BAFTA Screenwriters’ Lecture Series 2019 brochure: Pedro Almodóvar

The BAFTA Screenwriters’ Lecture Series in association with The J J Charitable Trust 30 November - 12 December 2019

in association with The JJ Charitable Trust

PEDRO ALMODîVAR

Screenwriters.

On Screenwriting.

Too many students look at films and say, ‘I can do a film like that.’ Well, you probably can, but why in the heck would anyone want to hire you? They’ve got people who can do films like that. As proof, there are films like that. And they’ve got people who will do it on command, on deadline...

You need to think, ‘What is it that I can bring to the dance that no one else can? What can I walk in the room with and say, “I’ve got something of commercial value to you, but it’s totally my own.

And, if you want it, you have to get it from me.”’

That is ground zero of the creation of a script.

PA U L S C H R A D E R L E C T U R E 2 018

SCRIPT T ITLE Written by

Name of First Wr i

Welcome Welcome to BAFTA’s 2019 international Screenwriters’ Lectures, in conjunction with Lucy Guard and The JJ Charitable Trust. Ten years ago, at our inaugural event, David Hare leapt onto the stage of the BFI Southbank and delivered a fiercely articulate and impassioned defence of screenwriting as the bedrock of narrative film. Since that thrilling evening, BAFTA has hosted no fewer than 46 screenwriters from all around the world.

Our audiences have been gifted a multitude of intimate perspectives on every element of the screenwriting process, from first idea to final draft. The most successful screenwriters in the world have spoken, with incredible candour, about the highs and lows of their creative lives, addressing all their fears, foibles, triumphs and catastrophes.Ad Itdis a feature of this series that our ress speakers leave nothing at the a thrilling kind of osmosis, Phodoor. ne NBy umber they impart, to us all, the values that drive their unique and singular talents. Without their openness, generosity and courage, this series would be nothing. We are hugely grateful to them all.

Many of our screenwriters also direct their own work, offering our audiences the opportunity to interrogate the chimerical relationship between a screenplay and its eventual incarnation in film. We have witnessed some extraordinary conversations between our speakers and the many brilliant moderators who steer each event with such acuity.

From the very start, it was our ambition to reach the widest possible audience. I am hugely proud that every single one of our lectures is available on BAFTA’s websites to anyone, anywhere in the world. The editorial effort to achieve this feat, by many unsung members of BAFTA’s staff, illustrates the spirit of generosity that lies behind our series.

This year, we are thrilled to be hosting Pedro Almodóvar, Céline Sciamma, Noah Baumbach, Robert Eggers and Bong Joon-ho. Enjoy!

Jeremy Brock Screenwriter and Founder of the Lecture Series Follow the conversation on @BAFTAGuru

Based on , If Any

rally I have arling, killer is liteI have to c d i n t a s i if I , d t a s . Well, me apar tearing r him to finisht later and we wait fo ... I'll go ou ce to eat survive to a tacky pla ns with can go ng greasy. Bea arling. somethi . All right, d sausage .

Goodbye

CIAMMA

Pedro Almodóvar ANNE t Curzon Soho SaturdayMA30 16.00rat RINovember, ere an a

w know you I didn’t critic. er.

LOISE There aintwriter-directors Where toHEbegin? are a pfew you were w o n k t ’ dn today who can match Pedro Almodóvar’s I diworking

success on the international scene. He’s earned BAFTAs, Oscars and Cannes Film Festival awards and accolades aplenty (with seven nominations and five wins, he’s one of BAFTA’s most celebrated BAUMBACHfilmmakers). He’s one of the most influential and critically acclaimed auteurs to come out of Spain.

RD BERNAit’s ing to homeland And perhaps 'rehisgobeloved wein , I d n Tuesday,sday. a u m o o y m t r o u o ur always a Ywhere we Ishould 've g start: Spain er Thisn’t eparate.y and every oth scharacter in his movies, but it is often evera d s e n d e W present. A buzzing, sultry playground WALT sizzling, ? t t the cacharacters frolic. His in dwhich his abouengaging An what deeply defined characters draw the eye and JOAN capturecatthe heart – he’s a male writer who !

The understands how Rto portray women in film and BE NARD the cat. ss has been hugely progressive in sympathetically u c s i t d We didn’diverse genders, subcultures, alt depicting lifestyles and, in particular, forbidden loves. A master of observation, he also finds humour in his predominantly drama-driven narratives, even in some of his darker works.

