FROM THE TEAM AT FILM4

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

12 BAFTA NOMINATIONSCONGRATULATIONS &

GOOD LUCK TO ALL OUR NOMINEES

PhilomenaPeppered 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

S P E C I A L A W A R D S

The FellowshipShe’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

Outstanding British Contribution to CinemaArtist, visionary, provocateur – all have been used to describe this year’s Special Award recipient, � lmmaker Peter Greenaway.Words by Rich Matthews

Cinemmersive: A Photographic EssayFilms 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

In Memoriam

O� cers of the Academy

Partners of the Academy

Film Awards Partners

Film Awards Gift Providers

Film Awards Meal: Behind the Menu

Acknowledgements

End Credits

5

W E L C O M E

HRH The Duke Of Cambridge, KG, President of the Academy

John Willis, Chairman of the Academy

Olaf Swantee, CEO EE

N O M I N A T I O N S

The nominations in full

Juries and Chapters

B E S T F I L M N O M I N E E S

12 Years A SlaveAn un� inching and intense exploration of slavery, set to the backdrop of steamy 19th century Louisiana.Words by Nev Pierce

American HustleAn irresistible, often uproarious black comedy, based on the true story of the FBI’s attempt to entrap corrupt politicians.Words by Matthew Leyland

Captain PhillipsAlmost unbearably taut, this hijack thriller becomes increasingly claustrophobic as the tension is relentlessly cranked up.Words by Helen O’Hara

GravityAn atmospheric and spectacular modern take on the disaster � lm, boasting groundbreaking visual e� ects.Words by Jonathan Crocker

6

52

13

42

39

46

7

56

9

68

97

90

119

127

115

121

128

116

123

80

62CONTENTSC

ON

TE

NT

S

6

HRH The Duke Of Cambridge, KGPresident of the Academy

7

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.

John Willis Chairman of the Academy

WELCOME— BAFTA Chairman’s Message

WE

LC

OM

E

9

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.

Olaf Swantee CEO, EE

WELCOME— Sponsor’s Message

WE

LC

OM

E

BAFTA BROCHURE CONGRATS ADTRIM: 170mm X 240mmBLEED: 176mmX246mmSAFETY: 150mmX220mm

Warner Bros. PicturesCongratulates Our Nominees At The EE British Academy Film Awards In 2014

Best FilmALFONSO CUARÓN

DAVID HEYMAN

DirectorALFONSO CUARÓN

Original ScreenplayALFONSO CUARÓN

JONÁS CUARÓN

Leading ActressSANDRA BULLOCK

Original MusicSTEVEN PRICE

Original ScreenplayWOODY ALLEN

Make-Up & HairMAURIZIO SILVIKERRY WARN

Make-Up & HairPETER SWORDS KING

RICHARD TAYLOR • RICK FINDLATER

CinematographyEMMANUEL LUBEZKI

Outstanding British FilmALFONSO CUARÓN

DAVID HEYMAN JONÁS CUARÓN

EditingALFONSO CUARÓN

MARK SANGER

Production DesignANDY NICHOLSON ROSIE GOODWIN

JOANNE WOOLLARD

Leading ActressCATE BLANCHETT

Costume DesignCATHERINE MARTIN

Special Visual EffectsHAL HICKEL • JOHN KNOLL • LINDY DE QUATTRO • NIGEL SUMNER

SoundGLENN FREEMANTLE

SKIP LIEVSAY CHRISTOPHER BENSTEAD

NIV ADIRI CHRIS MUNRO

Special Visual EffectsTIM WEBBER

CHRIS LAWRENCE DAVID SHIRK

NEIL CORBOULD NIKKI PENNY

Supporting ActressSALLY HAWKINS

Production DesignCATHERINE MARTIN

BEVERLEY DUNN

Special Visual EffectsJOE LETTERI • ERIC SAINDON

DAVID CLAYTON • ERIC REYNOLDS

© 2014 Warner Bros. Entertainment Inc. All Rights Reserved.

Vitalie Taittinger is an active member of the

family Champagne House.Champagne for the

Independently Minded

L’Instant Champagne,with Vitalie Taittinger.

Official Champagne to BAFTAChampagne Taittinger is widely stocked in national retailers such as Majestic Wine Warehouse, Asda, Sainsbury’s, Tesco,

Waitrose, Harrods, Fortnum & Mason, www.yourfavouritewines.com, as well as many independent wine merchants.

www.taittinger.com

Taittinger-BAFTA-240x170.indd 1 09/12/2013 12:18

Film Finances congratulates all of this year’s BAFTA Nomineesand 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.

13

THE NOMINATIONS

EEBRITISH ACADEMYFILM AWARDSIN 2014

TH

E

NO

MI

NA

TI

ON

S

THE WALT DISNEY COMPANY UK THANKS THEBRITISH ACADEMY OF FILM AND TELEVISION ARTS

AND PROUDLY CONGRATULATES OUREE 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

SPECIAL VISUAL EFFECTS Bryan Grill, Christopher Townsend, Guy Williams, Dan Sudick

ANIMATED FILM Dan Scanlon

© Disney 2014

Disney BAFTA Ad 2014.indd 1 29/01/2014 16:59

15A N I M A T E D

F I L MA D A P T E D

S C R E E N P L A YT

HE

N

OM

IN

AT

IO

NS

12 YEARS A SLAVE John Ridley

DESPICABLE ME 2Chris Renaud,

Pierre Co� n

BEHIND THE CANDELABRA

Richard LaGravenese

FROZENChris Buck, Jennifer Lee

CAPTAIN PHILLIPSBilly Ray

MONSTERS UNIVERSITYDan Scanlon

PHILOMENASteve Coogan, Je� Pope

THE WOLF OF WALL STREET

Terence Winter

Proud airline partner

SWK9372 BAFTA Advert240X170.indd 1 27/01/2014 14:36

17B E S T F I L M

B R I T I S H S H O R T A N I M A T I O N

12 YEARS A SLAVE Anthony Katagas,

Brad Pitt, Dede Gardner, Jeremy Kleiner, Steve McQueen

EVERYTHING I CAN SEE FROM HERE

Bjørn-Erik Aschim, Friederike Nicolaus,

Sam Taylor

AMERICAN HUSTLECharles Roven, Richard Suckle, Megan Ellison, Jonathan Gordon

I AM TOM MOODYAinslie Henderson

CAPTAIN PHILLIPS Scott Rudin, Dana Brunetti, Michael De Luca

SLEEPING WITH THE FISHES

James Walker, Sarah Woolner, Yousif Al-Khalifa

GRAVITY Alfonso Cuarón, David Heyman

PHILOMENA Gabrielle Tana, Steve Coogan, Tracey Seaward

TH

E

NO

MI

NA

TI

ON

S

FROM BRITISH SHORT FILM TO BEST FILM (and everything in between)

CONGRATULATIONS TO ALL THE NOMINEES SUPPORTED BY THE BFI FILM FUND

ORBIT EVER AFTER

KEEPING UP WITH THE JONESES

SEA VIEW

FOR THOSE IN PERIL

SHELL

THE INVISIBLE WOMAN

THE GREAT BEAUTY

WADJDA

BLUE IS THE WARMEST COLOUR

THE SELFISH GIANT

PHILOMENA

CPI BAFTA Film Fund Ad–FINAL 3.indd 1 31/01/2014 11:12

19T

HE

N

OM

IN

AT

IO

NS

B R I T I S H S H O R T F I L M C I N E M A TO G R A P H Y

ISLAND QUEEN Ben Mallaby, Nat Luurtsema,Emma Hughes

12 YEARS A SLAVESean Bobbitt

INSIDE LLEWYN DAVISBruno Delbonnel

KEEPING UP WITH THE JONESES

Megan Rubens, Michael Pearce, Selina Lim

CAPTAIN PHILLIPS Barry Ackroyd

NEBRASKA Phedon Papamichael

ORBIT EVER AFTERChee-Lan Chan, Jamie Stone, Len Rowles

GRAVITYEmmanuel Lubezki

ROOM 8James W. Gri� ths,

Sophie Venner

SEA VIEW Anna Du� eld, Jane Linfoot

SPE_BAFTA_ProgramAd_4CFP_05F.indd

BleedTrimLive

176 mm w x 246 mm h 170 mm w x 240 mm h 150 mm w x 220 mm h

Production Artist

Production Manager

Proofer 1

Proofer 2

Project Manager

FinalRevisions

Ship 1-17CMYK PDF-X1a 300 DPIRename fileAdd ReadMe file with contact infowww.wetransfer.comandy@humanafterall.co.uk

