EE British Academy Film Awards in 2013 by Toby Weidmann

E E B R I T I S H A C A D E M Y F I L M AWA R D S I N 2013

The Savoy is proud to be the official hotel of the && British Academy Film Awards 201 fairmont.com/savoy

CONTENTS

— Film Awards Programme

WELCOM E 006 HRH The Duke Of Cambridge, KG, President of the Academy 007 John Willis, Chairman of the Academy 009 Olaf Swantee, CEO of EE —

NOMINATIONS 013 The Nominations in full 039 Juries and Chapters —

BEST FILM NOMINEES 043 Argo Words by Wendy Ide A taut and dynamic take on a true story about an audacious rescue mission in war-torn Iran. 047 Les Misérables Words by Mark Kermode A rousing musical that hits all the right notes in a flamboyant rendition of the classic story. 051 Life Of Pi Words by Rosie Fletcher A vivid, imaginative adaptation of Yann Martel’s bestselling novel about a boy and a tiger in a lifeboat. 055 Lincoln Words by Ian Nathan A powerful and evocative portrayal of the 16th US president’s battle to abolish slavery. 059 Zero Dark Thirty Words by Kim Newman A gritty and intense depiction of one CIA agent’s unswerving hunt for Osama bin Laden. —

SPECIAL AWAR DS 062 The Fellowship Words by Quentin Falk Sir Alan Parker adds the Academy’s highest accolade to his already impressive haul of BAFTA awards. 072 Outstanding British Contribution to Cinema Words by Anwar Brett Tessa Ross reminisces about her inspirational career as Channel 4’s Controller of Film and Drama. —

PAST BAFTA WINNERS 081 A photographic essay capturing some of Britain’s finest behind-the-scenes artists. By Sarah Dunn — 100 In Memoriam 107 Officers of the Academy 109 Partners of the Academy 113 Film Awards Partners 115 Film Awards Gift Providers — 119 Acknowledgements 120 End Credits

HRH THE DUK E OF CA M BRIDGE, KG President of the Academy

WELCOME

Photo: Ian Derry

— BAFTA Chairman’s Message

A very warm welcome to the EE British Academy Film Awards in 2013. Amazingly, these are the 65th Film Awards since Sir David Lean and others founded the Academy in 1947. Tonight is about celebrating another phenomenal year in film, from wonderful homegrown British hits to the best of Hollywood and the rest of the world. Here at the Academy, we identify and reward excellence, inspire practitioners and benefit the public. We do this through our international Awards ceremonies, and through our comprehensive, world-class events programme, covering film, television and games. We couldn’t do either of those successfully without you – the industry, our members, supporters and partners. So, thank you. Last year, BAFTA was involved in more than 250 events, including masterclasses, lectures, seminars and debates, as well as putting together one of the biggest online resources for anyone seeking to enter our industries – BAFTA Guru (www.bafta.org/guru). Up-and-coming talent is inspired by the work and creativity of key individuals who are beacons in our industry. With this in mind, I am delighted that tonight we venerate two particularly talented individuals with our most important honours: the Fellowship and the Outstanding British Contribution to Cinema Award. As a six-time BAFTA winner, Sir Alan Parker is the deserving recipient of our most prestigious honour, the Fellowship. After starting out as an advertising copywriter, he has gone on to write and direct some of our most enduring films, including Bugsy Malone, The Commitments and Midnight Express. From an inspirational British director to one of the British film industry’s most influential figures: Tessa Ross. As Controller of Film and Drama at Channel 4 for the past decade, she has made an enormous impact on the landscape of British cinema, having had a hand in bringing such BAFTA winners as This Is England, The Last King Of Scotland and Slumdog Millionaire to our screens. She is the worthy winner of our Outstanding British Contribution to Cinema award. Thank you to the BAFTA juries, the Film Committee, chaired by Nik Powell, and to all BAFTA staff, led by Amanda Berry and Kevin Price, for their tireless work. And also to our headline sponsor, EE, which manages the publicly-voted EE Rising Star Award. We’ll be publishing tonight’s results live on Twitter (@BAFTA/ #EEBAFTAs), but stay connected with us to find out more about what we do when you leave here tonight; you will find all our red carpet highlights and backstage interviews with the winners on www.bafta.org, plus information on our year-round learning and events activity. To the nominees, I offer my congratulations on your incredible achievement. I wish everyone a wonderful evening. JOHN WILLIS Chairman of the Academy