He burst onto the scene with Pepi, Luci, Bom and Other Girls Like Mom in 1980, followed by a I cannot start writing until I feel that, in my head, I have the beats... I need to understand how IÕm entering the whole thing. I need to understand the main conflict, and then I need to understand where it is going to go. If not, I feel very insecure.

A LFONSO CUA RîN L E C T U R E 2 018

series of often highly provocative hits, including Labyrinth of Passion (1982); Dark Habits (1983); What Have I Done to Deserve This? (1984); Matador (1986); and Law of Desire (1987). But it was with his next series of releases that international audiences really started to take note. Women on the Verge of a Nervous Breakdown (1988) (which earned him his first BAFTA nomination); Tie Me Up! Tie Me Down! (1989); High Heels (1991); Kika (1993); and The Flower of My Secret (1995).

Shortly after came the seminal All About My Mother (1999), which won him two BAFTAs, an Oscar and two Cannes Film Festival awards.

While his later films have come close – including BAFTA wins for Talk to Her (2002, Original Screenplay, Film Not in the English Language) and The Skin I Live In (2011, Film Not in the English Language, pictured above) – All About My Mother remains his masterpiece, a beautifully crafted love letter to women, actresses and the films that inspired him.

Almodóvar’s most recent release, 2019’s Pain & Glory – a film that feels semi-autobiographical, albeit with a mischievous, whimsical edge – is also gaining critical traction, earning the film two Cannes wins. tw The Screenwriters’ Lecture Series

Céline Sciamma With her fourth feature, French writer-director Céline Sciamma cemented her position as one of the most distinctive contemporary filmmakers.

Winning the Best Screenplay and Queer Palm at Cannes this year, Portrait of a Lady on Fire (2019) is Sciamma’s first period and adult-oriented drama.

But like all of her work, both as a filmmaker and screenwriter for other directors, she excels at exploring the vicissitudes of human relationships.

Sciamma made her feature debut with Water Lillies (2007). Charting an uneasy love triangle among a girls’ synchronised swim team, the film explores the uneasy journey from adolescence to adulthood. Sciamma’s skilful direction of the young cast and her sensitivity towards issues around self-image, sexuality and the offhand cruelty of teenage life are dealt with sublime subtlety.

In Tomboy (2011), a young girl (Zoé Héran) moves to a new suburb on the outskirts of Paris, where she spends the summer passing herself off as a young boy. With this simple conceit, aided immeasurably by Héran’s compassionate performance, Sciamma explores gender identity IÕm not a very disciplined person, so to be writing on my own was very painful. I didnÕt know how to really talk to myself. It was very important that I share, that I talk, that I put those ideas out there and I debate with somebody... It allowed me to have a very direct reaction to the idea.

NADINE L ABAKI L E C T U R E 2 018

from a fresh perspective. At the same time, her evocation captures the exuberance of youthful abandon while never denying the gravity of the central theme. A similar approach is taken in her screenplay for Claude Barras’ BAFTA and Oscar-nominated animated feature My Life as a Courgette and André Téchiné’s Being 17 (both in association with The JJ Charitable Trust

Monday 2 December, 18.45 at Curzon Mayfair

2016), the latter detailing the growing intimacy between two boys from different backgrounds in rural France.

As with her previous features, Sciamma’s Girlhood (2014) explores the way society defines roles for young women whose own outlook on life is anything but set in stone. This time focusing on a black teen, over the course of four distinct chapters, she details how Karidja Touré’s VAR O ALMODOher own course in the world.

Marieme PEDRnavigates In this way, she is not dissimilar to Adèle Haenel’s p. A FABIO Héloïse in Portrait of a Lady on Fire. o hang u I have tis literally o , g n i l r r Daindependent lethought Her characters are and kilof I have t sadistic me apart, and h. Well, i s i action, no matter theterestrictions imposes n i f aring hisociety o ter an m t for o out lato eat waitSciamma 'islla gsingular upon them. Likewise, I . e . c . a e l v survi to a tacky p ns with a writer and director, cwhose Beand an go preoccupations greasy. t, darling. ethinginto h gfabric i somwoven r concerns are intricately the of l l A sausage.. her films. ihs Goodbye

CIAMMA CELINE S

MARIANNEwere an ar ow you n k I didn’t critic.