Notes

420895JOB # 1-21-2014 11:20 AMDATE FINAL

SPE_BAFTA_ProgramAd_4CFP_05F.indd

S:150 mmS:220 m

m

T:170 mmT:240 m

m

B:176 mmB:246 m

m

21T

HE

N

OM

IN

AT

IO

NS

C O S T U M E D E S I G N D I R E C T O R

AMERICAN HUSTLEMichael Wilkinson

12 YEARS A SLAVESteve McQueen

BEHIND THE CANDELABRAEllen Mirojnick

AMERICAN HUSTLEDavid O. Russell

THE GREAT GATSBY Catherine Martin

CAPTAIN PHILLIPS Paul Greengrass

THE INVISIBLE WOMANMichael O’Connor

GRAVITY Alfonso Cuarón

SAVING MR. BANKS Daniel Orlandi

THE WOLF OF WALL STREET Martin Scorsese

V I L L A M A R I A E STAT E . C O . U KV I L L A M A R I A E STAT E . C O . U K

Villa Maria wines are widely available in the UK

from Booths, Majestic, Morrisons, Tesco,

Sainsbury’s, Waitrose, www.nzhouseofwine.co.uk

and many independent retailers.

For further information please visit

www.villamariaestate.co.uk

O F F I C I A L W I N E S U P P L I E R

TO BA F TA

New Zealand’s Most Awarded Winery

Villa BAFTA Full Page 240x170.indd 1 09/12/2013 17:40

23T

HE

N

OM

IN

AT

IO

NS

D O C U M E N T A R Y E D I T I N G

THE ACT OF KILLINGJoshua Oppenheimer

12 YEARS A SLAVEJoe Walker

RUSHDan Hanley, Mike Hill

THE ARMSTRONG LIEAlex Gibney

CAPTAIN PHILLIPS Christopher Rouse

THE WOLF OF WALL STREET Thelma Schoonmaker

BLACKFISHGabriela Cowperthwaite

GRAVITY Alfonso Cuarón, Mark Sanger

TIM’S VERMEERTeller, Penn Jillette, Farley Ziegler

WE STEAL SECRETS: THE STORY OF WIKILEAKSAlex Gibney

Universal Pictureswould like to thank the British Academy of Film and

Television Arts and proudly congratulate its nominees

Animated Film

Documentary

Director Leading Actor Adapted ScreenplayEditing

Sound

www.universalpictures.co.uk

universalpicturesuk @universaluk universalpicturesuk

UNI_BAFTA_ART 6_OL.indd 1 22/01/2014 16:32

25T

HE

N

OM

IN

AT

IO

NS

F I L M N O T I N T H E E N G L I S H L A N G U A G E

L E A D I N G A C T O R

THE ACT OF KILLINGJoshua Oppenheimer, Signe Byrge Sørensen

BRUCE DERNNebraska

BLUE IS THE WARMEST COLOURAbdellatif Kechiche, Brahim Chioua, Vincent Maraval

CHIWETEL EJIOFOR12 Years A Slave

THE GREAT BEAUTYPaolo Sorrentino, Nicola Giuliano, Francesca Cima

CHRISTIAN BALEAmerican Hustle

METRO MANILASean Ellis, Mathilde Charpentier

LEONARDO DICAPRIOThe Wolf Of Wall Street

WADJDAHaifaa Al-Mansour,

Gerhard Meixner, Roman Paul

TOM HANKSCaptain Phillips

COSTUME DESIGN MICHAEL O’CONNOR

BEST FILM GABRIELLE TANA, STEVE COOGAN, TRACEY SEAWARDOUTSTANDING BRITISH FILM STEPHEN FREARS, GABRIELLE TANA,

STEVE COOGAN, TRACEY SEAWARD, JEFF POPEADAPTED 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 THOMPSONORIGINAL MUSIC THOMAS NEWMANCOSTUME DESIGN DANIEL ORLANDI

THANKS THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS AND PROUDLY CONGRATULATES OUR NOMINEES

OUTSTANDING DEBUT BY A BRITISH WRITER, DIRECTOR OR PRODUCER COLIN CARBERRY, GLENN PATTERSON (WRITERS)

bbc.co.uk/bbcfilms

BBC_Films_BAFTA_ad2014_240mmx170mm_3mmbleed.indd 1 29/01/2014 14:01

27L E A D I N G A C T R E S S

M A K E U P & H A I R

AMY ADAMSAmerican Hustle

AMERICAN HUSTLEEvelyne Noraz,

Lori McCoy-Bell, Kathrine Gordon

BEHIND THE CANDELABRAKate Biscoe, Marie Larkin

THE BUTLERDebra Denson, Candace Neal,

Robert Stevenson, Matthew Mungle

THE GREAT GATSBY Maurizio Silvi, Kerry Warn

THE HOBBIT: THE DESOLATION OF SMAUG Peter Swords King, Richard Taylor, Rick Findlater

CATE BLANCHETTBlue Jasmine

EMMA THOMPSONSaving Mr. Banks

JUDI DENCHPhilomena

SANDRA BULLOCKGravity

TH

E

NO

MI

NA

TI

ON

S

T h e s e n s e o f A R R iVA L T h e U n RiVA L L e D s e RViC eT h e s AVoy s U iT e w e L Com 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 savoy@fairmont.com

fairmont.com/savoy Follow us:

CD3196_Savoy_Suite Ad_240x170_EE British Film.indd 1 29/11/2013 13:42

29O R I G I N A L

M U S I C O R I G I N A L

S C R E E N P L A Y

12 YEARS A SLAVEHans Zimmer

AMERICAN HUSTLEEric Warren Singer, David O. Russell

THE BOOK THIEFJohn Williams

BLUE JASMINEWoody Allen

CAPTAIN PHILLIPS Henry Jackman

GRAVITY Alfonso Cuarón, Jonás Cuarón

INSIDE LLEWYN DAVIS Joel Coen, Ethan Coen

NEBRASKABob Nelson

GRAVITY Steven Price

SAVING MR. BANKS Thomas Newman

TH

E

NO

MI

NA

TI

ON

S

OUTSTANDING BRITISH FILM

SUPPORTING ACTORDaniel Brühl

EDITINGDan Hanley, Mike Hill

SOUNDDanny Hambrook, Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse

We are proud to support theEE British Academy Film Awards

and congratulate the achievements of RUSH and all tonight’s nominees

wt_bafta_2014_ad_final.indd 1 24/01/2014 15:51

31OUTSTANDING BRIT ISH FILM OUTSTANDING DEBUT

B Y A B R I T I S H W R I T E R ,

D I R E C T O R O R P R O D U C E R

GRAVITY Alfonso Cuarón, David Heyman, Jonás Cuarón

COLIN CARBERRY (WRITER),

GLENN PATTERSON (WRITER)

Good Vibrations MANDELA: LONG WALK TO FREEDOM

Justin Chadwick, Anant Singh, David M. Thompson,

William Nicholson

KELLY MARCEL (WRITER)

Saving Mr. Banks

PAUL WRIGHT (DIRECTOR/WRITER), POLLY STOKES (PRODUCER)

For Those In Peril

PHILOMENA Stephen Frears, Gabrielle Tana, Steve Coogan, Tracey Seaward,

Je� Pope

KIERAN EVANS (DIRECTOR/WRITER)

Kelly + Victor

SCOTT GRAHAM (DIRECTOR/WRITER)

Shell

RUSHRon Howard, Andrew Eaton, Peter Morgan

SAVING MR. BANKS John Lee Hancock, Alison Owen,

Ian Collie, Philip Steuer, Kelly Marcel, Sue Smith

THE SELFISH GIANTClio Barnard, Tracy O’Riordan

TH

E

NO

MI

NA

TI

ON

S

Congratulations to all nomineesPinewood Pictures: financing and distributing

Global Independent Film and Televisionwww.pinewoodgroup.com/filmfinance

PINEWOOD STUDIOS GROUP 6 countries, over 1 million sq ft of stage and studio spaceCANADA | DOMINICAN REPUBLIC | GERMANY | MALAYSIA | UK | USA www.pinewoodgroup.com

Belle © 2014 David Appleby Our Robot Overlords © 2014 Mediator 452 Ltd Dom Hemingway © 2014 Nick Wall

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...For your carefully selected extras, whether it is one face or a crowd of thousands, call Mad Dog Casting...

london: 020 7269 7910 CArdiFF: 02920 444 082 mAddogCAsTing.Com

from Stephen frearS director of the queen

Inspired by the true story of a search for a lost son

IN CINEMAS NOVEMBER 1ST

judIdENCh STEVE

COOGAN

Philomena, Jack Ryan: Shadow Recruit, Cuban Fury, The Duchess, About Time, Sherlock, Da Vinci’s Demons, Breathless and Atlantis.

our rECEnT work inCludEs...