WELCOME — Sponsor’s Message

2013 is already shaping up to be another special year for film, and I am honoured to be marking it through our new partnership with BAFTA. Having sponsored BAFTA for the past 15 years as Orange, we’re now ready to take our partnership to new heights with our pioneering superfast 4G and fibre brand, EE. Throughout 2012, we developed and delivered a new digital backbone for Britain, allowing people to trade, travel and transport things across great distances at the touch of a button. Ultimately, this digital network will have a transformational impact on the way we consume and connect with the things we love – music, books, TV and, of course, the movies. We’ve already launched the EE Film Store, where our customers can download the latest releases – straight out of the cinema and onto their connected device. It’s this kind of innovation that complements the work we began with the UK cinema industry many years ago, helping drive audience numbers up through our ‘2 for 1’ ticket offer every Wednesday. We’re very proud of these pioneering services which continue to delight our customers, cinema audiences and the industry week in, week out. The EE British Academy Film Awards is the highlight of the film calendar in the UK, both for the industry and the general public. As lead sponsor, we once again have the opportunity to recognise a young actor or actress who has demonstrated exceptional talent and ambition, and has captured the imagination of the British public. The EE Rising Star Award was created eight years ago in honour of casting director Mary Selway and past winners include Tom Hardy, Kristen Stewart, Noel Clarke and James McAvoy, with Adam Deacon winning the award in 2012. It remains the only award at the EE British Academy Film Awards to be voted for by the British public. I would like to take this opportunity to thank this year’s jury for their expertise, time and dedication in selecting the shortlist of five Rising Stars – Pippa Harris (our jury chair), Benedict Cumberbatch, Kevin Macdonald, Mark Kermode, Nina Gold, Kate Lee, Chris Hewitt, Paul Flynn, Charles Gant, Larushka Ivan-Zadeh and Jonny Pile. With EE paving the way for the role of technology and innovation bringing new opportunities to the film industry across the world, we look forward to an ongoing and exciting relationship with BAFTA through our shared passion for film. OLAF SWANTEE CEO of EE

Tools for Award Winners (and the Rest of Us Too) As an official Academy Partner Autodesk would like to congratulate all of the winners and nominees of the EE British Academy Film Awards in 2013. Autodesk is a leader in 3D design, engineering and entertainment software. Customers across the manufacturing, architecture, building, construction, and media and entertainment industries—including the last 13 BAFTA winners for visual effects—use Autodesk software to design, visualize, and simulate their ideas before they’re ever built or created. From blockbuster visual effects and buildings that create their own energy to electric cars and the batteries that power them, the work of our 3D software customers is everywhere you look. www.autodesk.com

Autodesk is a registered trademark of Autodesk, Inc., and/or its subsidiaries and/or aﬃliates in the USA and/or other countries. All other brand names, product names, or trademarks belong to their respective holders. Autodesk reserves the right to alter product and services oﬀerings, and specifications and pricing at any time without notice, and is not responsible for typographical or graphical errors that may appear in this document. © 2013 Autodesk, Inc. All rights reserved.

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NOMINATIONS

— EE British Academy Film Awards in 2013

thanks the British Academy of Film and Television Arts and proudly congratulates our nominees for Animated Film

Mark Andrews, Brenda Chapman

Tim Burton

ARGO

HOBBIT: AN THE SESSIONS ZERO DARK THIRTY THE UNEXPECTED WILD CONGRATULATIONS TO JOURNEY THE HUNT BILL THE MUPPETS ALL OF THIS YEAR’S LIFE OF PI Disney Animation BAFTA awards program Issue date: Feb. 10, 2013 Ad size: 112mm H x 150mm W

H I T C H C O C K

SKYFALL

MARVEL AVENGERS ASSEMBLE

LONDON

DIGITAL imaging technicians

info@4KLondon.com | +44 (0)20 3175 5700 | www.4KLondon.com All the above NOMINEES filmed on data

by thomasevansdesign.com

GOOD P R O M E T H E U S NOMINEES AMOUR NIGHT THE IMPOSTER

The Nominations

A DAPTED SCR EENPLAY Argo Chris Terrio — Beasts Of The Southern Wild Lucy Alibar, Benh Zeitlin — Life Of Pi David Magee — Lincoln Tony Kushner — Silver Linings Playbook David O Russell

N ANIMATED FILM Brave Mark Andrews, Brenda Chapman — Frankenweenie Tim Burton — ParaNorman Sam Fell, Chris Butler

We are proud to support the EE British Academy Film Awards and congratulate our nominees

BEST FILM Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh

OUTSTANDING BRITISH FILM Tom Hooper, Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh, William Nicholson, Alain Boublil, Claude-Michel Schรถnberg, Herbert Kretzmer

