TRACEY SEAWARD, JEFF POPE ADAPTED SCREENPLAY STEVE COOGAN, JEFF POPE LEADING ACTRESS JUDI DENCH OUTSTANDING BRITISH FILM JOHN LEE HANCOCK, ALISON OWEN, IAN COLLIE, PHILIP STEUER, KELLY MARCEL, SUE SMITH OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER KELLY MARCEL (WRITER) LEADING ACTRESS EMMA THOMPSON ORIGINAL MUSIC THOMAS NEWMAN COSTUME DESIGN DANIEL ORLANDI COSTUME DESIGN MICHAEL O’CONNOR OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER COLIN CARBERRY, GLENN PATTERSON (WRITERS) bbc.co.uk/bbcfilms LEADING ACTRESS MAKE UP & HAIR A MERICAN HUSTLE Evelyne Noraz, Lori McCoy-Bell, Kathrine Gordon A MY ADA MS American Hustle BEHIND THE CANDELABRA Kate Biscoe, Marie Larkin CATE BLANCHETT Blue Jasmine N O M I N A T I O N S THE BUTLER Debra Denson, Candace Neal, Robert Stevenson, Matthew Mungle EMMA THOMPSON Saving Mr. Banks THE GREAT GATSBY Maurizio Silvi, Kerry Warn 27 T H E JUDI DENCH Philomena THE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater SANDRA BULLOCK Gravity T h e s e n s e o f A R R iVA L T h e U n R iVA L L e D s e R V iC e T h e s AV oy s U iT e w e L C o m e The luxury of a stay at The Savoy now begins before you even check in. Book a One Bedroom Suite or above at The Savoy and receive: – Round-trip transfers from all London airports and railway stations – Courtesy car drop off within a 3 mile radius (subject to availability) – Beverages from the in-room private bar – Pressing of one garment per person – Dedicated 24 hour butler service – High-speed wi-fi – Welcome amenity Rates from £1,026 inc VAT. To make a reservation, please telephone +44 (0)20 7836 4343 or email email@example.com fairmont.com/savoy Follow us: ORIGINAL MUSIC ORIGINAL SCREEN PL AY 12 YEARS A SLAVE Hans Zimmer A MERICAN HUSTLE Eric Warren Singer, David O. Russell THE BOOK THIEF John Williams N O M I N A T I O N S BLUE JASMINE Woody Allen 29 T H E CAPTAIN PHILLIPS Henry Jackman GRAVITY Alfonso Cuar贸n, Jon谩s Cuar贸n GRAVITY Steven Price INSIDE LLEWYN DAVIS Joel Coen, Ethan Coen SAVING MR. BANKS Thomas Newman NEBRASKA Bob Nelson We are proud to support the EE British Academy Film Awards and congratulate the achievements of RUSH and all tonight’s nominees OUTSTANDING BRITISH FILM SUPPORTING ACTOR Daniel Brühl EDITING Dan Hanley, Mike Hill SOUND Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse O U TSTA N D I N G B RITISH FI L M OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER GRAVITY Alfonso Cuarón, David Heyman, Jonás Cuarón MANDELA: LONG WALK TO FREEDOM Justin Chadwick, Anant Singh, David M. Thompson, William Nicholson COLIN CARBERRY (WRITER), GLENN PATTERSON (WRITER) Good Vibrations N O M I N A T I O N S PHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward, Je Pope KELLY MARCEL (WRITER) Saving Mr. Banks 31 T H E RUSH Ron Howard, Andrew Eaton, Peter Morgan KIERAN EVANS (DIRECTOR/WRITER) Kelly + Victor SAVING MR. BANKS John Lee Hancock, Alison Owen, Ian Collie, Philip Steuer, Kelly Marcel, Sue Smith PAUL WRIGHT (DIRECTOR/WRITER), POLLY STOKES (PRODUCER) For Those In Peril THE SELFISH GIANT Clio Barnard, Tracy O’Riordan SCOTT GRAHAM (DIRECTOR/WRITER) Shell Congratulations to all nominees Pinewood Pictures: financing and distributing Global Independent Film and Television www.pinewoodgroup.com/filmfinance Belle © 2014 David Appleby Our Robot Overlords © 2014 Mediator 452 Ltd Dom Hemingway © 2014 Nick Wall PINEWOOD STUDIOS GROUP 6 countries, over 1 million sq ft of stage and studio space CANADA | DOMINICAN REPUBLIC | GERMANY | MALAYSIA | UK | USA www.pinewoodgroup.com PW EE BAFTA Film Awards 2014 R4.indd 1 20/01/2014 11:48 Casting Extras for BAFTA nominees and winners in Film & Television for 15 years... from Stephen frearS director of the dENCh judI queen COOGAN STEVE For your carefully selected extras, whether it is one face or a crowd of thousands, call Mad Dog Casting... our rECEnT work inCludEs... Philomena, Jack Ryan: Shadow Recruit, Cuban Fury, The Duchess, About Time, Sherlock, Da Vinci’s Demons, Breathless and Atlantis. london: 020 7269 7910 CArdiFF: 02920 444 082 mAddogCAsTing.Com Inspired by the true story of a search for a lost son IN CINEMAS NOVEMBER 1 ST PRODUCTION DESIGN SOUND ALL IS LOST Richard Hymns, Steve Boeddeker, Brandon Proctor, Micah Bloomberg, Gillian Arthur 12 YEARS A SLAVE Adam Stockhausen, Alice Baker CAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver Tarney A MERICAN HUSTLE Judy Becker, Heather Loe er GRAVITY Glenn Freemantle, Skip Lievsay, Christopher Benstead, Niv Adiri, Chris Munro BEHIND THE CANDELABRA Howard Cummings, Barbara Munch-Cameron INSIDE LLEWYN DAVIS Peter F. Kurland, Skip Lievsay, Greg Orlo , Paul Urmson GRAVITY Andy Nicholson, Rosie Goodwin, Joanne Woollard RUSH Danny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse N O M I N A T I O N S 33 T H E THE GREAT GATSBY Catherine Martin, Beverley Dunn CONGRATULATIONS TO OUR SPECIAL VISUAL EFFECTS NOMINEES JOE LETTERI THE HOBBIT: THE DESOLATION OF SMAUG ERIC SAINDON DAVID CLAYTON ERIC REYNOLDS IRON MAN 3 GUY WILLIAMS The Hobbit: The Desolation of Smaug © 2013 Warner Bros. Entertainment Inc. and Metro-Goldwyn-Mayer Pictures Inc., Iron Man 3 ©2013 Marvel Studios., © Weta Digital 2014. All rights reserved. SPECIAL VISUAL EFFECTS SUPPORTING ACTO R GRAVITY Tim Webber, Chris Lawrence, David Shirk, Neil Corbould, Nikki Penny BARKHAD ABDI Captain Phillips THE HOBBIT: THE DESOLATION OF SMAUG Joe Letteri, Eric Saindon, David Clayton, Eric Reynolds BRADLEY COOPER American Hustle N O M I N A T I O N S IRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan Sudick 35 T H E DANIEL BRÜHL Rush PACIFIC RIM Hal Hickel, John Knoll, Lindy DeQuattro, Nigel Sumner MATT DA MON Behind The Candelabra STAR TREK INTO DARKNESS Roger Guyett, Patrick Tubach, Ben Grossmann, Burt Dalton MICHAEL FASSBENDER 12 Years A Slave SUPPORTING ACTRESS T H E EE R I S I N G STA R AWA R D VOTED FOR BY THE PUBLIC JENNIFER LAWRENCE American Hustle DANE DEHA AN JULIA ROBERTS August: Osage County N O M I N A T I O N S GEORGE MACKAY 37 T H E LUPITA NYONG’O 12 Years A Slave LUPITA NYONG’O OPRAH WINFREY The Butler WILL POULTER SALLY HAWKINS Blue Jasmine LÉA SEYDOUX Nominations correct at the time of press. JURIES AND CHAPTERS JURIES British Short Animation — Justin Johnson (chair) Sarah Cox David Freedman Oli Hyatt Julian Jarrold Martin Pope Dave Prosser Sarah Smith Cara Speller John Walsh C H A P T E R S CHAPTERS Outstanding British Film — Nik Powell (chair) Nicolas Chaudeurge Noel Clarke Andy Curtis Andrea Gibb Ben Gibson Pippa Harris Mark Herbert Justin Johnson Kate Muir Jason Solomons Julia Stannard Eve Stewart Kenith Trodd Penny Wolf Craft Chapters — Cinematography Costume Design Directing Editing Make Up & Hair Music Production Design Screenplay Sound Special Visual E ects British Short Film — Lisa Bryer (chair) Martina Amati Andrew Curtis Leo Davis Christopher Figg Amelia Granger Nina Kellgren Charlotte Macleod Robert Miller Diana Phillips Carter Pilcher Andy Price Opt-in Chapters — Animation British Short Animation and British Short Film Documentary Film Not In The English Language Outstanding British Film Craft chapters are made up of Academy members with specialist experience in the relative eld; opt-in chapters are open to all members who are willing to commit to watching the eligible lms. For full details on the voting process, please visit: www.bafta.org/ lm/awards 39 J U R I E S A N D Outstanding Debut By A British Writer, Director Or Producer — Stephen Woolley (chair) Peter Bradshaw Moira Bu ni Kate Lee Hannah McGill Michael Parker Tanya Seghatchian Peter Straughan James Watkins Official Beer Partner abc would like to congratulate all of tonight’s BAFTA nominees and winners www.ingeniousmedia.co.uk B E S T F I L M N O M I N E E 42 B E S T F I L M N O M I N E E 43 44 12 YEARS A SLAVE Words by Nev Pierce Nev Pierce is editor-at-large for Empire “Now 33 per cent of black males in jail, that’s 55 per cent of black students will fail, they say 85 per cent black folks forgot we were slaves – what’s up inside this box?” ‘Escapism’, Public Enemy To say 12 Years A Slave is an education and an entertainment feels contradictory and damning, but this is intended as nothing other than high praise: this is a lm of rare and exquisite balance. It informs through immersion and transports with its performances and beauty – both loving and pitiless. There are shockingly few lms related to slavery and those that ping on awards’ radars tend to be grand narratives with white protagonists, such as Amistad (1997) or the BAFTA-nominated Lincoln (2012) – ne stories, but told from the BEST FILM NOMINEES Anthony Katagas, Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen OTH ER N O M I N ATED CATEGORIES Adapted Screenplay; Cinematography; Director; Editing; Leading Actor; Original Music; Production Design; Supporting Actor; Supporting Actress outside. Instead, Steve McQueen puts us inside the experience. The director had been looking for a way to explore 19th century slavery when his wife gave him the memoir of Solomon Northup, a free citizen of 1840s’ New York who was abducted and sold into slavery in the South. McQueen and screenwriter John Ridley use this remarkable man as our conduit into a horror not often enough imagined. We stand beside him as he su ers, from the frank evil of Paul Giamatti’s slave trader, to the tortured menace of Michael Fassbender’s plantation owner. Though perhaps