33P R O D U C T I O N

D E S I G NS O U N D

12 YEARS A SLAVEAdam Stockhausen, Alice Baker

ALL IS LOSTRichard Hymns, Steve Boeddeker, Brandon Proctor,

Micah Bloomberg, Gillian Arthur

AMERICAN HUSTLEJudy Becker, Heather Loe� er

CAPTAIN PHILLIPS Chris Burdon, Mark Taylor, Mike Prestwood Smith, Chris Munro, Oliver Tarney

BEHIND THE CANDELABRAHoward Cummings,Barbara Munch-Cameron

GRAVITY Glenn Freemantle,

Skip Lievsay, Christopher Benstead,

Niv Adiri, Chris Munro

INSIDE LLEWYN DAVISPeter F. Kurland, Skip Lievsay, Greg Orlo� , Paul Urmson

RUSHDanny Hambrook,

Martin Steyer, Stefan Korte, Markus Stemler, Frank Kruse

GRAVITYAndy Nicholson, Rosie Goodwin, Joanne Woollard

THE GREAT GATSBYCatherine Martin, Beverley Dunn

TH

E

NO

MI

NA

TI

ON

S

CONGRATULATIONS TO OUR SPECIAL VISUAL EFFECTS NOMINEES

THE HOBBIT: THE DESOLATION OF SMAUGJOE LETTERI ERIC SAINDON DAVID CLAYTON ERIC REYNOLDS

IRON MAN 3GUY 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.

35S P E C I A L

V I S U A L E F F E C T SS U P P O R T I N G

A C T O R

GRAVITYTim Webber, Chris Lawrence, David Shirk, Neil Corbould,

Nikki Penny

BARKHAD ABDICaptain Phillips

THE HOBBIT: THE DESOLATION OF SMAUGJoe Letteri, Eric Saindon, David Clayton, Eric Reynolds

BRADLEY COOPERAmerican Hustle

MATT DAMONBehind The Candelabra

IRON MAN 3 Bryan Grill, Christopher Townsend, Guy Williams, Dan Sudick

DANIEL BRÜHLRush

MICHAEL FASSBENDER12 Years A Slave

PACIFIC RIMHal Hickel, John Knoll,

Lindy DeQuattro, Nigel Sumner

STAR TREK INTO DARKNESS

Roger Guyett, Patrick Tubach, Ben Grossmann, Burt Dalton

TH

E

NO

MI

NA

TI

ON

S

37S U P P O R T I N G

A C T R E S ST H E E E R I S I N G S TA R A WA R D

V O T E D F O R B Y T H E P U B L I C

JENNIFER LAWRENCEAmerican Hustle

DANE DEHAAN

JULIA ROBERTSAugust: Osage County

GEORGE MACKAY

LUPITA NYONG’O 12 Years A Slave

LUPITA NYONG’O

LÉA SEYDOUX

WILL POULTER

Nominations correct at the time of press.

OPRAH WINFREY The Butler

SALLY HAWKINSBlue Jasmine

TH

E

NO

MI

NA

TI

ON

S

39

J U R I E S

British Short Animation—Justin Johnson (chair)Sarah CoxDavid FreedmanOli HyattJulian JarroldMartin PopeDave ProsserSarah SmithCara SpellerJohn Walsh

British Short Film—Lisa Bryer (chair)Martina AmatiAndrew CurtisLeo DavisChristopher FiggAmelia GrangerNina KellgrenCharlotte MacleodRobert MillerDiana PhillipsCarter PilcherAndy Price

Outstanding British Film—Nik Powell (chair)Nicolas Chaudeurge Noel Clarke Andy Curtis Andrea Gibb Ben GibsonPippa HarrisMark Herbert Justin JohnsonKate Muir Jason Solomons Julia StannardEve Stewart Kenith Trodd Penny Wolf Outstanding Debut By A British Writer, Director Or Producer—Stephen Woolley (chair)Peter BradshawMoira Bu� niKate LeeHannah McGillMichael ParkerTanya SeghatchianPeter StraughanJames Watkins

C H A P T E R S

Craft Chapters—CinematographyCostume DesignDirectingEditingMake Up & HairMusicProduction DesignScreenplaySoundSpecial Visual E� ects

Opt-in Chapters—AnimationBritish Short Animation and British Short FilmDocumentaryFilm Not In The English LanguageOutstanding 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

JURIES AND CHAPTERSJ

UR

IE

S

AN

D

CH

AP

TE

RS

Official Beer Partner

3028-1 GRO BAFTA Film Ad.indd 1 22/11/2013 15:01

abc would like to congratulate all of tonight’s BAFTA nominees and winners

www.ingeniousmedia.co.uk

BAFTA Advert 2014 v1 080114.indd 1 08/01/2014 15:59:57

42B

ES

T

FI

LM

N

OM

IN

EE

43B

ES

T

FI

LM

N

OM

IN

EE

44

“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

12 YEARS

A SLAVEWords by

Nev Pierce

Nev Pierce is editor-at-large for Empire

45

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 BAFTA-nominee 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.

B E S T F I L M N O M I N E E SAnthony Katagas, Brad Pitt, Dede Gardner,

Jeremy Kleiner, Steve McQueen

O T H E R N O M I N A T E D C A T E G O R I E S

Adapted Screenplay; Cinematography; Director; Editing; Leading Actor; Original Music;

Production Design; Supporting Actor; Supporting Actress

46

BE

ST

F

IL

M

NO

MI

NE

E

47B

ES

T

FI

LM

N

OM

IN

EE

48

AMERICAN HUSTLEWords by

Matthew Leyland

Matthew Leyland is reviews editor for Total Film

BE

ST

F

IL

M

NO

MI

NE

E

49

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 ex-stripper 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-and-fro 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

B E S T F I L M N O M I N E E SCharles Roven, Richard Suckle,

Megan Ellison, Jonathan Gordon

O T H E R N O M I N A T E D C A T E G O R I E S

Costume Design; Director; Leading Actor; Leading Actress; Make Up & Hair;

Original Screenplay; Production Design; Supporting Actor; Supporting Actress

of ‘I Feel Love’ set to Sydney/Richie’s dirty disco-dancing, 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.

BE

ST

F

IL

M

NO

MI

NE

E

THE BRITISH FILM COMMISSION CONGRATULATES ALL OF TONIGHT’S NOMINEES

www.britishfilmcommission.org.uk @FilmInUK_BFC

The British Film Commission is supported by

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:

MICHAEL G WILSON & BARBARA BROCCOLI

CONGR ATUL ATE ALL OF TONIGHT ’ S NOMINEES

AND WINNERS

52B

ES

T

FI

LM

N

OM

IN

EE

53B

ES

T

FI

LM

N

OM

IN

EE

54

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 [2002]) as clearly as his action movie credentials (The Bourne Supremacy [2004], United 93 [2006]), taking a forensic approach to the hijacking and � nding tension in the detail of Captain Phillips’ ordeal. As Phillips is taken

CAPTAIN PHILLIPSWords by

Helen O’Hara

Helen O’Hara writes for Empire and Empire Online

BE

ST

F

IL

M

NO

MI

NE

E

55

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.