LEADING ACTOR Hugh Jackman

SUPPORTING ACTRESS Anne Hathaway

CINEMATOGRAPHY Danny Cohen

PRODUCTION DESIGN Eve Stewart, Anna Lynch-Robinson

COSTUME DESIGN Paco Delgado

SOUND

OUTSTANDING BRITISH FILM Joe Wright, Tim Bevan, Eric Fellner, Paul Webster, Tom Stoppard

ORIGINAL MUSIC Dario Marianelli

CINEMATOGRAPHY Seamus McGarvey

PRODUCTION DESIGN

Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, John Warhurst

Sarah Greenwood, Katie Spencer

MAKE UP & HAIR

COSTUME DESIGN

Lisa Westcott

Jacqueline Durran

MAKE UP & HAIR Ivana Primorac

The Nominations

CINEM ATOGR APHY Anna Karenina Seamus McGarvey — Les Misérables Danny Cohen — Life Of Pi Claudio Miranda — Lincoln Janusz Kaminski — Skyfall Roger Deakins

BEST FILM Argo Grant Heslov, Ben Affleck, George Clooney — Les Misérables Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh — Life Of Pi Gil Netter, Ang Lee, David Womark — Lincoln Steven Spielberg, Kathleen Kennedy — Zero Dark Thirty Mark Boal, Kathryn Bigelow, Megan Ellison

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The Nominations

COSTUM E DESIGN Anna Karenina Jacqueline Durran — Great Expectations Beatrix Aruna Pasztor — Les Misérables Paco Delgado — Lincoln Joanna Johnston — Snow White And The Huntsman Colleen Atwood

DIR ECTOR Amour Michael Haneke — Argo Ben Affleck — Django Unchained Quentin Tarantino — Life Of Pi Ang Lee — Zero Dark Thirty Kathryn Bigelow

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SONY PICTURES RELEASING (UK) THANKS THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS AND PROUDLY CONGRATULATES OUR EE BRITISH ACADEMY FILM AWARDS NOMINEES

SAM MENDES MICHAEL G. WILSON BARBARA BROCCOLI NEAL PURVIS ROBERT WADE JOHN LOGAN OUTSTANDING BRITISH FILM JAVIER BARDEM SUPPORTING ACTOR JUDI DENCH SUPPORTING ACTRESS THOMAS NEWMAN ORIGINAL MUSIC ROGER DEAKINS, ASC BSC CINEMATOGRAPHY STUART BAIRD, A.C.E. EDITING

QUENTIN TARANTINO DIRECTOR QUENTIN TARANTINO ORIGINAL SCREENPLAY CHRISTOPH WALTZ SUPPORTING ACTOR FRED RASKIN EDITING MARK ULANO MICHAEL MINKLER TONY LAMBERTI WYLIE STATEMAN SOUND Columbia Pictures/ The Weinstein Company

DENNIS GASSNER ANNA PINNOCK PRODUCTION DESIGN STUART WILSON SCOTT MILLAN GREG P. RUSSELL PER HALLBERG KAREN BAKER LANDERS SOUND EON Productions/Metro-Goldwyn-Mayer Pictures/Columbia Pictures

w w w.sonypictures.co.uk © 2013 Sony Pictures Entertainment Inc. All Rights Reserved. Sk y fall © 2013 Danjaq, United Artists, CPll . Sk y fall, 007 Gun Logo and related James Bond Trademarks, TM Danjaq.

The Nominations

DOCUM ENTA RY The Imposter Bart Layton, Dimitri Doganis — Marley Kevin Macdonald, Steve Bing, Charles Steel — McCullin David Morris, Jacqui Morris — Searching For Sugar Man Malik Bendjelloul, Simon Chinn — West Of Memphis Amy Berg

EDITING Argo William Goldenberg — Django Unchained Fred Raskin — Life Of Pi Tim Squyres — Skyfall Stuart Baird — Zero Dark Thirty Dylan Tichenor, William Goldenberg

congratulates our clients on their EE British Academy Film Awards in 2013 nominations Best Film ARGO GRANT HESLOV GEORGE CLOONEY LIFE OF PI GIL NETTER ANG LEE LINCOLN STEVEN SPIELBERG KATHLEEN KENNEDY ZERO DARK THIRTY MARK BOAL KATHRYN BIGELOW

Outstanding British Film ANNA KARENINA JOE WRIGHT†† TOM STOPPARD* THE BEST EXOTIC MARIGOLD HOTEL JOHN MADDEN** LES MISÉRABLES WILLIAM NICHOLSON††† SEVEN PSYCHOPATHS MARTIN MCDONAGH§ SKYFALL SAM MENDES JOHN LOGAN