HELOISE re a pa

Noah Baumbach

If there’s one relatively consistent through-line in writer-director Noah Baumbach’s work it is perhaps ‘family’ – not necessarily blood relations – and the grievances that bubble up between its members. It’s a theme he has returned to throughout his career, and is particularly evident in his most recent release Marriage Story (2019, pictured), about the breakdown of a relationship and the messy divorce proceedings that follow, made all the more complicated by a child. Many will see this as autobiographical – Baumbach himself went through a similar predicament back in 2010 – but O ALMODOit is to Baumbach’s credit that the story’s razorVAR sharp observations balance his own experience with a more (sadly) universally relatable tale.

It is not FAthe B first time Baumbach has tackled Darlin g, I havIO sadthe e to haof divorce. The Squid and subject istithorny tearing c killer is li ng up. A teralon the Whale (2005), m e a p l the separation of a wait for rt, anbased d I havey him to survhis to was perhaps the Kramer vs Kramer f i iveparents, n i s . h . .

Well, if can go t . I'll go ou I an Oscar t laearned o aNoughties, the and him t t e a r someof c k a y n d thing gr place to we eat sausa nomination forBeahis And the ge. Al easy. ns wscreenplay.

Goodbye.

l right, it darling.h

In a drama, if no one laughs thatÕs good.

In a comedy, if no one laughs youÕre dead. I consider drama to be a little easier because itÕs like, ÕSay the words and donÕt make me laughÕ. ThatÕs your job as an I didn’t MARIANNE knoin make anyone crack w ayodrama, critic.actor u weredonÕt a art up. But in comedy, it'sn infinitely harder to HELitOI and I didn’tshape SE keep the laughter going and know you to know howwto balance ere a p the flow of it.

CIAMMA

CH

TA I K A WA I T I T I

ainter.

L E C T U R E 2 019

ur mom BERNARD parate. and I, we're g dnesday I've got you oing to Tu and ever y other esday, Thursday .

WALT what abo ut the c at?

Thursday 5 December, 18.00 at Curzon Mayfair

dysfunctional family theme has recurred in the likes of The Life Aquatic with Steve Zissou (2004) and Fantastic Mr Fox (2009), both written for good friend director Wes Anderson; and his own directorial works, Margot at the Wedding (2007), Greenberg (2010) and The Meyerowitz Stories (New and Selected) (2017). Interestingly, Baumbach also keeps his own little film family around him, often collaborating with the same people, among others Greta Gerwig, Ben Stiller and Adam Driver.

If there’s one other similarity between his otherwise quite distinct works it’s the blurring of genre lines. While most fall under the drama banner, his stories have a truth about them, examining the minutiae of life, while mixing in comedy, romance and thrills. His characters are often both sympathetic and repugnant, selfimportant and reflective, humourless and witty, whimsical and grounded, but always engaging.

Nowhere are all these elements better personified than in his coming-of-age drama Frances Ha’s (2012) excruciating dinner party scene, which is almost too realistic (and funny) for comfort. tw

The Screenwriters’ Lecture Series

Robert Eggers Saturday 7 December, 18.30 at Curzon Mayfair

Writer-director Robert Eggers’ filmography is leaner than others giving lectures this year, but there’s no question about the high quality of meat on those scattering of bones. Few films have made people talk as much over the past couple of years as Eggers’ The Witch (or to give it its original title, The VVitch: A New England Folktale, 2015) and new release The Lighthouse (2019, due in UK cinemas early next year).

The Witch – a disturbing, meticulously recreated rendition of a Puritan New England folk tale – had critics and audiences alike gripped by its otherworldly mix of hallucinatory realism and chilling supernatural terror. It walked away from Austin’s acclaimed Fantasticfest with the coveted Horror Jury Prize. The Lighthouse (pictured), meanwhile, has had audiences waxing lyrical on the festival circuit, picking up a FIPRESCI Prize at this year’s Cannes Film Festival. Essentially a two-piece with Willem Dafoe and Robert Pattinson (although one could argue the building is a character itself), The Lighthouse again delves into such heady themes as faith, the occult, fairy tales and folk lore, with a dose of the effects of isolation thrown in for good measure.

THOMASIN Black P speak tohillip, I conj ure thee m e . Speak speak t as understao Jonas and Me thou do Answer m nd my English rcy. Dos e. tongue?

What dos BLACK PHILL IP t thou w ant?

What can THOMASIN st thou give?

B L ACK PHIL Wouldst L butter? thou like the IP A p r e tty dres taste of thou lik s? e to liv e delici Wouldst ously?

I donÕt want to give advice, except

clich of follow your own voice.