B E S T F I L M N O M I N E E SScott Rudin,

Dana Brunetti, Michael De Luca

O T H E R N O M I N A T E D C A T E G O R I E S

Adapted Screenplay; Cinematography; Director; Editing; Leading Actor;

Original Music; Sound; Supporting Actor

BE

ST

F

IL

M

NO

MI

NE

E

56B

ES

T

FI

LM

N

OM

IN

EE

57B

ES

T

FI

LM

N

OM

IN

EE

58G

RA

VI

TY

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 game-changing 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

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.

GRAVITYWords by

Jonathan Crocker

Jonathan Crocker is head of content

and UX at Human After All

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.

B E S T F I L M N O M I N E E SAlfonso Cuarón, David Heyman

O T H E R N O M I N A T E D C A T E G O R I E S

Cinematography; Director; Editing; Leading Actress; Original Music;

Original Screenplay; Outstanding British Film; Production Design; Sound; Special Visual E� ects

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.

B E S T F I L M N O M I N E E SAlfonso Cuarón, David Heyman

O T H E R N O M I N A T E D C A T E G O R I E S

Cinematography; Director; Editing; Leading Actress; Original Music;

Original Screenplay; Outstanding British Film; Production Design; Sound; Special Visual E� ects

Pact is the Producers Alliance for Cinema and Television

Best of British Pact congratulates the UK independent production companies behind many of this year’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

PA_Bafta_Advert_AW.indd 1 30/01/2014 14:26

congratulates our clients on theirEE British Academy Film Awards in 2014 nominations

Best Film12 YEARS A SLAVEDEDE GARDNER

ANTHONY KATAGASJEREMY KLEINERSTEVE MCQUEEN*

BRAD PITTCAPTAIN PHILLIPSDANA BRUNETTI

MICHAEL DE LUCA PHILOMENA

STEVE COOGAN**

Outstanding British FilmMANDELA: LONG WALK TO FREEDOM

WILLIAM NICHOLSON***

PHILOMENASTEVE COOGAN

RUSHRON HOWARD

PETER MORGAN**

SAVING MR. BANKSJOHN LEE HANCOCK

Film Not In The English LanguageBLUE IS THE WARMEST COLOUR

ABDELLATIF KECHICHE

Animated FilmFROZEN

JENNIFER LEE

DirectorSTEVE MCQUEEN12 YEARS A SLAVE

DAVID O. RUSSELLAMERICAN HUSTLE

PAUL GREENGRASSCAPTAIN PHILLIPS

Original ScreenplayERIC WARREN SINGER

DAVID O. RUSSELL AMERICAN HUSTLE

Adapted ScreenplayJOHN RIDLEY

12 YEARS A SLAVE

RICHARD LAGRAVENESEBEHIND THE CANDELABRA

BILLY RAY CAPTAIN PHILLIPS

STEVE COOGANPHILOMENA

TERENCE WINTERWOLF OF WALL STREET

Leading ActorBRUCE DERN

NEBRASKACHIWETEL EJIOFOR†

12 YEARS A SLAVETOM HANKS

CAPTAIN PHILLIPS

Leading ActressCATE BLANCHETT††

BLUE JASMINE

SANDRA BULLOCKGRAVITY

Supporting ActorBRADLEY COOPERAMERICAN HUSTLE

MICHAEL FASSBENDER‡

12 YEARS A SLAVE

Supporting ActressJENNIFER LAWRENCE

AMERICAN HUSTLE

JULIA ROBERTSAUGUST: OSAGE COUNTY

British Short FilmROOM 8

JAMES W. GRIFFITHS

EE Rising Star AwardDANE DEHAANLÉA SEYDOUX‡‡

* 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

and salutesDAME HELEN MIRREN

BAFTA Fellowship

congratulates our clients on theirEE British Academy Film Awards in 2014 nominations

Best Film12 YEARS A SLAVEDEDE GARDNER

ANTHONY KATAGASJEREMY KLEINERSTEVE MCQUEEN*

BRAD PITTCAPTAIN PHILLIPSDANA BRUNETTI

MICHAEL DE LUCA PHILOMENA

STEVE COOGAN**

Outstanding British FilmMANDELA: LONG WALK TO FREEDOM

WILLIAM NICHOLSON***

PHILOMENASTEVE COOGAN

RUSHRON HOWARD

PETER MORGAN**

SAVING MR. BANKSJOHN LEE HANCOCK

Film Not In The English LanguageBLUE IS THE WARMEST COLOUR

ABDELLATIF KECHICHE

Animated FilmFROZEN

JENNIFER LEE

DirectorSTEVE MCQUEEN12 YEARS A SLAVE

DAVID O. RUSSELLAMERICAN HUSTLE

PAUL GREENGRASSCAPTAIN PHILLIPS

Original ScreenplayERIC WARREN SINGER

DAVID O. RUSSELL AMERICAN HUSTLE

Adapted ScreenplayJOHN RIDLEY

12 YEARS A SLAVE

RICHARD LAGRAVENESEBEHIND THE CANDELABRA

BILLY RAY CAPTAIN PHILLIPS

STEVE COOGANPHILOMENA

TERENCE WINTERWOLF OF WALL STREET

Leading ActorBRUCE DERN

NEBRASKACHIWETEL EJIOFOR†

12 YEARS A SLAVETOM HANKS

CAPTAIN PHILLIPS

Leading ActressCATE BLANCHETT††

BLUE JASMINE

SANDRA BULLOCKGRAVITY

Supporting ActorBRADLEY COOPERAMERICAN HUSTLE

MICHAEL FASSBENDER‡

12 YEARS A SLAVE

Supporting ActressJENNIFER LAWRENCE

AMERICAN HUSTLE

JULIA ROBERTSAUGUST: OSAGE COUNTY

British Short FilmROOM 8

JAMES W. GRIFFITHS

EE Rising Star AwardDANE DEHAANLÉA SEYDOUX‡‡

* 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

and salutesDAME HELEN MIRREN

BAFTA Fellowship

62B

ES

T

FI

LM

N

OM

IN

EE

63B

ES

T

FI

LM

N

OM

IN

EE

64

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.

PHILOMENAWords by

Catherine Shoard

Catherine Shoard is � lm editor

for Guardian News & Media

65

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).

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.

B E S T F I L M N O M I N E E SGabrielle Tana, Steve Coogan,

Tracey Seaward

O T H E R N O M I N A T E D C A T E G O R I E S

Adapted Screenplay; Leading Actress;

Outstanding British Film

A D A P T E D S C R E E N P L A Y

Philomena

JEFF POPE

B R I T I S H S H O R T F I L M

Orbit Ever After

JAMIE STONE

C I N E M A T O G R A P H Y

BRUNO DELBONNELInside Llewyn Davis

C O S T U M E D E S I G N

CATHERINE MARTINThe Great Gatsby

DANIEL ORLANDISaving Mr. Banks

D I R E C T O R

MARTIN SCORSESEThe Wolf of Wall Street

E E R I S I N G S T A R

WILL POULTER

E D I T I N G

12 Years A Slave

JOE WALKER

B E S T F I L M

American Hustle

CHARLES ROVENRICHARD SUCKLE

L E A D I N G A C T O R

CHRISTIAN BALEAmerican Hustle

L E A D I N G A C T R E S S

AMY ADAMSAmerican Hustle

EMMA THOMPSONSaving Mr. Banks

O R I G I N A L M U S I C

HANS ZIMMER12 Years A Slave

HENRY JACKMANCaptain Phillips

O R I G I N A L S C R E E N P L A Y

Nebraska

BOB NELSON

O U T S T A N D I N G B R I T I S H F I L M

Philomena

JEFF POPERush

ANDREW EATONSaving Mr. Banks

KELLY MARCEL

O U T S T A N D I N G D E B U T B Y A B R I T I S H W R I T E R

Saving Mr. Banks

KELLY MARCEL

P R O D U C T I O N D E S I G N

The Great Gatsby

CATHERINE MARTIN

S U P P O R T I N G A C T O R

DANIEL BRÜHLRush

MATT DAMONBehind the Candelabra

S U P P O R T I N G A C T R E S S

OPRAH WINFREYThe Butler

WE PROUDLY CONGRATULATE OUR CLIENTS ON THEIR EE BRITISH ACADEMY FILM AWARDS NOMINATIONS

68A

CA

DE

MY

F

EL

LO

WS

HI

P

69A

CA

DE

MY

F

EL

LO

WS

HI

P

70

The Queen (2006)

DAME HELEN MIRREN

A C A D E M Y F E L L O W S H I P

Words by Quentin Falk

Film stillsRex Features

Opening portrait Ian Derry

71

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 Anglo-Russian 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.”