the most troubling character is Benedict Cumberbatch’s more kindly slaver Ford, who smothers conscience with fear, prompting the question: would we do the same? One criticism has been that Northup is too passive a protagonist, which seems a slightly peculiar observation to make of a true story about a man stuck in slavery. The lm shares something of the formalist approach of McQueen’s previous lms Hunger (2008), which won the Outstanding Debut BAFTA in 2009, and double BAFTAnominee Shame (2011) – both about being trapped, either physically or mentally – and perhaps a more conservative style or ostentatiously heroic lead might have made for a more accessible picture, but it wouldn’t be as honest. We’re used to a certain degree of self-determination in our characters – and our lives – which the grind of this reality does not allow. (It is a reality not simply of the past, either: charities such as Love146 are working to highlight and end the contemporary problem. The United Nations estimates there are 20.9 million people enslaved today.) Still, Northup does consider escaping and ghts to be free, while Chiwetel Ejiofor’s miraculous performance ensures that, even in his silent struggles, the soul of the character speaks. Perhaps a sense of Solomon’s passivity is exaggerated because the lm arrives a year after the shot-for-the-hip, Western wish-ful lment fantasy of Django Unchained (2012). It won’t be long, if it hasn’t happened already, before some enterprising cinema plays them in a double bill. But the running order can now be reversed, as it should be. Watch McQueen’s picture rst, because before you can play with the truth, people need to know the truth. It can set them free. 45 B E S T F I L M N O M I N E E 46 B E S T F I L M N O M I N E E 47 B E S T AMERICAN HUSTLE 48 Words by F I L M Matthew Leyland Matthew Leyland is reviews editor for Total Film N O M I N E E airpieces trump set pieces in American Hustle. That’s not a criticism: David O. Russell’s lm aunts an attention to character detail rare among con capers. Usually, plot is the main motor, tautly snaking its way through multiple switchbacks en route to the grand nal rug-pull. There’s one of those here, but we’re drawn in by a di erent kind of rug: the one seasoned trickster Irving (Christian Bale) carefully pastes to his head in the opening scene. As well as a mesmerising display in itself, it’s an intro that neatly ags up the lm’s themes of (false) appearances, (shifting) identities and making oneself (comb-)over. As slippery as the characters are, we’re able to latch on to them. Firstly, because Russell and co-writer Eric Singer unmask vulnerabilities, explore aws and extend empathy. “More than anything, I want you to fall in love with them,” says the director of his hustlers. Secondly, because of a starry cast setting their collective charisma to full beam. Beer-bellied but light on his feet, Bale hasn’t exed his comic chops so enjoyably since American Psycho (2000) – the di erence being that Irving is a rogue we can root for: a basically decent desperado whose small-time swindling lands him at the centre of a big-time FBI-sponsored scam involving fake sheiks and dodgy politicians. His partner in crime is exstripper Sydney: Amy Adams dressed to kill (and thrill, given the – tactical – amount of midri on show) in a performance that turns on a dime from smooth criminality to raw emotion. While Bale and Adams do the heavy grifting, Russell re-enlists his Silver Linings Playbook (2012) players Bradley Cooper and Jennifer Lawrence (both BAFTA-nominated for their performances in that lm, which also won Russell the Adapted Screenplay prize) in roles where they again essay controlled explosiveness. As tightly wound as his (magni cent) perm, Cooper is Richie, the ambitious FBI agent orchestrating the sheik-down; just because he’s on the right side of the law doesn’t make him any less given to bad, mad decisions. And Lawrence – as Irving’s wild wife Rosalyn – is a force of nature, crowned by a blonde tornado of hair. Just don’t let her near a microwave! There’s also Jeremy Renner, whose Carmine is as cuddly a corrupt mayor as you will ever meet. Our heroes irt, ght, form fragile alliances… front and centre throughout, the tangled to-andfro of human relationships brings an organic vibe to an often mechanical genre. Not only giving the con caper a fresh twist, Russell also spring cleans the ’70s – the decade fashion forgot, but lms never do. The vibrant stylings feel more lived-in than kitsch, while familiar chart hits get their groove back via some impeccable song-to-scene matchmaking: the hot throb BEST FILM NOMINEES Charles Roven, Richard Suckle, Megan Ellison, Jonathan Gordon N O M I N E E F I L M OTH ER N O M I N ATED CATEGORIES Costume Design; Director; Leading Actor; Leading Actress; Make Up & Hair; Original Screenplay; Production Design; Supporting Actor; Supporting Actress 49 B E S T of ‘I Feel Love’ set to Sydney/Richie’s dirty discodancing, or the mood-swinging ‘Live And Let Die’, transformed into a showstopping anthem for the mood-swinging Rosalyn. Despite a glancing reference to Watergate/ Vietnam, American Hustle doesn’t have a political axe to grind. It’s a group portrait of dishonest people from a sincerely talented lmmaker capable of turning a revolving laundry rack into a romantic idyll. And one whose screwball brilliance kicks in as soon as the needle drops: “Some of this actually happened,” winks the opening caption (a nod to the story’s loose roots in the real-life Abscam operation). Only the facts have been changed, for our supreme entertainment. THE BRITISH FILM COMMISSION CONGRATULATES ALL OF TONIGHT’S NOMINEES We are especially proud of the talent recognised for British Film Commission-assisted features produced in the UK, including Gravity, Captain Phillips and Rush which made excellent use of UK studios, talent and cutting-edge VFX facilities. The British Film Commission works to attract filming to the UK. Contact us for: • Guidance on the UK’s generous film and television tax reliefs • Free bespoke production support • Expertise throughout the UK via a network of industry partners • Highly knowledgeable and experienced teams based in the UK and US • Assistance with sourcing the UK’s crew, talent, facilities, studios and locations The British Film Commission thanks its gold founding sponsors: The British Film Commission is supported by www.britishfilmcommission.org.uk @FilmInUK_BFC MICHAEL G WILSON & BARBARA BROCCOLI C O N G R AT U L AT E A L L O F TO N I G H T ’ S N O M I N E E S AND WINNERS B E S T F I L M N O M I N E E 52 B E S T F I L M N O M I N E E 53 B E S T CAPTAIN PHILLIPS 54 Words by F I L M Helen O’Hara Helen O’Hara writes for Empire and Empire Online N O M I N E E he true story of Captain Phillips made newspapers around the world in April 2009, which means that most viewers will have an inkling how this story ends. But the great achievement of Paul Greengrass’ lm is to nd the humanity behind the headlines, and to put the hijacking of the cargo ship Maersk Alabama in a wider context – all while ratcheting up the tension unbearably. The lm builds a clash between two captains and, through them, two cultures. There’s an inevitability to it: early scenes cut between the two preparing their respective voyages, one in comfort and one under pressure to deliver. Tom Hanks’ Captain Phillips is the professional, detail-oriented American charged with seeing a huge container ship safely to its destination. Newcomer Barkhad Abdi, as Muse, is the scrappy Somali, ghting for opportunity in a system ruled by warlords and determined to make a big score by hijacking a Western ship. Both men are clever and resourceful – Phillips sees o the pirates’ rst attempt to board his ship, but Muse too is prepared, and exploits a gap in their defences to devastating e ect. One sails an enormous, high-tech vessel laden with consumer goods. The other uses a rusty launch that looks barely seaworthy to chase after his enormous prey, like ants hunting elephants. Director Greengrass shows his cinéma verité roots (Bloody Sunday ) as clearly as his action movie credentials (The Bourne Supremacy , United 93 ), taking a forensic approach to the hijacking and nding tension in the detail of Captain Phillips’ ordeal. As Phillips is taken hostage and endures tense days in a cramped boat with the increasingly desperate (and still heavily armed) young men, the viewer is right beside him. When one pirate breaks a window on the tiny craft, desperate for air after days at sea, you can feel the salt breeze in the cinema. As Phillips, Tom Hanks has rarely been better. He is perhaps the most straightforwardly heroic lead of any of this year’s nominated lms, innovating and improvising at the point of a gun barrel to spare his crew, help the US Navy as they attempt to rescue him and, in extremis, fashion a last missive to his wife and family. But he is not simply an action man or some sort of warrior. The nal scene, in which a rescued Phillips breaks down and sobs with relief following his rescue, is a portrayal of naked trauma that lingers long after the credits roll. But the lm also shows boundless empathy – although never sympathy – for Abdi’s Muse, too, a gure who is as terrifying as he is terri ed. It’s in his refusal to demonise the aggressors here that Greengrass’ lm nds its power. Paul Greengrass has claimed