BONG the JOON-HO Because I donÕt really know anything

else... I didnÕt even know I had a voice until other people told me I did. IÕm M writingOwhat toASwrite O about, and rder I iwant s the baN badoing rrienot ck the if youÕre thefsame and r ttrying all of u lood of dea hat holds t . We m s onelseÕs to fit into idea t remsomebody h is traofinhwhat ust ain in o u r We story a l a good is, your voice will appear. lotted of life must e

preordai ach of us oc station. cupy our ned part W N I C O LoEulHdOyLO F C E N E R icula Of coursou wear a shoe r position. e you wo o L E C ToU 018 nRyEo2 uldn' n your head? ur on your head. A shoe t wear a shoe your fo head. A shoe doesn't belong head. I ot. A hat belo belongs on ngs on y m a tall hattales in I belong ahis While grounding a very o on the h. You are a sh ur the foreality eadan ot. Ye(he . distinct historical does immense Y ou belonoe. s? So i beginnin g on t is. In g, research), or amount of ydeep Eggers, who our tdive icket: Fder was proscr the i a i b n r e d s d fre co-wrote The Lighthouse with hist brother, Max, by Cl order iseloaders like ass, Economy, youbetween prescrithe . Eterna clearly haseang love blurring lines b inefor e d : a l th b he sacre l ings floy tcaptured cred engl truth andsafantasy.

His beautifully w i f n rom the d e , all th place, a i ll pa n g stories aresepacked with multiple meanings s inand ssengers the ction, a ll w their ir ater flo in nuanced layers, directly challenging audiences wing.

(MORE) to interpret them in their own

way. What do the enigmatic finales of The Witch and The Lighthouse mean? The writerdirector probably knows the real answer but he wants you to draw your own conclusions.

Eggers is currently writing and will direct The Northman, a Viking revenge saga set in 10th Century Iceland, which, if past experience is anything to go by, will set film fans’ tongues wagging once more. tw

in association with The JJ Charitable Trust

of li lood ck the f on this train station. ll of usn our allotted upy our emain i each of us occ position. e must ned particular on your head? reordai u wear a shoe wear a shoe ould yo e you wouldn't oesn't belong Of cours head. A shoe dbelongs on on your head. A shoe ngs on your on your ot. A hat belo are a shoe. your fo am a hat. You You belong on head. I g on the head. is. In the I belon t. Yes? So i t proscribed by the foo ng, order was ass, Economy, beginni cket: First Cl you. Eternal your ti eloaders like y the sacred and fre s prescribed b ow from the order i all things fl ings in their engine: engine, all th in their 12 December, rs sacredThursday passenge flowing. all at ater Mayfair place,18.45 Curzon w l l a , section (MORE)

Bong Joon-ho

Korean writer-director Bong Joon-ho is a master of tension, his filmography packed with dark, twisted socially and politically conscious tales that leave audiences squirming. Bong wears his influences on his sleeve, displaying a deep love for the American movies of the 70s and 80s of his youth, but he also has a unique way of reinventing, or perhaps subverting cinematic conventions with a richly allegorical eye.

His debut, comedy Barking Dogs Never Bite (2000), is largely forgettable – Bong himself has called it “stupid” – but there are still flourishes of genius in there that point to a shrewd understanding of storytelling. Since then, recognition of his prodigious talent has grown with every succeeding release. Memories of Murder (2003), a serial killer thriller, earned him local appreciation, but it was his next film, The Host (2006), that won him international acclaim. On the surface, it’s a well-executed creature feature,

The thing about a zeitgeist is, unless youÕre really smart, you donÕt see it coming. But if youÕre lucky enough to be on that wave, to be giving people something they want and need right at that moment, you really have to just not screw it up.

O L PA R K E R L E C T U R E 2 018

not unlike Jaws, with a simple monster-fromthe-deep-hunting-human-prey storyline, but there’s a lot more depth to the narrative, openly criticising US military presence in his homeland.

If The Host was provocative, 2013’s Snowpiercer took his social critique a step further. Bong uses a science fiction set up to pass comment on the class system and, in particular, the disparity between the pampered elite and the blue-collar masses.

In between, Bong made Mother (2009), a subversive crime thriller about an elderly mother trying to prove the innocence of her son after he’s accused of murder. Naturally, the film is not as straightforward as it seems. Similarly, Okja (2017, pictured), hides a satire on consumerism and corporate shenanigans behind a family friendlylooking adventure, in which a young girl’s pet, a genetically engineered creature, is wanted by a US corporation to turn into meat.