The Queen (2006)

72

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,

AC

AD

EM

Y

FE

LL

OW

SH

IP

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 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.”

Caligula (1979)

Red 2 (2013)

The Last Station (2009)The Long Good Friday (1980)

The Official Chocolatier to the British Academy of Film and Television Arts

hotelchocolat.com PHO

TOG

RA

PH B

Y A

ndre

w M

ontg

omer

y

Hotel_Chocolat_170x240_advert2014.indd 1 21/01/2014 17:19

74

“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 frightened-rabbit-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.

AC

AD

EM

Y

FE

LL

OW

SH

IP

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

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

S E L E C T F I L M O G R A P H Y

“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.”

Some Mother’s Son (1996)

ALICE EVE British Actress

www.charlesworthington.com @CWHairLondon

VOLUME & BOUNCE THICK & FULL 3D BOOSTING CRÈME

‘MY HAIR LOOKS FABULOUS AND FEELS THICKER AND FULL OF BODY’

Fiona Arthur, Edinburgh

NEW

CELEBRATING 6 YEARS AS THE OFFICIAL HAIR STYLIST TO THE EE BRITISH ACADEMY FILM AWARDS

76A

CA

DE

MY

F

EL

LO

WS

HI

P

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

Arthur (2011)

Hitchcock (2012)

The Madness Of King George (1994)

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.”

78

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 HitchcockFreddie Young OBE

Grace Wyndham GoldieDavid LeanJacques CousteauSir Charles ChaplinLord OlivierSir Denis FormanFred ZinnemannLord GradeSir Huw WheldonDavid Attenborough CBE

John HustonAbel GanceMichael PowellEmeric PressburgerAndrzej WajdaSir Richard Attenborough CBE

Sir Hugh GreeneSam SpiegelJeremy IsaacsSteven SpielbergFederico FelliniIngmar BergmanSir Alec Guinness CH, CBE

Paul FoxLouis MalleSir John GielgudDavid PlowrightSydney Samuelson CBE

Colin Young CBE

Michael Grade CBE

Billy WilderJeanne MoreauRonald Neame CBE

John Schlesinger CBE

Dame Maggie SmithWoody AllenSteven BochcoJulie ChristieOswald 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 ConneryBill Cotton CBE

Eric Morecambe and Ernie WiseElizabeth TaylorMichael CaineStanley Kubrick (posthumous)Peter BazalgetteAlbert FinneyJohn ThawDame Judi DenchWarren BeattyMerchant Ivory ProductionsAndrew DaviesSir John MillsSaul ZaentzDavid JasonJohn BoormanRoger GraefJohn Barry OBE

Sir David Frost OBE

Lord Puttnam CBE

Ken LoachAnne V. Coates OBE

Richard Curtis CBE

Will WrightSir Anthony Hopkins CBE

Bruce Forsyth CBE

Terry GilliamNolan BushnellDawn French and Jennifer SaundersVanessa Redgrave CBE

Shigeru MiyamotoLord BraggSir Christopher Lee CBE

Peter Molyneux OBE

Sir Trevor McDonald OBE

Martin ScorseseRolf Harris CBE

Sir Alan ParkerGabe NewellMichael Palin CBE

FELLOWS OF THE ACADEMY

Names and honours correct at time of presentation.

FE

LL

OW

S

OF

T

HE

A

CA

DE

MY

HACKETT.COM

HACKETT LONDON IS PROUD TO BE THE OFFICIAL MENSWEAR STYLIST

FOR THE EE BRITISH ACADEMY FILM AWARDS IN 2014

Hackett_BAFTA_Film_2014_Final_Layout 1 17/12/2013 09:27 Page 1

80

ETER

REENAWAY

OU

TS

TA

ND

IN

G

BR

IT

IS

H

CO

NT

RI

BU

TI

ON

T

O

CI

NE

MA

81O

UT

ST

AN

DI

NG

B

RI

TI

SH

C

ON

TR

IB

UT

IO

N

TO

C

IN

EM

A

82

PETER GREENAWAY

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

Words by Rich Matthews

Film stillsRex Features

83

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

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 al l 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.The Draughtsman’s Contract (1982)

84

“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.

OU

TS

TA

ND

IN

G

BR

IT

IS

H

CO

NT

RI

BU

TI

ON

T

O

CI

NE

MA

“I always have this eye for the emotion of the pictorial image and try very

hard to expand � lmmaking language.”

The Pillow Book (1996)

Goltzius And The Pelican Company (2012)

The Cook, The Thief, His Wife And Her Lover (1989)

For further information contact Kate Lee, Director, +44(0)20 3003 6349, kate@freuds.com

freuds is proud to be entering its seventeenth year as the retained agency for the EE British Academy Film Awards.

86

“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.”

OU

TS

TA

ND

IN

G

BR

IT

IS

H

CO

NT

RI

BU

TI

ON

T

O

CI

NE

MA

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

S E L E C T F I L M O G R A P H Y

“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.”

The Baby Of Mâcon (1993)

For further information contact Kate Lee, Director, +44(0)20 3003 6349, kate@freuds.com

freuds is proud to be entering its seventeenth year as the retained agency for the EE British Academy Film Awards.

88

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.

OU

TS

TA

ND

IN

G

BR

IT

IS

H

CO

NT

RI

BU

TI

ON

T

O

CI

NE

MA

“I want to come to a � lm with as much enthusiasm, excitement

and openness as I can.”

A Zed & Two Noughts (1986)