that the lm is not political, and that’s strictly true. But in highlighting certain realities of the modern world – the long chain of violence that ends with the dirt-poor pirates; the contrast between our luxury goods and the countries that supply them – it’s an intensely powerful lm. The sight of three enormous US warships bearing down on a tiny lifeboat holding four skinny desperados speaks volumes about the relative power of each here. But even as these behemoths loom outside, Phillips still has a gun to his head, and so power remains a complex thing. N O M I N E E BEST FILM NOMINEES Scott Rudin, Dana Brunetti, Michael De Luca OTH ER N O M I N ATED CATEGORIES Adapted Screenplay; Cinematography; Director; Editing; Leading Actor; Original Music; Sound; Supporting Actor 55 B E S T F I L M B E S T F I L M N O M I N E E 56 B E S T F I L M N O M I N E E 57 GRAVITY Words by Jonathan Crocker Jonathan Crocker is head of content and UX at Human After All pace is just 80 miles away from every one of us. Closer than most people are to their own national capitals. But it feels much further than it should. NASA’s moon landings were meant to be the dawn of an epic age of space travel, lunar bases and missions to Mars. It didn’t happen. And Earth’s dreams of galaxies far, far away have faded over the past four decades. In his nal public interview, Neil Armstrong lamented what humanity really lost: the belief that anything is possible. Armstrong, though, died a year too soon to see Gravity ’s bravura 13-minute opening shot, a 375-mile high launch pad from which director Alfonso Cuarón’s spectacular odyssey makes your senses oat with new wonder at both space and cinema. At rst, you’re marvelling at Cuarón and cinematographer Emmanuel Lubezki’s gamechanging digital accomplishments. Soon, you just… let go. The 3D technology disappears behind an enveloping sensorial experience that sends us into the void like no other lm in history. Never mind whether or not you can ‘hike’ across space with a re extinguisher. Awe trumps accuracy and quite rightly. It’s how Gravity makes you feel that makes it real. When a mid-orbit disaster leaves two spacewalking astronauts – rookie engineer G R A V I T Y 58 Sandra Bullock and star cowboy George Clooney – spinning helplessly away into the big nothing, Cuarón’s camera hauls us in close. We travel through Bullock’s visor. Her face petri es with full-screen fear. Her gulping breaths ll our ears. Then, audaciously, we turn to gawp through her eyes at Gravity’s impossibly poignant backdrop: the endless darkness of space and the gleaming marble of Mother Earth. Micro-plotting their survival saga on the most epic canvas in existence, co-writers Cuarón and his son, Jonás, leave us hanging right here for the rest of the lm – oscillating between contemplation and desperation, astonishment and terror, serenity and anxiety. 59 Not least thanks to recurring maelstroms of lethal space debris from an exploded satellite that decimate everything in their path, death arrives in silence. And in these moments, you forget to breathe. Cosmic metaphors oat easily in this kind of space: a simple story about the human refusal to ever let go of life, even against inevitable, eternal nothingness. Indeed, Bullock’s heavenly body curling into a zero-G foetal position – a simultaneous feat of e ortlessly evocative simplicity and gurn-inducing technical complexity – is a spectacle to sit next to Méliès’ rocket in the moon’s eye and Kubrick’s space stations waltzing to Strauss. BEST FILM NOMINEES Alfonso Cuarón, David Heyman OTH ER N O M I N ATED CATEGORIES Cinematography; Director; Editing; Leading Actress; Original Music; Original Screenplay; Outstanding British Film; Production Design; Sound; Special Visual E ects Best of British Pact congratulates the UK independent production companies behind many of this yearâ€™s BAFTA nominations. Baby Cow Films and Magnolia Mae Films for Philomena Adapted Screenplay, Best Film, Outstanding British Film, Leading Actress Magnolia Mae Films for The Invisible Woman Costume Design Origin Pictures for Mandela: Long Walk to Freedom Outstanding British Film Revolution Films for Rush Editing, Outstanding British Film, Sound, Supporting Actor Revolution Films for Good Vibrations Outstanding Debut by a British Writer, Director or Producer Ruby Film and Television for Saving Mr Banks Costume Design, Leading Actress, Original Music, Outstanding British Film, Outstanding Debut by a British Writer, Director or Producer Warp Films for For Those in Peril Outstanding Debut by a British Writer, Producer or Director Pact is the Producers Alliance for Cinema and Television congratulates our clients on their EE British Academy Film Awards in 2014 nominations Best Film 12 YEARS A SLAVE Adapted Screenplay 12 YEARS A SLAVE BEHIND THE CANDELABRA CAPTAIN PHILLIPS DEDE GARDNER ANTHONY KATAGAS JEREMY KLEINER STEVE MCQUEEN* BRAD PITT DANA BRUNETTI MICHAEL DE LUCA STEVE COOGAN** Outstanding British Film MANDELA: LONG WALK TO FREEDOM PHILOMENA CAPTAIN PHILLIPS JOHN RIDLEY RICHARD LAGRAVENESE BILLY RAY STEVE COOGAN PHILOMENA WOLF OF WALL STREET Leading Actor TERENCE WINTER BRUCE DERN NEBRASKA WILLIAM NICHOLSON*** STEVE COOGAN RON HOWARD PETER MORGAN** JOHN LEE HANCOCK SAVING MR. BANKS RUSH PHILOMENA CHIWETEL EJIOFOR† 12 YEARS A SLAVE CAPTAIN PHILLIPS TOM HANKS CATE BLANCHETT†† BLUE JASMINE GRAVITY Leading Actress SANDRA BULLOCK Supporting Actor Film Not In The English Language BLUE IS THE WARMEST COLOUR ABDELLATIF KECHICHE Animated Film FROZEN Director BRADLEY COOPER AMERICAN HUSTLE 12 YEARS A SLAVE Supporting Actress MICHAEL FASSBENDER‡ JENNIFER LEE STEVE MCQUEEN JENNIFER LAWRENCE AMERICAN HUSTLE AUGUST: OSAGE COUNTY British Short Film ROOM 8 12 YEARS A SLAVE DAVID O. RUSSELL AMERICAN HUSTLE CAPTAIN PHILLIPS Original Screenplay JULIA ROBERTS PAUL GREENGRASS JAMES W. GRIFFITHS EE Rising Star Award ERIC WARREN SINGER DAVID O. RUSSELL AMERICAN HUSTLE DANE DEHAAN LÉA SEYDOUX‡‡ DAME HELEN MIRREN BAFTA Fellowship and salutes * Shared representation with Casarotto Ramsay & Associates ** Shared representation with Independent Talent *** Shared representation with The Agency † Shared representation with Markham, Froggatt and Irwin †† Shared representation with RGM Artists Group ‡ Shared representation with Troika Entertainment ‡‡ Shared representation with Adequat B E S T F I L M N O M I N E E 62 B E S T F I L M N O M I N E E 63 PHILOMENA Words by Catherine Shoard Catherine Shoard is lm editor for Guardian News & Media teve Coogan has been in ve lms over the last year. But only one of them – and that includes the Alan Partridge movie – can really claim to be a passion project. It sprang from Coogan reading an article by former spin doctor Martin Sixsmith about helping a retired Irish nurse track down her son, who’d been sold for adoption by nuns 50 years previously. He bought the rights to Sixsmith’s book (before he’d even got a copy), co-wrote a script, wrangled Stephen Frears to direct, Robbie Ryan to shoot, Alexandre Desplat to score and Judi Dench to take the title role (Coogan also co-stars and produces). What fuelled his mission was, in part, moral indignation – against sexual hypocrisy, against institutional complacency and against suspect journalism. It was also that he identi ed a brilliant comedic conceit. 64 Coogan and co-writer Je Pope’s stroke of genius was in shifting Sixsmith’s relationship with Philomena centre stage. On the page, Philomena is sad reportage of mother and son. On screen, it’s reborn as an odd couple road trip as the Oxbridge snit and gentle pensioner rattle round Ireland and America, through red tape and over dead ends, in search of the truth. Dench was 78 at the time of the shoot, but she skips round the obstacle course of comedy and drama without breaking sweat, while Coogan moves to the backseat and donates her the best lines. Theirs is a fantastic winning friction that recalls, if anything, Alec Guinness and Katie Johnson in the twice BAFTA-winning The Ladykillers (1955). BEST FILM NOMINEES Gabrielle Tana, Steve Coogan, Tracey Seaward OTH ER N O M I N ATED CATEGORIES Adapted Screenplay; Leading Actress; Outstanding British Film The man with the plan who thinks he’s smart; the old woman forever benignly scuppering it. What complicates this dynamic further is that, technically, it’s Dench who is the deviant, not the character played by Coogan. It is the sweet geriatric who is accused of “carnal incontinence”, who still hankers after forgiveness for her shame. She is also, in another twist, an unlikely cheerleader for sexual pleasure. Her original roll in the hay (the biblical references include straw, a donkey and a dropped apple) was, she says, “like oating on air… I thought anything that feels so good must be wrong”. Sixsmith – a lapsed Catholic, like Coogan – defends her, spits at religion. But his liberal righteousness is pinpricked by Philomena herself, whose capacity for forgiveness is shown to be not blind faith but clear-eyed pragmatism. It’s confounding. And it’s this that makes the lm so gripping: for something so populist, it’s very unpredictable. Philomena is a lm whose warm embrace by critics and audiences alike isn’t hard to fathom. It doesn’t preach or patronise. It’s bright and sharp on the ethics of storytelling – Martin has qualms about selling his subject to the glossies, as well as about the whole notion of the ‘human interest story’ – but it never gets too meta. The impulse to make Philomena may have arisen from outrage. Yet it’s resolved with a compassion that trips you up scene after scene. You can stand on a soapbox and still honour the pulpit. 