His most recent work, Parasite (2019), has been causing quite a stir since its debut in Cannes where it won the Palme d’Or, making Bong the first Korean to win the honour. This intense thriller tackles the class system, as a penniless brother and sister try to beguile their way into a rich family’s favours. Sadly, UK audiences will have to wait until February 2020 before they can unravel the film’s twists and turns for themselves. tw The Screenwriters’ Lecture Series

TOP 10 The Screenwriters on Screenwriting Lecture series reaches its 10th edition this year, a benchmark well worth celebrating...

Words: Toby Weidmann | Images: BAFTA/Jamie Simonds

I

nspiration is one of the key elements of BAFTA’s mission to bring the very best work in film, games and television to the public’s attention and support the growth of creative talent. And what better way to understand the mechanics of a particular craft than to learn directly from the very best practitioners working today. To hear how they go about creating works of excellence, the tricks of the trade, the little nuggets of advice, gleaned through experience, which inform, influence and motivate both wannabe professionals and established peers.

in association with The JJ Charitable Trust

First introduced in 2010, BAFTA’s Screenwriters on Screenwriting Lecture series seeks to do just that. As Jeremy Brock, a BAFTAwinning screenwriter and the founder of this initiative, explains: “What I always wanted for this series was to celebrate the art of screenwriting and to impart, to the widest possible audience, a sense of the talent, craft, courage and diligence required to write great films. For me, the key was education through inspiration.”

In terms of talent, the series has never disappointed, with detailed lectures delivered by incredible, internationally-acclaimed writers, including BAFTA, Oscar, Emmy and Palme d’Or winners. From Sir David Hare’s inaugural lecture on the 9 September 2010 through to Bong Joon-ho’s final lecture of this year’s series, 51 writers (including one writing duo) have stepped onto the stage to present their approach to their art (the full list can be found over the page). They have covered every topic, from original ideas through adapted screenplays, blockbuster feature films to small screen series, linear tales versus interwoven narratives, broad details and genre specifics.

If there’s one key learning from across the series it’s that there’s no definitive technique to successful screenwriting and, although there are certain commonalities, each writer has their own approach. As Paul Schrader put it in his lecture last year, “this is not an overview of screenwriting, this is my method. This is what I have taught myself, and the only way to teach something as fungible as screenwriting is to teach what has worked for you. Because there’s no way you can teach what works for everybody. Even though what I say may not work for 75 per cent of you it still has value because it works for me.

Hopefully, your time will be productively spent.”

One further truth is that scriptwriting is not easy, no matter how experienced a writer is.

Anyone who has stared at a blank page, willing the words to come, knows that. The genesis of an idea forms from protean thoughts, evolving into a more tangible concept until ultimately it develops into the foundation upon which all film and television works are built: the script.

It’s a process that captivates, among many others, Lucy Guard, co-trustee of The JJ Charitable Trust, which has supported the series since its inception: “It’s been a pleasure to support the BAFTA Screenwriters’ Lecture Series over the years. It’s

not an exaggeration to say that I am in awe of writers. They deal in the dark arts of alchemy as far as I’m concerned. Not only the ‘making it up from nothing’ bit, which is awesome in itself, but the weaving, working, sweating, structuring, selfsacrificial bit that comes after in their determined mission to capture elusive truths.”

BAFTA’s Screenwriters’ Lecture Series will continue to explore this alchemy to help inspire the next generation of writers, the lifeblood of the visual arts. As Mariayah Kaderbhai, BAFTA’s head of programmes and the series’ curator, concludes: “In a world where so many voices are not heard or represented, we hope this series, in some tiny way, reflects the beauty and diversity of the world we live in. Each screenwriter brings an original perspective and with that uniqueness, stories from across the globe that cross the lines of gender, race, religion, sexual orientation and cut straight to the humanity and universality of life. Supporting inclusion from the onset, where it begins on the page, means it will manifest at every stage of the creative process.”

To ensure the legacy of this series, all lectures can be enjoyed, in their entirety, through BAFTA’s online channels

Above: Jeremy Brock introduces the inaugural lecture in 2010.