Portrait by Reinier van Brummelen

90

Chinua AchebeWriter16 November 1930 — 21 March 2013

David AndersonAssistant Director, Producer17 September 1940— 04 August 2013

Rona AndersonActress03 August 1926— 23 July 2013

Allan ArbusPhotographer, Actor15 February 1918— 19 April 2013

James AveryActor27 November 1945— 31 December 2013

Conrad BainActor 04 February 1923— 14 January 2013

Aleksei BalabanovFilmmaker25 February 1959— 18 May 2013

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

Eileen BrennanActress03 September 1932— 28 July 2013

Anwar BrettCritic, Journalist 23 July 1966 — 24 November 2013

Richard BriersActor14 January 1934— 17 February 2013

Sid BrooksExecutive05 January 1922 — 24 May 2013

John Calvert Magician, Actor05 August 1911— 27 September 2013

David CamplingEditor, Sound Editor02 November 1938— 09 May 2013

Vincenzo CeramiWriter02 November 1940 — 17 July 2013

Patrice Chéreau Director, Writer02 November 1944— 07 October 2013

Park Chul-sooDirector20 November 1948— 19 February 2013

Tom ClancyWriter12 April 1947— 01 October 2013

IN MEMORIAM

Alexandra BastedoActress09 March 1946 — 12 January 2014

Shamshad BegumSinger14 April 1919— 23 April 2013

Hamidou BenmessaoudActor02 August 1935— 19 September 2013

Alberto BevilacquaWriter, Filmmaker27 June 1934— 09 September 2013

Paul BhattacharjeeActor04 May 1960 — 12 July 2013

Antonia BirdDirector27 May 1951 — 24 October 2013

Karen BlackActress01 July 1939— 08 August 2013

Les BlankDirector27 November 1935— 07 April 2013

Michel BraultDirector, Cinematographer25 June 1928— 21 September 2013

Marc BreauxChoreographer03 November 1924— 19 November 2013

IN

M

EM

OR

IA

M

91Richard CollinsWriter, Producer20 July 1914— 14 February 2013

Brian ComportWriter16 April 1938— 05 September 2013

Joe ConleyActor 03 March 1928— 07 July 2013

Jeanne CooperActress25 October 1928— 08 May 2013

Damiano DamianiWriter, Director23 July 1922— 07 March 2013

Nigel DavenportActor23 May 1928— 25 October 2013

Franco de GeminiMusician 10 September 1928— 20 July 2013

Denys de La PatellièreDirector08 March 1921— 21 July 2013

Lorella De LucaActress17 September 1940 — 09 January 2014

Rupert Dilnott-CooperExecutive 01 January 1954— 20 May 2013

Diane Disney MillerPhilanthropist18 December 1933— 19 November 2013

Ray DolbyAudio Engineer18 January 1933 — 12 September 2013

Deanna Durbin Actress, Singer04 December 1921— 20 April 2013

Roger EbertFilm Critic18 June 1942— 04 April 2013

Marta EggerthActress, Singer17 April 1912— 26 December 2013

Christopher Evan WelchActor28 September 1965— 02 December 2013

Dennis FarinaActor29 February 1944— 22 July 2013

Syd FieldWriter19 December 1935— 17 November 2013

Rick FinkelsteinExecutive 15 September 1949— 01 October 2013

Susan FitzgeraldActress28 May 1949— 09 September 2013

Joan FontaineActress22 October 1917— 15 December 2013

Bryan Forbes CBE

Actor, Writer, Director, Producer22 July 1926 — 08 May 2013

Stanley FormanDirector, Producer, Distributor26 December 1921 — 07 February 2013

Steve Forrest Actor29 September 1925— 18 May 2013

Michelle FoxProducer10 December 1958— 22 May 2013

Michael FranceWriter04 January 1962— 12 April 2013

Jesús (Jess) FrancoDirector12 May 1930— 02 April 2013

Stuart FreebornMake Up Artist05 September 1914— 05 February 2013

Sir David Frost OBE, Kt

Broadcaster, Executive, Producer07 April 1939— 31 August 2013

IN

M

EM

OR

IA

M

92Annette FunicelloActress, Singer22 October 1942— 08 April 2013

James Gandol� niActor18 September 1961— 19 June 2013

Giuliano GemmaActor02 September 1938— 01 October 2013

Aleksey GermanDirector20 July 1938— 21 February 2013

Murray GershenzActor12 May 1922— 28 August 2013

Leslie GilliatProducer 29 May 1917— 13 July 2013

Peter GilmoreActor25 August 1931— 03 February 2013

Jim GoddardDirector, Designer, Painter02 February 1936— 17 June 2013

Bob GodfreyAnimator27 May 1921— 21 February 2013

Gary David GoldbergDirector, Writer, Producer25 June 1944 — 22 June 2013

Elspet GrayActress12 April 1929— 18 February 2013

Richard Gri� ths OBE

Actor31 July 1947— 28 March 2013

Michael GrigsbyFilmmaker07 June 1936— 12 March 2013

Alfredo GuevaraFilm Director31 December 1925— 19 April 2013

Haji (born: Barbarella Catton)

Actress24 January 1946— 09 August 2013

Gerry HamblingEditor14 June 1926— 05 February 2013

Vic HammondGrip07 May 1945— 24 April 2013

Tim HamptonProducer25 February 1948— 11 March 2013

David Harcourt Camera Operator27 September 1915— 05 May 2013

Gerry HarringtonAgent, Manager02 July 1962— 09 February 2013

Julie HarrisActress02 December 1925— 24 August 2013

Ray HarryhausenAnimator, Special E� ects Director29 June 1920 — 07 May 2013

Doreen HawkinsActress13 July 1919— 15 June 2013

Marta He� in Actress29 March 1945 — 18 September 2013

Jane HensonPuppeteer, Co-creator of The Muppets16 June 1934 — 02 April 2013

Barbara HicksActress12 August 1924— 06 September 2013

Anthony HindsProducer, Writer, Executive19 September 1922— 30 September 2013

Joe HobbsMilitary Costume Designer14 November 1961 — 27 December 2013

Marty HornsteinProduction Manager15 August 1932— 19 December 2013

Bernard Horsfall Actor20 November 1930— 28 January 2013

IN

M

EM

OR

IA

M

93Paul JenkinsActor02 August 1938— 01 July 2013

Iain JohnstoneGrip04 February 1955— 19 September 2013

Michael J KaganProducer16 July 1926— 10 November 2013

Fay KaninWriter09 May 1917— 27 March 2013

Pat KeenActress21 October 1933— 01 March 2013

Jim KellyActor05 May 1946— 29 June 2013

Jean KentActress29 June 1921— 30 November 2013

Wojciech KilarComposer17 July 1932— 29 December 2013

Greg KramerActor1961— 08 April 2013

Bernadette LafontActress28 October 1938— 25 July 2013

Alfredo LandaActor03 March 1933— 09 May 2013

Tom LaughlinActor10 August 1931— 12 December 2013

Ed LauterActor30 October 1938— 16 October 2013

Georges LautnerDirector, Writer24 January 1926— 22 November 2013

Elmore LeonardNovelist, Writer11 October 1925— 20 August 2013

Richard LeParmentierActor, Writer16 July 1946— 15 April 2013

Gail LevinDocumentary Filmmaker 20 June 1946— 31 July 2013

Harry LewisActor01 April 1920— 09 June 2013

Carlo LizzaniDirector, Writer, Critic03 April 1922— 05 October 2013

Roger Lloyd-PackActor08 February 1944 — 15 January 2014

Jackie LomaxSinger, Songwriter10 May 1944— 15 September 2013

Bill LovellDigital Product Manager20 August 1954— 13 March 2013

Olga LoweActress14 September 1919— 02 September 2013

Bigas LunaWriter, Director19 March 1946— 06 April 2013

AC LylesProducer17 May 1918— 27 September 2013

Richard LyonActor08 October 1934 — 16 October 2013

Mario MachadoActor22 April 1935— 04 May 2013

Angus MacKayActor15 July 1926— 08 June 2013

Richard MathesonWriter20 February 1926— 23 June 2013

Iain McCollActor27 January 1954— 04 July 2013

IN

M

EM

OR

IA

M

94Stephenie McMillanSet Decorator20 July 1942— 19 August 2013

Édouard MolinaroDirector, Writer13 May 1928— 07 December 2013

Sara MontielActress, Singer10 March 1928— 08 April 2013

Juanita MooreActress19 October 1914— 01 January 2014

Tommy MorrisonBoxer, Actor02 January 1969— 01 September 2013

Gerard MurphyActor14 October 1948— 26 August 2013

Hal NeedhamStuntman, Director06 March 1931— 25 October 2013

Ken NortonBoxer, Actor09 August 1943— 18 September 2013

Milo O’SheaActor02 June 1926— 02 April 2013

Peter O’TooleActor02 August 1932— 14 December 2013

Kumar PallanaActor23 December 1918— 10 October 2013

Eleanor Parker Actress26 June 1922— 09 December 2013

Margaret PellegriniActress23 September 1923— 07 August 2013

Bill PertweeActor21 July 1926— 27 May 2013

Ted PostDirector31 March 1918— 20 August 2013

Nosher PowellStuntman, Actor15 August 1928— 20 April 2013

Ruth Prawer JhabvalaWriter07 May 1927— 03 April 2013

Franca RameActress, Writer18 July 1928— 29 May 2013

Harry ReemsActor27 August 1947— 19 March 2013

Robert RelyeaProducer03 May 1930— 05 March 2013

Dale RobertsonActor14 July 1923— 27 February 2013

Joseph RuskinActor14 April 1924— 28 December 2013

Otto SanderActor30 June 1941— 12 September 2013

Richard Sara� anDirector 28 April 1930— 18 September 2013

Lou ScheimerAnimation Producer19 October 1928— 17 October 2013

August SchellenbergActor25 July 1936— 15 August 2013

Alan SharpWriter12 January 1934— 08 February 2013

Sir Run Run Shaw CBE

Producer, Executive23 November 1907— 07 January 2014

Pran SikandActor12 February 1920— 12 July 2013

Mel SmithActor, Writer, Director03 December 1952— 19 July 2013

IN

M

EM

OR

IA

M

95Jean StapletonActress19 January 1923— 31 May 2013

Graham StarkActor20 January 1922— 29 October 2013

Bert SternPhotographer, Filmmaker03 October 1929— 26 June 2013

Risë StevensActress11 June 1913— 20 March 2013

Jack StokesAnimation Director02 April 1920— 20 March 2013

Patsy SwayzeChoreographer 07 February 1927— 16 September 2013

Gilbert TaylorCinematographer21 April 1914— 23 August 2013

Frank ThorntonActor15 January 1921— 16 March 2013

Audrey TotterActress20 December 1917— 12 December 2013

Barbara TrenthamActress27 August 1944— 02 August 2013

Armando TrovajoliComposer, Musician02 September 1917— 28 February 2013

Luciano VincenzoniWriter07 March 1926— 22 September 2013

Paul WalkerActor12 September 1973— 30 November 2013

Bill WallisActor20 November 1936— 06 September 2013

Scott WardCinematographer16 May 1966— 29 January 2013

Sheila WhitakerFilm Programmer, Festival Director01 April 1936— 29 July 2013

Esther WilliamsActress08 August 1921— 06 June 2013

John WilsonAnimator07 August 1919— 20 June 2013

Anna WingActress30 October 1914— 07 July 2013

Jonathan WintersComedian11 November 1925— 11 April 2013

Aubrey WoodsActor, Writer09 April 1928— 07 May 2013

Olwen WymarkWriter14 February 1932— 14 June 2013

Cy YoungFilm Researcher, Editor, Former Governor of the BFI05 December 1941— 12 October 2013