65 W E P ROUD LY CON GRAT U LAT E OU R C LIENTS O N T HEIR E E B RI TI SH ACA D E MY FILM AWARDS NO MINAT IO NS A DA P T E D S C R E E N P L AY LEADING ACTOR OU T S TA N DI NG DEBUT BY A BRITISH WRITER Philomena JEFF POPE BRITISH SHORT FILM CHRISTIAN BALE American Hustle Saving Mr. Banks KELLY MARCEL LEADING ACTRESS Orbit Ever After JAMIE STONE C I N E M AT O G R A P H Y AMY ADAMS American Hustle PRODUCTION DESIGN EMMA THOMPSON Saving Mr. Banks The Great Gatsby CATHERINE MARTIN SUPPORTING ACTOR BRUNO DELBONNEL Inside Llewyn Davis ORIGINAL MUSIC HANS ZIMMER COSTUME DESIGN DANIEL BRÜHL Rush 12 Years A Slave CATHERINE MARTIN The Great Gatsby HENRY JACKMAN Captain Phillips MATT DAMON Behind the Candelabra DANIEL ORLANDI Saving Mr. Banks ORIGINAL S C R E E N P L AY DIRECTOR SUPPORTING ACTRESS Nebraska MARTIN SCORSESE The Wolf of Wall Street BOB NELSON OU T S TA N DI NG BRITISH FILM OPRAH WINFREY The Butler E E RI S I NG S TA R WILL POULTER EDITING Philomena JEFF POPE Rush ANDREW EATON Saving Mr. Banks 12 Years A Slave JOE WALKER BEST FILM KELLY MARCEL American Hustle CHARLES ROVEN RICHARD SUCKLE A C A D E M Y F E L L O W S H I P 68 A C A D E M Y F E L L O W S H I P 69 70 DAME HELEN MIRREN ACA D E MY FELLOWSH IP Words by Quentin Falk Opening portrait Film stills Ian Derry Rex Features The Queen (2006) elen Mirren’s rst BAFTA nomination was exactly 30 years ago, for her role as a tragic young Catholic widow in Cal (1984), set during the Irish Troubles of the early 1980s. Ten BAFTA nominations and four wins on – including three on the spin for her feisty, acerbic DCI Jane Tennison in ITV’s Prime Suspect – Mirren, now Dame Helen, has become a national treasure. If the “rough, messed up” (her words) Scotland Yard cop rst de ned her screen image internationally, then that would change even more spectacularly a decade later when she gained even greater global popularity, kudos and many more awards playing our reigning monarch on the big screen in The Queen (2006). It’s clear, however, that the award this year of BAFTA’s prestigious Fellowship – she’s only the 10th woman in the Academy’s entire history to receive it – has an extra special meaning for her. “I think,” she mused, “we all know that winning awards for performance is a bit of a questionable process. The rst thing you tend to feel when you win an award is guilt because you know how the other people who are up for it feel as you’ve been there yourself. This is very di erent, a recognition, hopefully, of a body of work, a lifetime of a certain attitude and approach to work. That’s how I see it. It’s not, for a change, about being the ‘best’ of anything, as it were, and I really like that.” And, she laughed, “it really has been a lifetime, rather terrifying to realise that,” before re ecting more closely on a remarkable stage and screen career across almost half a century, which rst sprang to life from the mid-1960s when she became a member of the Royal Shakespeare Company, taking on over the succeeding years some great classical and contemporary roles. “My overriding ambition from a young age,” recalled the London-born daughter of AngloRussian parentage, “was to be in the theatre. I was so caught up in the romantic fantasy of those great actresses of the late 19th century, like Eleonora Duse and Sarah Bernhardt. They were part of my romantic vision. Above all, I wanted to be a great classical theatre actress, and that’s what I worked towards from the very start.” 71 Red 2 (2013) Caligula (1979) “The Fellowship is recognition of a lifetime of a certain attitude and approach to work. It really has been a lifetime, rather terrifying to realise that.” 72 A C A D E M Y F E L L O W S H I P The Long Good Friday (1980) The Last Station (2009) Her progress towards the big screen was an altogether more halting a air – “a slow burn”, she describes it – beginning as an uncredited extra when barely out of her teens, painting Laurence Harvey’s toenails in the 1966 Cold War comedy, The Spy With A Cold Nose (the spy in question being a pedigree bulldog with a listening bug grafted inside its stomach). “I didn’t really go to the cinema very much when I was young, and I suppose the only kind of lm actress I would have wanted to be then was one of the European greats, like Anna Magnani, Jeanne Moreau, Monica Vitti or, my father’s particular favourite, Simone Signoret.” After a brief, early urry of lm – Michael Powell’s Age Of Consent (1969) in which she was bravely, and memorably, naked on the Great Barrier Reef, Ken Russell’s Savage Messiah (1972) and O Lucky Man! (1973), for Lindsay Anderson – it would be a number of years before the cinema properly beckoned again. Mirren was almost in her mid-30s by the time she played, to great acclaim, Bob Hoskins’ upper-crust gangster moll in The Long Good Friday (1980). The Official Chocolatier to the British Academy of Film and Television Arts hotelchocolat.com PHOTOGRAPH BY Andrew Montgomery “I came to The Long Good Friday with my arrogance, and ignorance of the medium, well in place. However, I still felt very insecure about lm.” “I came into that with my arrogance, and ignorance of the medium, still well in place, blithely re-writing the script which was, I think, ultimately to the advantage of the lm,” she says. “However, I still felt very insecure about lm. When I was young, the lm set was an incredibly masculine place in what was still a very sexist world. For a woman walking on to sets then, it was a very lonely business and you had somehow to negotiate your way through it. I really didn’t know what I was doing,” Just a handful of years after that, she was reported, rather sensationally, and still con rms it today, as believing she’d somehow “lost” her “talent” while making Cal in Ireland. “I really felt I was all at sea,” she says. “It was frightenedrabbit-in-the-headlights type of acting. I nally realised how ignorant I was about the whole thing and that I must start learning much more about the process, as it’s such a wonderful and powerful form of storytelling.” The breakthrough – that eureka moment – came, she explained, “doing Prime Suspect . It was pretty late by then, I was already into my 40s. But the experience of doing so many hours of work, with so many good directors, meant I could nally walk on those sets with a proper kind of authority.” There were six Prime Suspect miniseries spanning 12 years, concluding nally in 2003 – the same year she became a Dame in the Queen’s Birthday Honours – with Tennison, having risen to the dizzy heights of detective superintendent, perched on the edge of retirement. Some Mother’s Son (1996) SELECT FILMOGRAPHY Red 2 Hitchcock Arthur Red Brighton Rock The Tempest The Debt The Last Station State Of Play National Treasure: Book Of Secrets The Queen Shadowboxer The Clearing Calendar Girls Happy Birthday (also directed) Gosford Park Last Orders Green ngers Teaching Mrs Tingle Critical Care Some Mother’s Son The Madness Of King George The Hawk Where Angels Fear To Tread The Cook, The Thief, His Wife And Her Lover The Mosquito Coast 2010 Cal Excalibur The Long Good Friday Hussy Caligula O Lucky Man! Miss Julie Savage Messiah Age Of Consent A Midsummer Night’s Dream 2013 2012 2011 2010 2010 2010 2010 2009 A C A D E M Y 2009 2007 2006 2005 2004 2003 2001 2001 2001 2000 1999 1997 1996 1994 1993 1991 1989 1986 1984 1984 1981 1980 1980 1979 1973 1972 1972 1969 1968 74 F E L L O W S H I P CELEBRATING 6 YEARS AS THE OFFICIAL HAIR STYLIST TO THE EE BRITISH ACADEMY FILM AWARDS NEW VOLUME & BOUNCE THICK & FULL 3D BOOSTING CRÈME ‘MY HAIR LOOKS FABULOUS AND FEELS THICKER AND FULL OF BODY’ Fiona Arthur, Edinburgh www.charlesworthington.com @CWHairLondon ALICE EVE British Actress By then, she had made such ne lms as The Madness Of King George (1994), Gosford Park (2001) and Calendar Girls (2003), before The Queen would further ignite work here and in Hollywood, including State Of Play, The Last Station (both 2009), The Debt (2011), a pair of Red all-star action-comedy spectaculars (2010, 2013), and Hitchcock (as Mrs H), which snared her most recent BAFTA performance nomination last year. Theatre, still her rst love, has continued to punctuate her screen career with, most recently, an Olivier award-winning return to regal ways as Elizabeth II in Peter Morgan’s The Audience, which traces her varied relationships with 12 PMs – her “Dirty Dozen”, as she calls them – across The Queen’s 60 years; a role she hopes to take to Broadway later this year. “I am a complete Elizabethan,” Mirren concludes. “My whole life will, in a sense, have been de ned by being alive during her reign. Although I hope my whole career won’t also be de ned by playing her, it’s still an amazing thing to me that I’ve been able to creatively engage with it.” A C A D E M Y 76 F E L L O W S H I P Hitchcock (2012) The Madness Of King George (1994) Arthur (2011) FELLOWS OF THE ACADEMY 1971 1972 1973 1974 1975 1976 1976 1977 1978 1979 1979 1980 1980 1981 1981 1981 1982 1983 1984 1984 1985 1986 1987 1988 1989 1990 1991 1992 1992 1993 1993 1994 1995 1996 1996 1996 1996 1997 1997 1997 1997 1997 1997 Alfred Hitchcock Freddie Young OBE Grace Wyndham Goldie