Previous page: David Hare (2010) and Paul Schrader (2018) deliver their lectures

The Screenwriters’ Lecture Series

Previous Screenwriters’ Lectures have been delivered by: 2019 Pedro Almodóvar, Noah Baumbach, Bong Joon-ho, Robert Eggers, Céline Sciamma 2018 Alfonso Cuaron, Nicole Holofcener, Nadine Labaki, Ol Parker, Taika Waititi, Paul Schrader 2017 Sean Baker, Mark Boal, Anthony McCarten, Dee Rees 2016 Maren Ade, Kenneth Lonergan, Phil Lord and Christopher Miller, Park Chan-wook 2015 Andrew Bovell, Nick Hornby, Jimmy McGovern, Nancy Meyers, Beau Willimon 2014 Steven Knight, James Schamus, Emma Thompson 2013 Hossein Amini, Richard Curtis cbe, Tony Gilroy, David S Goyer, Susannah Grant 2012 Lord Fellowes, Scott Frank, Brian Helgeland, Abi Morgan, Peter Straughan 2011 Guillermo Arriaga, Moira Buffini, Frank Cottrell Boyce, Charlie Kaufman, Paul Laverty, John Logan, William Nicholson obe 2010 Simon Beaufoy, Aline Brosh McKenna, Christopher Hampton cbe, Sir David Hare, Sir Ronald Harwood cbe Peter Morgan cbe in association with The JJ Charitable Trust

SCHEDULE AND BOOKINGS Pedro Almodóvar All About My Mother, The Skin I Live In, Pain & Glory Saturday 30 November, 16.00 at Curzon Soho Céline Sciamma Tomboy, Girlhood, Portrait of a Lady on Fire Monday 2 December, 18.45 at Curzon Mayfair Noah Baumbach The Squid and the Whale, Frances Ha, Marriage Story Thursday 5 December, 18.00 at Curzon Mayfair Robert Eggers The Lighthouse, The Witch Saturday 7 December, 18.30 at Curzon Mayfair Bong Joon-ho The Host, Snowpiercer, Parasite Thursday 12 December, 18.45 at Curzon Mayfair

H OW TO B O O K Tickets for all lectures can be booked via the BAFTA website at www.bafta.org/whats-on

Each of these lectures is being filmed and will soon be available to view on guru.bafta.org

For top writing tips from award-winning talent, follow @BAFTAGuru

WITH THANKS

F O R BA F TA

Pedro Almodóvar Céline Sciamma Noah Baumbach Robert Eggers Bong Joon-ho

Head of Programmes Mariayah Kaderbhai

Jeremy Brock Lucy Guard The JJ Charitable Trust Official Venue Partner: Curzon Cinemas Jesse Bingham Holly Brown Ray Butcher Maria Carras Hannah Farr Jake Garriock Sophie Glover Kathryn Hollis Hollie Pennington-Jones Tolley Shields Angela Smith Alice Tumidei Kate Wyhowska

L TIT T IP SCR

ten t i Wr

Event Producers Pelumi Akindude Julia Carruthers Cassandra Neal Director of Learning & New Talent Tim Hunter Learning & New Talent Officer Alexa Tamsett Learning & New Talent Coordinator Emma Nicholson Learning & New Talent Assistant Beth Welsh Learning & New Talent Intern Kyle Bird Press & PR Officer Sophie Dudhill Shoot Producer Kylie McCarroll Assistant Producer Georgina Cunningham Director of Photography Claire Rees Photography & Media Content Assistant Jordan Anderson

i f F o e Nam

Contributor Ian Haydn Smith Brochure Design Russell Seal

ed Bas

Brochure Editor Toby Weidmann Covers: Portrait photography by BAFTA/Jamie Simonds (Pedro Almodóvar); Bertrand NOEL/ SIPA/Shutterstock (Céline Sciamma); Martien Mulder/Trunk Archive, provided by Netflix (Noah Baumbach); Canadian Press/Shutterstock (Robert Eggers); and provided by Curzon Artificial Eye (Bong Joon-ho).

Inside pages: Kayte Brimacombe (Jeremy Brock), El Deseo S A/Kobal/Shutterstock (Almodóvar), provided by Curzon Artificial Eye (Sciamma); Wilson Webb/Netflix (Baumbach); Chris Reardon/A24 Pictures (Eggers); and Barry Wetcher/Netflix/Kobal/Shutterstock (Bong).

The Academy chooses GalerieArt Satin, supporting excellence in print. Printed on GalerieArt Satin 300gsm (cover) and 150gsm (text). Supplied and printed by Taylor Bloxham Group. Taylorbloxham.co.uk The carbon impact of this paper has been measured and balanced through the World Land Trust, an ecological charity.

Although every effort 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 the publication may be reproduced without the permission of BAFTA. © BAFTA 2019

r ess umbe r d N Ad ne ho