Andy YoungPreview Theatre Owner15 July 1950— 28 October 2013

Vadim YusovCinematographer20 April 1929— 23 August 2013

Saul ZaentzProducer28 February 1921— 03 January 2014

Carmen ZapataActress15 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.

IN

M

EM

OR

IA

M

97C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

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

98C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

99

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

100

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

101C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

102

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

103C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

104

105

106

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

107C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

108

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

109

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

110

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

111C

IN

EM

ME

RS

IV

E:

A

P

HO

TO

GR

AP

HI

C

ES

SA

Y

112

J A V I E R B A R D E MWinSupporting Actor, 2008 – No Country For Old MenAlso two nominations.

C A T E B L A N C H E T TWinsSupporting Actress, 2005 – The AviatorLeading Actress, 1999 – ElizabethAlso nominated three times.

G E O R G E C L O O N E YWinBest Film, 2013 – Argo (with Grant Heslov and Ben A� eck)

Also nominated eight times.

M A R I O N C O T I L L A R DWinLeading Actress, 2008 – La Vie En RoseAlso one nomination.

C L I N T E A S T W O O DNominationsDirector, 2009 – ChangelingFilm, 1993 – UnforgivenDirector, 1993 – Unforgiven

D A N I E L D A Y - L E W I SWinsLeading Actor, 2013 – LincolnLeading Actor, 2008 – There Will Be BloodLeading Actor, 2003 – Gangs Of New YorkLeading Actor, 1990 – My Left FootAlso two nominations.

J O H N H U R T C B E

WinOutstanding British Contribution To Cinema, 2012Supporting Actor, 1979 – Midnight ExpressActor, 1981 – The Elephant ManAlso nominated three times.

S I R B E N K I N G S L E YWinsLeading Actor, 1983 – GandhiMost Promising Newcomer To Leading Film Roles, 1983 – GandhiAlso one nomination.

S I R I A N M C K E L L E NNominationsSupporting Actor, 2004 – The Lord Of The Rings: The Return Of The KingLeading Actor, 2002 – The Lord Of The Rings: The Fellowship Of The RingLeading Actor, 1997 – Richard IIIAdapted Screenplay, 1997 – Richard III (with Richard Loncraine)

S T E V E M C Q U E E N C B E

WinSpecial Achievement By A British

Director, Writer Or Producer In

Their First Feature Film, 2009 – Hunger

Also two nominations.

S I R S I D N E Y P O I T I E RWin Foreign Actor, 1959 – The De� ant OnesAlso nominated � ve times.

M I C K E Y R O U R K EWin Leading Actor, 2009 – The Wrestler

M E R Y L S T R E E PWinsLeading Actress, 2012 – The Iron LadyLeading Actress, 1982 – The French Lieutenant’s WomanAlso nominated 12 times.

T I L D A S W I N T O NWinSupporting Actress, 2008 – Michael ClaytonAlso two nominations.

With thanks to Margo Holder and Lancôme for selected shoots.

CI

NE

MM

ER

SI

VE

:

A

PH

OT

OG

RA

PH

IC

E

SS

AY

WINS AND NOMINATIONS

Richard Attenborough with Audrey Hepburn - winners of the British Actor Award and British Actress Award in 1965

REX - the official photographers to BAFTAcongratulate all the nominees

Rex Features photography winners for over 60 years

ww

w.re

xfea

ture

s.co

m

For further information on Exterion Media’s portfolio of advertising solutions, please contact Michelle Gardiner on 020 7428 3656 or email michelle.gardiner@exterionmedia.co.uk

www.exterionmedia.co.uk

Exterion Media, Official Outdoor Media partner of BAFTA, would like to congratulate all award winners and nominees.

BAFTA ad 240mmx170mm 18-12-13 R.indd 1 18/12/2013 12:37

115

O F F I C E R S

HRH The Duke of Cambridge, KGAcademy President

Duncan Kenworthy OBE

Academy Vice-President

Sophie Turner LaingAcademy Vice-President

Board of Trustees—John WillisChairman of the Academy

Anne MorrisonDeputy Chairman of the Academy and Chairman, Learning and Events Committee

Harvey ElliottChairman, Games Committee

Pippa HarrisDeputy Chairman, Film Committee

Jane LushDeputy Chairman, Television Committee

Andrew NewmanChairman, Television Committee

Nik PowellChairman, Film Committee

—Medwyn JonesChairman, Commercial Committee

Tanya SeghatchianCo-optee

Janet WalkerChairman, Finance and Audit Committee

—Amanda Berry OBE

Chief Executive

Kevin PriceChief Operating O� cer

C O M M I T T E E S

Elected Members of the Film Committee—Nik Powell Chairman

Pippa Harris Deputy Chairman

—David ArnoldAndrew CurtisChristopher FiggJustin JohnsonLuke Parker BowlesKenith TroddClare WisePenny Wolf

Elected Members of the Television Committee—Andrew NewmanChairman

Jane LushDeputy Chairman

—Richard BodenJames DeanNeil GrantOlivia LichtensteinKrishnendu MajumdarSimon SpencerGraham StuartBrian Woods

Elected Members of the Games Committee—Harvey ElliottChairman

—Georg BackerPaul JacksonRay MaguireJohnny Minkley

OF

FI

CE

RS

O

F

TH

E

AC

AD

EM

Y

OFFICERSOF THEACADEMY

116

Academy Partners—88 Rue Du RhoneAudiBadoitBritish AirwaysChampagne TaittingerEvian Fortnum & MasonGrolschHotel ChocolatPaperlinXRepublic Of PhotographySargent-DiscVilla Maria

Academy Supporters—BarcoBrightcoveChannel 4CTVDeloitte

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.

DolbyThe FarmLipsyncPortapromptQuixel

BAFTA Cymru—AB AcousticsAudiAutogra� egAvantiBamboo DentalBauhausBBC Cymru WalesBluestone National Park ResortCapital LawCardi� & Vale CollegeCardi� CouncilThe Celt ExperienceChampagne TaittingerCommercial Radio SystemsELP

PARTNERSOF THEACADEMY P

AR

TN

ER

S

OF

T

HE

A

CA

DE

MY

117

EthosFirst Great WesternGorillaHotel ChocolatITV Cymru WalesMA LightingMela MediaThe National Screen andSound Archive of WalesNEP CymruOrchardNEPPaperlinXPRGRed Touch MediaS4CSt David’sThe St David’s Hotel & SpaTrosolUniversal Production MusicUniversity of South WalesWales Millennium CentreWelsh Government

BAFTA Scotland—AccessorizeAudiBBC ScotlandBritish AirwaysBurn Stewart DistillersChampagne TaittingerChannel 4CineworldThe Corinthian ClubCreative ScotlandCusquenaDeloitteDesigns by MEdit 123EvianGrolschGrosvenor CinemaHotel ChocolatInverarity MortonM.A.C. CosmeticsMaterial

MCLNoble IslePaperlinXProcamPRS For MusicRekorderligSound AcousticsSTVWire Media

For further information

on partnership opportunities,

please contact:

Louise Robertson+44 (0)20 7292 5844louiser@bafta.org

Natalie Moss+44 (0)20 7292 5846nataliem@bafta.org

PA

RT

NE

RS

O

F

TH

E

AC

AD

EM

Y

© 2014 Deloitte LLP. All rights reserved.