David Lean Jacques Cousteau Sir Charles Chaplin Lord Olivier Sir Denis Forman Fred Zinnemann Lord Grade Sir Huw Wheldon David Attenborough CBE John Huston Abel Gance Michael Powell Emeric Pressburger Andrzej Wajda Sir Richard Attenborough CBE Sir Hugh Greene Sam Spiegel Jeremy Isaacs Steven Spielberg Federico Fellini Ingmar Bergman Sir Alec Guinness CH, CBE Paul Fox Louis Malle Sir John Gielgud David Plowright Sydney Samuelson CBE Colin Young CBE Michael Grade CBE Billy Wilder Jeanne Moreau Ronald Neame CBE John Schlesinger CBE Dame Maggie Smith Woody Allen Steven Bochco Julie Christie Oswald Morris OBE Harold Pinter CBE David Rose 1998 1998 1999 1999 2000 2000 2000 2001 2001 2001 2002 2002 2002 2002 2003 2003 2004 2004 2005 2005 2006 2006 2007 2007 2007 2008 2008 2009 2009 2009 2010 2010 2010 2011 2011 2011 2012 2012 2013 2013 2013 Sean Connery Bill Cotton CBE Eric Morecambe and Ernie Wise Elizabeth Taylor Michael Caine Stanley Kubrick (posthumous) Peter Bazalgette Albert Finney John Thaw Dame Judi Dench Warren Beatty Merchant Ivory Productions Andrew Davies Sir John Mills Saul Zaentz David Jason John Boorman Roger Graef John Barry OBE Sir David Frost OBE Lord Puttnam CBE Ken Loach Anne V. Coates OBE Richard Curtis CBE Will Wright Sir Anthony Hopkins CBE Bruce Forsyth CBE Terry Gilliam Nolan Bushnell Dawn French and Jennifer Saunders Vanessa Redgrave CBE Shigeru Miyamoto Lord Bragg Sir Christopher Lee CBE Peter Molyneux OBE Sir Trevor McDonald OBE Martin Scorsese Rolf Harris CBE Sir Alan Parker Gabe Newell Michael Palin CBE F E L L O W S O F 78 T H E A C A D E M Y Names and honours correct at time of presentation. HACKETT LONDON IS PROUD TO BE THE OFFICIAL MENSWEAR STYLIST FOR T HE EE BRITISH ACADEMY FILM AWARDS IN 2014 HACKETT.COM O U T S T A N D I N G B R I T I S H C O N T R I B U T I O N T O C I N E M A REENAWAY ETER 80 O U T S T A N D I N G B R I T I S H C O N T R I B U T I O N T O C I N E M A 81 PETER GREENAWAY O U TSTA N D I N G B RIT ISH CO NTRIBUTIO N TO CIN E M A Words by Film stills Rich Matthews Rex Features 82 know nothing about you, but I do know two things – two people f*cked to make you and I’m sorry, you’re going to die,” smiles lmmaker Peter Greenaway. The recipient of this year’s BAFTA for Outstanding British Contribution To Cinema has always been a forthright, singular artist, a Welsh-born iconoclast known for his painterly cinematic style and penchant for pushing boundaries. Indeed, his to-the-point analysis of all of us re ects his ongoing fascination with sex and death – the twin forces of Eros The Draughtsman’s Contract (1982) and Thanatos from Greek mythology – that permeates his work. Even a cursory familiarity with his lms – with the prime example being The Cook, The Thief, His Wife And Her Lover (1989) – exposes Greenaway’s examination of what he refers to as the very beginning and the very end. “We’re all extremely, deeply fascinated – whether you’re a nun or a serial killer – with these issues,” he explains. “A novelist like Balzac might have said that money was important, but money’s only there to manipulate the sex and the death anyway. You could say that Shakespeare’s plays are about power, but that power is circulating around notions of beginnings and ends, starts and nishes.” Going back to his own start, Greenaway hails from Newport in Gwent, and began his artistic life as a painter before branching out into lm in 1966, making his striking debut, The Falls, in 1980, followed by his rst traditional narrative feature, The Draughtsman’s Contract, in 1982. What followed was a run of richly creative, visually arresting and thematically challenging lms that, he says, “push the edges”, from A Zed & Two Noughts (1985) and The Belly Of An Architect (1987) through to Nightwatching (2007) and Goltzius And The Pelican Company (2012). Plenty of sex and death is explored to be sure. “Somebody once asked me, ‘Why, Mr Greenaway, did you move from painting to cinema?’ and rather cheekily I said, ‘Paintings don’t have soundtracks,’” he laughs. “That’s a simpli cation because cinema has so many elements, but it’s basically true. I was often criticised in England for being far too concerned with form and not content, but for a long time the French have said there’s no such thing as content anymore – the language is the content. I always have this eye for the emotion of the pictorial image and try very, very hard to use all the contemporary gizmos I can – there’s practically a new one every afternoon now – to expand lmmaking language.” Receiving an award like the Academy’s Outstanding British Contribution To Cinema can be misconceived as the bell tolling at the end of a career – or even a life, given Greenaway’s obsessions – and this immediately occurred to him upon hearing about the award. 83 The Pillow Book (1996) “I always have this eye for the emotion of the pictorial image and try very hard to expand lmmaking language.” O U T S T A N D I N G B R I T I S H 84 C O N T R I B U T I O N The Cook, The Thief, His Wife And Her Lover (1989) Goltzius And The Pelican Company (2012) T O “Didn’t David Hockney say that if you’re English and you can still boil an egg when you’re 70, they’ll give you a medal?” he says, wryly. “But it sounds rather grand. I was a little surprised. I’m a bit of an outsider as a lmmaker. I haven’t lived in England now for about 20 years. I live in Amsterdam and I feel like a European now. I’m at an age that my next great adventure must be death, though the last three lms I’ve made are not inherently about that, they’re more about notions of immortality through art. Although, if you seek immortality, you shouldn’t be a lmmaker. Cinema is very ephemeral, it needs so much technology to reproduce it. The rst 30 years of cinema was silent and who watches silent cinema anymore?” So how does he feel he’ll be remembered for his work? “Journalists have often said that you’re only allowed to make three good lms,” he smiles. “I hope I have a bit more time to make those good three lms, but that’s probably not true anymore. So I think my reputation will probably be associated with The Draughtman’s Contract, The Cook, The Thief, His Wife, And Her Lover, and The Pillow Book. But I have made 15 lms and we’re working on the 16th now. Cinema’s a lottery – you can have a great script, great actors, everything you need; put it in the oven; take it out and…” A lot of Greenway’s recent output has been outside of conventional cinema, including exhibition and installations in Venice’s Palazzo Fortuny, Barcelona’s John Miro Gallery and the Louvre in Paris, and he believes this re ects the changing nature of how we consume and create images. C I N E M A SELECT FILMOGRAPHY Goltzius And The Pelican Company Peopling The Palaces At Venaria Reale Nightwatching A Life In Suitcases The Tulse Luper Suitcases The Death Of A Composer: Rosa, A Horse Drama 8 1/2 Women The Pillow Book The Baby Of Mâcon Darwin Prospero’s Books The Cook, The Thief, His Wife And Her Lover Drowning By Numbers The Belly Of An Architect A Zed & Two Noughts The Draughtsman’s Contract The Falls 2012 2007 2007 2005 2001 – 2004 1999 1999 1996 1993 1992 1991 1989 1988 1987 1986 1982 1980 O U T S T A N D I N G The Baby Of Mâcon (1993) “Journalists say you’re only allowed to make three good lms. I hope I have a bit more time to make those three good lms.” “Our ability now to make and manipulate images is much more profound,” he says. “I don’t think it belongs in dark cinemas anymore. Man’s not a nocturnal animal. The developments outside of cinema are far more exciting than those in it. If you think, as many do, that cinema is the seventh art – that comes with a responsibility. Most lms stay within the aegis of simply being a lm. But we’re moving into new ground now – our grandchildren will say, ‘Cinema? What on earth was that?’” Greenaway is, as he says, “busier than I’ve ever been,” and it’s not coming from established cinema either. “It’s from institutions all over the world that view the moving image as an extraordinary tool,” he explains. “There are certain freedoms and opportunities – multiple screens, technology associated with the theatre and opera house – that I’m making use of. We’re producing a lot more entertaining, exciting and cutting edge work than when I was associated with orthodox cinema.” But that doesn’t mean Greenaway has left cinema behind – if anything he’s looking back at its past through the prism of modern technology. He has three new lms planned, including his current project, which he’s working on in Mexico. This lm is about the pioneering Russian director and lm theorist Sergei Eisenstein, which he describes as being “about understanding the end, understanding notions of mortality. I’ve put my own doubts in Eisenstein’s mind, with a certain sense of circumspection and an amount of arrogance.” B R I T I S H 86 C O N T R I B U T I O N T O C I N E M A freuds is proud to be entering its seventeenth year as the retained agency for the EE British Academy Film Awards. For further information contact Kate Lee, Director, +44(0)20 3003 6349, firstname.lastname@example.org “I want to come to a lm with as much enthusiasm, excitement and openness as I can.” A Zed & Two Noughts (1986) O U T S T A N D I N G B R I T I S H 88 C O N T R I B U T I O N T O C I N E M A Portrait by Reinier van Brummelen Eisenstein, often credited as the father of montage, is a fellow lmmaker that Greenaway clearly admires. Indeed, he describes him as “one of the few visionary minds in the whole history of cinema,” adding, “Cinema is dying, so maybe now is the time to celebrate its greatest exponent.” Greenaway is very clear that he means the death of “cinema”, not the death of visual storytelling – far from it. He simply believes that the moving image cannot and should not be constrained by the format. “There’s only one good seat in a cinema and it’s where the pictures were taken,” he explains. “When I watch, I don’t want to be interrupted by somebody else, I don’t want to share an emotional involvement with anybody else. I want to make direct contact with the imagination of the lmmaker. I want to come to a lm with as much enthusiasm, excitement and openness as I can. I want to learn something, to have a sensual, emotional and intellectual experience in a way that I have always assumed that serious lmmakers would want me to.” At 71 years old, Greenaway wants you to engage with his work in that intense way and he’ll keep pushing the boundaries of how we consume the moving image to do it. His contribution to cinema is far from over. IN MEMORIAM The following pages honour the esteemed contribution to the lm industry by those individuals who have sadly died in the last 12 months. To learn more about their many achievements, visit bafta.org/heritage/inmemoryof Alexandra Bastedo Actress 09 March 1946 — 12 January 2014 Eileen Brennan Actress 03 September 1932 — 28 July 2013 Shamshad Begum Singer 14 April 1919 — 23 April 2013 Anwar Brett Critic, Journalist 23 July 1966 — 24 November 2013 Hamidou Benmessaoud Actor 02 August 1935 — 19 September 2013 Richard Briers Actor 14 January 1934 — 17 February 2013 Chinua Achebe Writer 16 November 1930 — 21 March 2013 Alberto Bevilacqua Writer, Filmmaker 27 June 1934 — 09 September 2013 Sid Brooks Executive 05 January 1922 — 24 May 2013 David Anderson Assistant Director, Producer 17 September 1940 — 04 August 2013 Paul Bhattacharjee Actor 04 May 1960 — 12 July 2013 John Calvert Magician, Actor 05 August 1911 — 27 September 2013 I N M E M O R I A M 90 Rona Anderson Actress 03 August 1926 — 23 July 2013 Antonia Bird Director 27 May 1951 — 24 October 2013 David Campling Editor, Sound Editor 02 November 1938 — 09 May 2013 Allan Arbus Photographer, Actor 15 February 1918 — 19 April 2013 James Avery Actor 27 November 1945 — 31 December 2013 Karen Black Actress 01 July 1939 — 08 August 2013 Vincenzo Cerami Writer 02 November 1940 — 17 July 2013 Les Blank Director 27 November 1935 — 07 April 2013 Patrice Chéreau Director, Writer 02 November 1944 — 07 October 2013 Conrad Bain Actor 04 February 1923 — 14 January 2013 Michel Brault Director, Cinematographer 25 June 1928 — 21 September 2013 Park Chul-soo Director 20 November 1948 — 19 February 2013 Aleksei Balabanov Filmmaker 25 February 1959 — 18 May 2013 Marc Breaux Choreographer 03 November 1924 — 19 November 2013 Tom Clancy Writer 12 April 1947 — 01 October 2013 Richard Collins Writer, Producer 20 July 1914 — 14 February 2013 Diane Disney Miller Philanthropist 18 December 1933 — 19 November 2013 Joan Fontaine Actress 22 October 1917 — 15 December 2013 Brian Comport Writer 16 April 1938 — 05 September 2013 Ray Dolby Audio Engineer 18 January 1933 — 12 September 2013 Bryan Forbes Actor, Writer, Director, Producer 22 July 1926 — 08 May 2013 CBE Joe Conley Actor 03 March 1928 — 07 July 2013 Deanna Durbin Actress, Singer 04 December 1921 — 20 April 2013 Stanley Forman Director, Producer, Distributor 26 December 1921 — 07 February 2013 Jeanne Cooper Actress 25 October 1928 — 08 May 2013 Roger Ebert Film Critic 18 June 1942 — 04 April 2013 Steve Forrest Actor 29 September 1925 — 18 May 2013 Damiano Damiani M E M O R I A M Marta Eggerth Actress, Singer 17 April 1912 — 26 December 2013 Writer, Director 23 July 1922 — 07 March 2013 Michelle Fox Producer 10 December 1958 — 22 May 2013 91 Nigel Davenport Actor 23 May 1928 — 25 October 2013 Christopher Evan Welch Actor 28 September 1965 — 02 December 2013 Michael France Writer 04 January 1962 — 12 April 2013 I N Franco de Gemini Musician 10 September 1928 — 20 July 2013 Dennis Farina Actor 29 February 1944 — 22 July 2013 Jesús (Jess) Franco Director 12 May 1930 — 02 April 2013 Denys de La Patellière Director 08 March 1921 — 21 July 2013 Syd Field Writer 19 December 1935 — 17 November 2013 Stuart Freeborn Make Up Artist 05 September 1914 — 05 February 2013 Lorella De Luca Actress 17 September 1940 — 09 January 2014 Rick Finkelstein Executive 15 September 1949 — 01 October 2013 Sir David Frost Broadcaster, Executive, Producer 07 April 1939 — 31 August 2013 OBE, Kt Rupert Dilnott-Cooper Executive 01 January 1954 — 20 May 2013 Susan Fitzgerald Actress 28 May 1949 — 09 September 2013 Annette Funicello Actress, Singer 22 October 1942 — 08 April 2013 Elspet Gray Actress 12 April 1929 — 18 February 2013 Julie Harris Actress 02 December 1925 — 24 August 2013 OBE James Gandol ni Actor 18 September 1961 — 19 June 2013 Richard Gri ths Actor 31 July 1947 — 28 March 2013 Ray Harryhausen Animator, Special E ects Director 29 June 1920 — 07 May 2013 Giuliano Gemma Actor 02 September 1938 — 01 October 2013 Michael Grigsby Filmmaker 07 June 1936 — 12 March 2013 Doreen Hawkins Actress 13 July 1919 — 15 June 2013 Aleksey German Director 20 July 1938 — 21 February 2013 Alfredo Guevara Film Director 31 December 1925 — 19 April 2013 Marta He in Actress 29 March 1945 — 18 September 2013 Murray Gershenz Actor 12 May 1922 — 28 August 2013 Haji (born: Barbarella Catton) Jane Henson Puppeteer, Co-creator of The Muppets 16 June 1934 — 02 April 2013 I N 92 Actress 24 January 1946 — 09 August 2013 M E M O R I A M Leslie Gilliat Producer 29 May 1917 — 13 July 2013 Gerry Hambling Editor 14 June 1926 — 05 February 2013 Barbara Hicks Actress 12 August 1924 — 06 September 2013 Peter Gilmore Actor 25 August 1931 — 03 February 2013 Vic Hammond Grip 07 May 1945 — 24 April 2013 Anthony Hinds Producer, Writer, Executive 19 September 1922 — 30 September 2013 Jim Goddard Director, Designer, Painter 02 February 1936 — 17 June 2013 Tim Hampton Producer 25 February 1948 — 11 March 2013 Joe Hobbs Military Costume Designer 14 November 1961 — 27 December 2013 Bob Godfrey Animator 27 May 1921 — 21 February 2013 David Harcourt Camera Operator 27 September 1915 — 05 May 2013 Marty Hornstein Production Manager 15 August 1932 — 19 December 2013 Gary David Goldberg Director, Writer, Producer 25 June 1944 — 22 June 2013 Gerry Harrington Agent, Manager 02 July 1962 — 09 February 2013 Bernard Horsfall Actor 20 November 1930 — 28 January 2013 Paul Jenkins Actor 02 August 1938 — 01 July 2013 Alfredo Landa Actor 03 March 1933 — 09 May 2013 Jackie Lomax Singer, Songwriter 10 May 1944 — 15 September 2013 Iain Johnstone Grip 04 February 1955 — 19 September 2013 Tom Laughlin Actor 10 August 1931 — 12 December 2013 Bill Lovell Digital Product Manager 20 August 1954 — 13 March 2013 Michael J Kagan Producer 16 July 1926 — 10 November 2013 Ed Lauter Actor 30 October 1938 — 16 October 2013 Olga Lowe Actress 14 September 1919 — 02 September 2013 Fay Kanin Writer 09 May 1917 — 27 March 2013 Georges Lautner Director, Writer 24 January 1926 — 22 November 2013 Bigas Luna Writer, Director 19 March 1946 — 06 April 2013 Pat Keen M E M O R I A M Elmore Leonard Novelist, Writer 11 October 1925 — 20 August 2013 AC Lyles Producer 17 May 1918 — 27 September 2013 Actress 21 October 1933 — 01 March 2013 93 Jim Kelly Actor 05 May 1946 — 29 June 2013 Richard LeParmentier Actor, Writer 16 July 1946 — 15 April 2013 Richard Lyon Actor 08 October 1934 — 16 October 2013 I N Jean Kent Actress 29 June 1921 — 30 November 2013 Gail Levin Documentary Filmmaker 20 June 1946 — 31 July 2013 Mario Machado Actor 22 April 1935 — 04 May 2013 Wojciech Kilar Composer 17 July 1932 — 29 December 2013 Harry Lewis Actor 01 April 1920 — 09 June 2013 Angus MacKay Actor 15 July 1926 — 08 June 2013 Greg Kramer Actor 1961 — 08 April 2013 Carlo Lizzani Director, Writer, Critic 03 April 1922 — 05 October 2013 Richard Matheson Writer 20 February 1926 — 23 June 2013 Bernadette Lafont Actress 28 October 1938 — 25 July 2013 Roger Lloyd-Pack Actor 08 February 1944 — 15 January 2014 Iain McColl Actor 27 January 1954 — 04 July 2013 Stephenie McMillan Set Decorator 20 July 1942 — 19 August 2013 Kumar Pallana Actor 23 December 1918 — 10 October 2013 Dale Robertson Actor 14 July 1923 — 27 February 2013 Édouard Molinaro Director, Writer 13 May 1928 — 07 December 2013 Eleanor Parker Actress 26 June 1922 — 09 December 2013 Joseph Ruskin Actor 14 April 1924 — 28 December 2013 Sara Montiel Actress, Singer 10 March 1928 — 08 April 2013 Margaret Pellegrini Actress 23 September 1923 — 07 August 2013 Otto Sander Actor 30 June 1941 — 12 September 2013 Juanita Moore Actress 19 October 1914 — 01 January 2014 Bill Pertwee Actor 21 July 1926 — 27 May 2013 Richard Sara an Director 28 April 1930 — 18 September 2013 Tommy Morrison Boxer, Actor 02 January 1969 — 01 September 2013 Ted Post Director 31 March 1918 — 20 August 2013 Lou Scheimer Animation Producer 19 October 1928 — 17 October 2013 I N M E M O R I A M 94 Gerard Murphy Actor 14 October 1948 — 26 August 2013 Nosher Powell Stuntman, Actor 15 August 1928 — 20 April 2013 August Schellenberg Actor 25 July 1936 — 15 August 2013 Hal Needham Stuntman, Director 06 March 1931 — 25 October 2013 Ruth Prawer Jhabvala Writer 07 