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 we’re helping the industry stand out

by visiting www.deloitte.co.uk/tmt

Helping you to shine

31830A lc BAFTA.indd 1 06/12/2013 12:24

119

With enduring thanks to all the O� cial Partners to the EE British Academy Film Awards in 2014.

FILM AWARDS PARTNERS

The SavoyO� cial Hotel

British AirwaysO� cial Airline

AspreyO� cial Jeweller and Nominees Party Host

LancômeO� cial Beauty

HackettO� cial Menswear Stylist

GrolschO� cial Beer

Exterion MediaO� cial Outdoor Media

EvianO� cial Bottled Water

PaperlinXO� cial Paper

BadoitO� cial Bottled Water

TCMO� cial Placemats

Fortnum & MasonO� cial Tea

AudiO� cial Car

88 Rue Du RhoneO� cial Watch

elit™ by Stolichnaya® VodkaO� cial Vodka

TaittingerO� cial Champagne

Villa MariaO� cial Wine

Hotel ChocolatO� cial Chocolate

British Fashion CouncilO� cial Womenswear Stylist

Republic Of PhotographyO� cial Photobooth

Charles WorthingtonO� cial Hair Stylist

DCMO� cial Cinema Media

FI

LM

A

WA

RD

S

PA

RT

NE

RS

ANYAH INDMARCH .COM

121

88 Rue Du RhoneAn exclusive discount voucher across a stunning range of timepieces. www.88rdr.com

GrolschSleek, black notepad with embossed Grolsch branding.www.grolsch.com

HackettRe� ned and stylish Hackett dress studs.www.hackett.com

Hotel ChocolatAn exclusive dining o� er at the new Rabot Estate restaurant. www.hotelchocolat.co.uk

LancômeA selection of Lancôme’s must-have skincare and make up products.www.lancome.co.uk

Noble IsleAromatic candle, handmade with natural British extracts.www.nobleisle.com

The SavoyThe ultimate cocktail book from the world-renowned American Bar.www.fairmont.com/savoy-london

Champagne TaittingerA bottle of Champagne Taittinger Brut Réserve NV in a gift box.www.taittinger.com

Villa MariaA tour, wine tasting and lunch at the Villa Maria winery, Auckland.www.villamaria.co.nz

The Vineyard HotelA luxurious overnight stay, dinner and cellar tour. www.the-vineyard.co.uk

Anya HindmarchExclusively designed BAFTA Tote bag.www.anyahindmarch.com

AspreyA beautiful Asprey pocket mirror and bullskin leather case.www.asprey.com

Charles WorthingtonA selection of products from the Salon At Home Collection.www.charlesworthington.com

Cocorose LondonExclusively designed foldable ballet pumps.www.cocoroselondon.com

CrossA sophisticated instrument for e� ortless writing.www.cross.com

EvianA refreshing, moisturising brumisateur facial spray.www.evian.com

Fortnum & MasonA specially selected, bespoke blend of � nest quality loose leaf tea.www.fortnumandmason.com

A huge thanks to the following brands which have generously provided gifts for this year’s nominees and citation readers.

FILM AWARDS GIFT PROVIDERS

FI

LM

A

WA

RD

S

GI

FT

P

RO

VI

DE

RS

AD Events Ltd are especially proud to support BAFTA

with the design and production of tonight’s dinner and after-party

T: +44(0) 20 7635 7372 E: enquiries@adevents.co.uk W: www.adevents.co.uk

Sargent-Disc congratulates the nominees of the EE British Academy Film Awards in 2014.

Sargent-Disc is committed to service excellence. Find out more at www.sargent-disc.com

Payroll &Residuals

CorporatePayroll

Auto Enrolment

SD Online Production Card

Production Services

ProductionAccounting

VistaAccounting

Movie MagicScheduling

Movie MagicBudgeting

Training AcademicPartnerships

Academy Partner

t’s often said that three is a magic number, and that’s certainly true with regards to tonight’s special ly crafted menu. The culmination of weeks of trialling and taste-

testing, 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 driverbehind 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

BEHIND THE MENU

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!

BE

HI

ND

T

HE

M

EN

U

123

From left to right: Nigel Boschetti, Jon Bentham, Anton Manganaro

TO E N S U R E T H E E E B R I T I S H A C A D E MY F I L M A WA R D S R E M A I N S A U N I Q U E E V E N T, TO 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 BY T H R E E C U L I N A R Y M A S T E R S …

Words byToby Weidmann

PortraitsIan Derry

THE TELEGRAPH IS PROUD TO BE AN OFFICIAL PARTNER TO THE EE BRITISH ACADEMY FILM AWARDS

“ENGAGING OVER 2.1 MILLION DAILY ON MOBILE, TABLET, ONLINE AND PRINT”

Outside Broadcastsfor Winners

Contact: Adam Berger: adam@ctvob.co.uk or Bill Morris: bill@ctvob.co.uk / 020 8453 8989 / www.ctvob.co.ukPhoto 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

127

ACKNOWLEDGEMENTS

The Academy wishes to thank…

EE – our title sponsorNik Powell, Pippa Harris and members of the Film Committee

John Willis, ChairmanFilm voting juries and members

Film companies and distributors for their invaluable assistanceStephen Fry, our Host

Edith Bowman – Host, BBC Three Red Carpet showAll sta� at the Academy

AD Events International Limited – Design of the Awards dinner and after partyBBC

Brighter Connections – online votingCineworld – regional tour partner

Covent Garden Londonfreuds

Grosvenor House, a JW Marriott Hotel Helen Preece – Red Carpet Consultant

Royal Opera HouseSmart AV

West Design – Royal Opera House Red Carpet and Press Area productionWhizz Kid Television

Zoë Ball – Host, BAFTA � lmed content

Film Awards trailer created by Empire Design for BAFTASupported by DCM, Dolby, Pearl And Dean, The Farm, LypSync and Universal Music

AC

KN

OW

LE

DG

EM

EN

TS

128

For the Brochure—EditorToby Weidmann

Managing EditorChristine Robertson

Ad Sales Phil Eacott

ContributorsJonathan CrockerQuentin FalkMatthew LeylandRich MatthewsHelen O’HaraNev PierceCatherine Shoard

Picture EditorJanette Dalley

Photography EssayDr Andy Gotts MBE MA

Tel: +44 (0)845 045 0078www.andygotts.com

Design & Art DirectionHuman After All+44 (0)20 7729 7694www.humanafterall.co.uk

Art DirectorPaul Willoughby

DesignerEvan Lelliott

ProducerAndy Tweddle

Production ManagerHannah El-Boghdady

Cover IllustrationsLa BocaTel: +44 (0)203 220 0387www.laboca.co.uk

Printing Team ImpressionTel: +44 (0)113 272 4800hello@team-impression.comwww.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

Published byBritish Academy of Film and Television Arts195 PiccadillyLondonW1J 9LN

Tel: +44 (0)20 7734 0022reception@bafta.orgwww.bafta.org

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.

At BAFTA—Head of FilmDeena Wallace

Acting Head of FilmEmma Baehr

Head of ProductionClare Brown

Awards Event ProducerHelen Kierney

Production CoordinatorSophie Klein

Awards TeamKelly Smith, Bradley Down, Rob Jones, Georgina Norton, Kemuel Solomon, Jim Bradshaw, Nicki Wedgwood

PartnershipsLouise Robertson, Natalie Moss, Amy Elton

VotingDavid Lortal, Steve Noble, Sam Rhodes

TicketingGabby Taranowski, Siobhan Pridgeon

In-house Graphic DesignerAdam Tuck

OnlinePippa Irvine, Genevieve Smith, Oli Goldman

In-house Press & PRNick Williams

AccountsGiles Barnett

BAFTA ProductionsCassandra Hybel, Ryan Doherty, Daniel Dalton, Georgina Cunningham

ENDCREDITS

EN

D

CR

ED

IT

S

IMDb CONGRATULATES THEWINNERS AND NOMINEES AT THE

EE BRITISH ACADEMY FILM AWARDS IN 2014

www.imdb.com

C

M

Y

CM

MY

CY

CMY

K

bafta_imdb_printed.pdf 1 1/20/14 12:44 PM