May 1927 — 03 April 2013 Alan Sharp Writer 12 January 1934 — 08 February 2013 Ken Norton Boxer, Actor 09 August 1943 — 18 September 2013 Franca Rame Actress, Writer 18 July 1928 — 29 May 2013 Sir Run Run Shaw Producer, Executive 23 November 1907 — 07 January 2014 CBE Milo O’Shea Actor 02 June 1926 — 02 April 2013 Harry Reems Actor 27 August 1947 — 19 March 2013 Pran Sikand Actor 12 February 1920 — 12 July 2013 Peter O’Toole Actor 02 August 1932 — 14 December 2013 Robert Relyea Producer 03 May 1930 — 05 March 2013 Mel Smith Actor, Writer, Director 03 December 1952 — 19 July 2013 Jean Stapleton Actress 19 January 1923 — 31 May 2013 Armando Trovajoli Composer, Musician 02 September 1917 — 28 February 2013 Jonathan Winters Comedian 11 November 1925 — 11 April 2013 Graham Stark Actor 20 January 1922 — 29 October 2013 Luciano Vincenzoni Writer 07 March 1926 — 22 September 2013 Aubrey Woods Actor, Writer 09 April 1928 — 07 May 2013 Bert Stern Photographer, Filmmaker 03 October 1929 — 26 June 2013 Paul Walker Actor 12 September 1973 — 30 November 2013 Olwen Wymark Writer 14 February 1932 — 14 June 2013 Risë Stevens Actress 11 June 1913 — 20 March 2013 Bill Wallis Actor 20 November 1936 — 06 September 2013 Cy Young Film Researcher, Editor, Former Governor of the BFI 05 December 1941 — 12 October 2013 Jack Stokes M E M O R I A M Scott Ward Cinematographer 16 May 1966 — 29 January 2013 Animation Director 02 April 1920 — 20 March 2013 Andy Young Preview Theatre Owner 15 July 1950 — 28 October 2013 95 Patsy Swayze Choreographer 07 February 1927 — 16 September 2013 Sheila Whitaker Film Programmer, Festival Director 01 April 1936 — 29 July 2013 Vadim Yusov Cinematographer 20 April 1929 — 23 August 2013 I N Gilbert Taylor Cinematographer 21 April 1914 — 23 August 2013 Esther Williams Actress 08 August 1921 — 06 June 2013 Saul Zaentz Producer 28 February 1921 — 03 January 2014 Frank Thornton Actor 15 January 1921 — 16 March 2013 John Wilson Animator 07 August 1919 — 20 June 2013 Carmen Zapata Actress 15 July 1927 — 05 January 2014 The Academy has made every e ort to compile an accurate In Memoriam listing of lm practitioners between 23 January 2013 and 22 January 2014. Audrey Totter Actress 20 December 1917 — 12 December 2013 Anna Wing Actress 30 October 1914 — 07 July 2013 Barbara Trentham Actress 27 August 1944 — 02 August 2013 P H O T O G R A P H I C E S S A Y 97 C I N E M M E R S I V E : A CINEMMERSIVE A Photographic Essay by Dr Andy Gotts MBE MA Films take us on extraordinary journeys, from the kitchen sink to strange new worlds. They immerse us in another place, another time, another life. Capturing some of the best practitioners of the cinemmersive experience, all of the artists and crafts people featured are previous BAFTA winners and nominees. C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 98 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 99 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 100 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 101 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 102 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 103 104 105 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 106 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 107 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 108 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 109 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 110 C I N E M M E R S I V E : A P H O T O G R A P H I C E S S A Y 111 WINS AND NOMINATIONS JAVIER BARDEM Win Supporting Actor, 2008 – No Country For Old Men Also two nominations. SIR BEN KINGSLEY Wins Leading Actor, 1983 – Gandhi Most Promising Newcomer To Leading Film Roles, 1983 – Gandhi Also one nomination. SIR IAN MCKELLEN Nominations Supporting Actor, 2004 – The Lord Of The Rings: The Return Of The King Leading Actor, 2002 – The Lord Of The Rings: The Fellowship Of The Ring Leading Actor, 1997 – Richard III Adapted Screenplay, 1997 – Richard III (with Richard Loncraine) CATE BL ANCHET T Wins Supporting Actress, 2005 – The Aviator Leading Actress, 1999 – Elizabeth Also nominated three times. C I N E M M E R S I V E : G EO RG E CLO O N E Y Win Best Film, 2013 – Argo (with Grant Heslov and Ben A eck) STEVE MCQUEEN Win CBE Special Achievement By A British Director, Writer Or Producer In Their First Feature Film, 2009 – Hunger Also nominated eight times. 112 M A RI O N COTI LL A RD Win Leading Actress, 2008 – La Vie En Rose Also one nomination. Also two nominations. A P H O T O G R A P H I C SIR SIDNEY POITIER Win Foreign Actor, 1959 – The De ant Ones Also nominated ve times. CLINT EASTWOOD Nominations Director, 2009 – Changeling Film, 1993 – Unforgiven Director, 1993 – Unforgiven MICKEY ROURKE Win Leading Actor, 2009 – The Wrestler E S S A Y DA N I EL DAY- L E W I S Wins Leading Actor, 2013 – Lincoln Leading Actor, 2008 – There Will Be Blood Leading Actor, 2003 – Gangs Of New York Leading Actor, 1990 – My Left Foot Also two nominations. MERYL STREEP Wins Leading Actress, 2012 – The Iron Lady Leading Actress, 1982 – The French Lieutenant’s Woman Also nominated 12 times. JOHN HURT Win CBE TILDA SWINTO N Win Supporting Actress, 2008 – Michael Clayton Also two nominations. Outstanding British Contribution To Cinema, 2012 Supporting Actor, 1979 – Midnight Express Actor, 1981 – The Elephant Man Also nominated three times. With thanks to Margo Holder and Lancôme for selected shoots. Rex Features photography winners for over 60 years Richard Attenborough with Audrey Hepburn - winners of the British Actor Award and British Actress Award in 1965 www.rexfeatures.com REX - the official photographers to BAFTA congratulate all the nominees Exterion Media, Official Outdoor Media partner of BAFTA, would like to congratulate all award winners and nominees. For further information on Exterion Mediaâ€™s portfolio of advertising solutions, please contact Michelle Gardiner on 020 7428 3656 or email email@example.com www.exterionmedia.co.uk OFFICERS OF THE ACADEMY OFFICERS HRH The Duke of Cambridge, KG Academy President Duncan Kenworthy OBE Academy Vice-President Sophie Turner Laing Academy Vice-President COM MIT TEES Elected Members of the Film Committee — Nik Powell Chairman Pippa Harris Deputy Chairman — David Arnold Andrew Curtis Christopher Figg Justin Johnson Luke Parker Bowles Kenith Trodd Clare Wise Penny Wolf Board of Trustees — John Willis Chairman of the Academy Anne Morrison Deputy Chairman of the Academy and Chairman, Learning and Events Committee Harvey Elliott Chairman, Games Committee Pippa Harris Deputy Chairman, Film Committee Jane Lush Deputy Chairman, Television Committee Andrew Newman Chairman, Television Committee Nik Powell Chairman, Film Committee — Medwyn Jones Chairman, Commercial Committee Tanya Seghatchian Co-optee Janet Walker Chairman, Finance and Audit Committee — Amanda Berry OBE Chief Executive Kevin Price Chief Operating O cer A C A D E M Y Elected Members of the Television Committee — Andrew Newman Chairman Jane Lush Deputy Chairman — Richard Boden James Dean Neil Grant Olivia Lichtenstein Krishnendu Majumdar Simon Spencer Graham Stuart Brian Woods T H E 115 O F F I C E R S O F Elected Members of the Games Committee — Harvey Elliott Chairman — Georg Backer Paul Jackson Ray Maguire Johnny Minkley PARTNERS OF THE ACADEMY BAFTA’s partners have shown great loyalty in their year-round association with the BAFTA brand, and share our commitment and passion for the industries we represent. We warmly thank them for their commitment to the Academy and our work of promoting excellence in the lm, television and games industries. Academy Partners — 88 Rue Du Rhone Audi Badoit British Airways Champagne Taittinger Evian Fortnum & Mason Grolsch Hotel Chocolat PaperlinX Republic Of Photography Sargent-Disc Villa Maria Dolby The Farm Lipsync Portaprompt Quixel P A R T N E R S BAFTA Cymru — AB Acoustics Audi Autogra eg Avanti Bamboo Dental Bauhaus BBC Cymru Wales Bluestone National Park Resort Capital Law Cardi & Vale College Cardi Council The Celt Experience Champagne Taittinger Commercial Radio Systems ELP O F 116 T H E A C A D E M Y Academy Supporters — Barco Brightcove Channel 4 CTV Deloitte Ethos First Great Western Gorilla Hotel Chocolat ITV Cymru Wales MA Lighting Mela Media The National Screen and Sound Archive of Wales NEP Cymru Orchard NEP PaperlinX PRG Red Touch Media S4C St David’s The St David’s Hotel & Spa Trosol Universal Production Music University of South Wales Wales Millennium Centre Welsh Government BAFTA Scotland — Accessorize Audi BBC Scotland British Airways Burn Stewart Distillers Champagne Taittinger Channel 4 Cineworld The Corinthian Club Creative Scotland Cusquena Deloitte Designs by M Edit 123 Evian Grolsch Grosvenor Cinema Hotel Chocolat Inverarity Morton M.A.C. Cosmetics Material T H E MCL Noble Isle PaperlinX Procam PRS For Music Rekorderlig Sound Acoustics STV Wire Media For further information on partnership opportunities, please contact: A C A D E M Y 117 P A R T N E R S O F Louise Robertson +44 (0)20 7292 5844 firstname.lastname@example.org Natalie Moss +44 (0)20 7292 5846 email@example.com Helping you to shine Congratulations to the winners and nominees of the EE British Academy Film Awards in 2014. Deloitte have been the scrutineers of the BAFTA awards for eight years and we are proud of our long-standing association with BAFTA and wider relationships in the media sector. Whether or not today is your day in the spotlight, find out how weâ€™re helping the industry stand out by visiting www.deloitte.co.uk/tmt ÂŠ 2014 Deloitte LLP. All rights reserved. FILM AWARDS PARTNERS British Airways O cial Airline With enduring thanks to all the O cial Partners to the EE British Academy Film Awards in 2014. Asprey O cial Jeweller and Nominees Party Host Lancôme O cial Beauty Hackett O cial Menswear Stylist Grolsch O cial Beer Exterion Media O cial Outdoor Media Evian P A R T N E R S PaperlinX O cial Paper O cial Bottled Water Badoit O cial Bottled Water Republic Of Photography O cial Photobooth 119 A W A R D S Audi O cial Car TCM O cial Placemats F I L M Taittinger O cial Champagne Fortnum & Mason O cial Tea Hotel Chocolat O cial Chocolate elit™ by Stolichnaya® Vodka O cial Vodka DCM O cial Cinema Media 88 Rue Du Rhone O cial Watch Charles Worthington O cial Hair Stylist Villa Maria O cial Wine The Savoy O cial Hotel British Fashion Council O cial Womenswear Stylist A N Y A H I N D M A R C H .C O M FILM AWARDS GIFT PROVIDERS 88 Rue Du Rhone An exclusive discount voucher across a stunning range of timepieces. www.88rdr.com A huge thanks to the following brands which have generously provided gifts for this year’s nominees and citation readers. Grolsch Sleek, black notepad with embossed Grolsch branding. www.grolsch.com Anya Hindmarch Exclusively designed BAFTA Tote bag. www.anyahindmarch.com Hackett Re ned and stylish Hackett dress studs. www.hackett.com Asprey P R O V I D E R S Hotel Chocolat An exclusive dining o er at the new Rabot Estate restaurant. www.hotelchocolat.co.uk A beautiful Asprey pocket mirror and bullskin leather case. www.asprey.com Champagne Taittinger A bottle of Champagne Taittinger Brut Réserve NV in a gift box. www.taittinger.com Lancôme A selection of Lancôme’s must-have skincare and make up products. www.lancome.co.uk G I F T 121 A W A R D S Charles Worthington A selection of products from the Salon At Home Collection. www.charlesworthington.com Noble Isle Aromatic candle, handmade with natural British extracts. www.nobleisle.com F I L M Cocorose London Exclusively designed foldable ballet pumps. www.cocoroselondon.com The Savoy The ultimate cocktail book from the world-renowned American Bar. www.fairmont.com/savoy-london Cross A sophisticated instrument for e ortless writing. www.cross.com Villa Maria A tour, wine tasting and lunch at the Villa Maria winery, Auckland. www.villamaria.co.nz Evian A refreshing, moisturising brumisateur facial spray. www.evian.com The Vineyard Hotel A luxurious overnight stay, dinner and cellar tour. www.the-vineyard.co.uk Fortnum & Mason A specially selected, bespoke blend of nest quality loose leaf tea. www.fortnumandmason.com Sargent-Disc congratulates the nominees of the EE British Academy Film Awards in 2014. Academy Partner Sargent-Disc is committed to service excellence. Find out more at www.sargent-disc.com Payroll & Residuals Corporate Payroll Auto Enrolment SD Online Production Card Production Services Production Accounting Vista Accounting Movie Magic Scheduling Movie Magic Budgeting Training Academic Partnerships AD Events Ltd are especially proud to support BAFTA with the design and production of tonightâ€™s dinner and after-party T: +44(0) 20 7635 7372 E: firstname.lastname@example.org W: www.adevents.co.uk BEHIND THE MENU Words by Portraits Toby Weidmann Ian Derry TO EN SU R E T H E EE B R I T I S H A C A D E MY FI L M AWA R DS R E M A I N S A U N I Q U E E V E N T, T O N I G H T ’ S F O O D H A S B E E N S P E C I A L LY C R A F T E D B Y T H R E E C U L I N A R Y M A S T E R S … t’s often said that three is a magic number, and that’s certainly true with regards to tonight’s specially crafted menu. The culmination of weeks of trialling and tastetesting, the Film Awards meal was created by a triumvirate of talented chefs: Nigel Boschetti, executive chef at Grosvenor House Hotel; Anton Manganaro, head chef at BAFTA 195 Piccadilly; and Jon Bentham, executive chef at Hotel Chocolat. Together they have crafted a perfectly balanced and original menu, with a speci c British (and BAFTA) avour. “The inspiration came from a desire to use seasonal produce,” explains Boschetti. “We like to source as locally as possible. That can mean using cheeses from Somerset or the north of England, it doesn’t necessarily mean from London. We do like to use good quality British produce.” Manganaro adds: “Nigel was the main driver behind the dinner menu, I just tweaked it a little. For instance, I swapped wasabi in the starter for British horseradish. That’s my focus at BAFTA. It is the British Academy after all. We have some great suppliers and you’ll see that coming out in the canapés I created for the Champagne Taittinger reception at the Royal Opera House. I like using British ingredients quite simply because you don’t have to mess about with them – the avours are so good if you choose the right ingredients.” For chocoholics, tonight’s dessert should have you salivating long before it arrives at the table. Created by Chef Bentham speci cally for this event, the pudding utilises cacao beer, St Lucian milk chocolate, praline and caramel. As Bentham says, it should deliver “the wow factor. It’s all about the avour. We’ve also featured a BAFTA mask on the dessert, which we’ve sprayed gold. I think this is a nice touch, and it certainly epitomises BAFTA.” Naturally, preparing the whole meal is a massive operation, with more than 36 chefs used throughout the day of the Awards to feed the expected 2,000 guests. This would be a daunting proposition for even the most experienced chefs, but for Boschetti, Manganaro and Bentham, it’s all in a day’s work. As Boschetti says: “If we’ve done our job properly, then there’s no need to be nervous.” Bon appétit! M E N U 123 B E H I N D T H E From left to right: Nigel Boschetti, Jon Bentham, Anton Manganaro “ENGAGING OVER 2.1 MILLION DAILY ON MOBILE, TABLET, ONLINE AND PRINT” THE TELEGRAPH IS PROUD TO BE AN OFFICIAL PARTNER TO THE EE BRITISH ACADEMY FILM AWARDS Outside Broadcasts for Winners Contact: Adam Berger: email@example.com or Bill Morris: firstname.lastname@example.org / 020 8453 8989 / www.ctvob.co.uk Photo credits: Ryder Cup: Rex Features. BRIT Awards: David Fisher / Rex Features. NFL: David Fisher / Rex Features. The Ashes: AFP / Getty Images BAFTA Awards: BAFTA. Open Championship Golf Tournament: Hugh Routledge / Rex Features ACKNOWLEDGEMENTS The Academy wishes to thank… A C K N O W L E D G E M E N T S EE – our title sponsor Nik Powell, Pippa Harris and members of the Film Committee John Willis, Chairman Film voting juries and members Film companies and distributors for their invaluable assistance Stephen Fry, our Host Edith Bowman – Host, BBC Three Red Carpet show All sta at the Academy 127 AD Events International Limited – Design of the Awards dinner and after party BBC Brighter Connections – online voting Cineworld – regional tour partner Covent Garden London freuds Grosvenor House, a JW Marriott Hotel Helen Preece – Red Carpet Consultant Royal Opera House Smart AV West Design – Royal Opera House Red Carpet and Press Area production Whizz Kid Television Zoë Ball – Host, BAFTA lmed content Film Awards trailer created by Empire Design for BAFTA Supported by DCM, Dolby, Pearl And Dean, The Farm, LypSync and Universal Music END CREDITS At BAFTA — Head of Film Deena Wallace Acting Head of Film Emma Baehr Head of Production Clare Brown Awards Event Producer Helen Kierney Production Coordinator Sophie Klein Awards Team Kelly Smith, Bradley Down, Rob Jones, Georgina Norton, Kemuel Solomon, Jim Bradshaw, Nicki Wedgwood Partnerships Louise Robertson, Natalie Moss, Amy Elton Voting David Lortal, Steve Noble, Sam Rhodes Ticketing Gabby Taranowski, Siobhan Pridgeon In-house Graphic Designer Adam Tuck Online Pippa Irvine, Genevieve Smith, Oli Goldman In-house Press & PR Nick Williams Accounts Giles Barnett BAFTA Productions Cassandra Hybel, Ryan Doherty, Daniel Dalton, Georgina Cunningham For the Brochure — Editor Toby Weidmann Managing Editor Christine Robertson Ad Sales Phil Eacott Contributors Jonathan Crocker Quentin Falk Matthew Leyland Rich Matthews Helen O’Hara Nev Pierce Catherine Shoard Picture Editor Janette Dalley Photography Essay Dr Andy Gotts MBE MA Tel: +44 (0)845 045 0078 www.andygotts.com Printing Team Impression Tel: +44 (0)113 272 4800 email@example.com www.teamimpression.com The Academy chooses Munken Polar and Regency Gloss, supporting excellence in print. Printed on Munken Polar 240g / m2 and 150g / m2 and Regency Gloss 130g/ m2. Supplied by PaperlinX. www.paperlinx.co.uk 128 Published by British Academy of Film and Television Arts 195 Piccadilly London W1J 9LN Tel: +44 (0)20 7734 0022 firstname.lastname@example.org www.bafta.org E N D C R E D I T S Design & Art Direction Human After All +44 (0)20 7729 7694 www.humanafterall.co.uk Art Director Paul Willoughby Designer Evan Lelliott Producer Andy Tweddle Production Manager Hannah El-Boghdady Cover Illustrations La Boca Tel: +44 (0)203 220 0387 www.laboca.co.uk Although every e ort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA. © BAFTA Publishing 2014 All nominees imagery used with kind permission from the distributors/ lmmakers. Rising Star images courtesy of EE. IMDb CONGRATULATES THE WINNERS AND NOMINEES AT THE EE BRITISH ACADEMY FILM AWARDS IN 2014 www.imdb.com