Original Screenplay PAUL THOMAS ANDERSON THE MASTER MARK BOAL ZERO DARK THIRTY Adapted Screenplay CHRIS TERRIO ARGO DAVID MAGEE LIFE OF PI TONY KUSHNER LINCOLN DAVID O. RUSSELL SILVER LININGS PLAYBOOK Leading Actor BRADLEY COOPER SILVER LININGS PLAYBOOK Leading Actress HELEN MIRREN HITCHCOCK JENNIFER LAWRENCE SILVER LININGS PLAYBOOK JESSICA CHASTAIN ZERO DARK THIRTY MARION COTILLARD† RUST AND BONE

Outstanding Debut by a British Writer, Director or Producer JAMES BOBIN THE MUPPETS

Film Not in the English Language THE INTOUCHABLES ERIC TOLEDANO*** OLIVIER NAKACHE***

Director ANG LEE LIFE OF PI KATHRYN BIGELOW ZERO DARK THIRTY

Supporting Actor TOMMY LEE JONES LINCOLN Supporting Actress ANNE HATHAWAY LES MISÉRABLES HELEN HUNT THE SESSIONS SALLY FIELD LINCOLN The EE Rising Star Award ANDREA RISEBOROUGH†† SURAJ SHARMA

* Shared representation with United Agents ** Shared representation with Casarotto Ramsay & Associates † Shared representation with Adequat *** Shared representation with UBBA †† Shared representation with Independent Talent § Shared representation with The Knight Hall Agency Ltd ††† Shared representation with The Agency

The Nominations

LEA DING ACTOR

FILM NOT IN THE ENGLISH LANGUAGE Amour Michael Haneke, Margaret Ménégoz — Headhunters Morten Tyldum, Marianne Gray, Asle Vatn — The Hunt Thomas Vinterberg, Sisse Graum Jørgensen, Morten Kaufmann — Rust And Bone Jacques Audiard, Pascal Caucheteux — Untouchable Eric Toledano, Olivier Nakache, Nicolas Duval Adassovsky, Yann Zenou, Laurent Zeitoun

Ben Affleck Argo — Bradley Cooper Silver Linings Playbook — Daniel Day-Lewis Lincoln — Hugh Jackman Les Misérables — Joaquin Phoenix The Master

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The Nominations

M A K E UP & HAIR Anna Karenina Ivana Primorac — Hitchcock Julie Hewett, Martin Samuel, Howard Berger — The Hobbit: An Unexpected Journey Peter Swords King, Richard Taylor, Rick Findlater — Les Misérables Lisa Westcott — Lincoln Lois Burwell, Kay Georgiou

LEA DING ACTR ESS Emmanuelle Riva Amour — Helen Mirren Hitchcock — Jennifer Lawrence Silver Linings Playbook — Jessica Chastain Zero Dark Thirty — Marion Cotillard Rust And Bone

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The Nominations

ORIGINA L MUSIC Anna Karenina Dario Marianelli — Argo Alexandre Desplat — Life Of Pi Mychael Danna — Lincoln John Williams — Skyfall Thomas Newman

T ORIGINA L SCR EENPLAY Amour Michael Haneke — Django Unchained Quentin Tarantino — The Master Paul Thomas Anderson — Moonrise Kingdom Wes Anderson, Roman Coppola — Zero Dark Thirty Mark Boal

FILM4 AT 30 / THE DRAUGHTSMAN’S CONTRACT / CAL / ANOTHER TIME, ANOTHER PLACE / LOCAL HERO / THE PLOUGHMAN’S LUNCH / HEAT AND DUST / ANOTHER COUNTRY / THE BOSTONIANS / A PRIVATE FUNCTION / THE COMPANY OF WOLVES / PARIS, TEXAS / MY BEAUTIFUL LAUNDRETTE / A ROOM WITH A VIEW / WETHERBY / MONA LISA / THE SACRIFICE / WISH YOU WERE HERE / HOPE AND GLORY / PRICK UP YOUR EARS / SHORT AND CURLIES / A WORLD APART / THE DRESSMAKER / HEAR MY SONG / PROSPERO’S BOOKS / THE CRYING GAME / HOWARDS END / RAINING STONES / BHAJI ON THE BEACH / NAKED / BACKBEAT / SHALLOW GRAVE / FOUR WEDDINGS AND A FUNERAL / THE MADNESS OF KING GEORGE / CARLA’S SONG / BRASSED OFF / SECRETS & LIES / TRAINSPOTTING / HILARY AND JACKIE / ELIZABETH / MY NAME IS JOE / VELVET GOLDMINE / BUENA VISTA SOCIAL CLUB / TOPSY-TURVY / EAST IS EAST / THE HOUSE OF MIRTH / SEXY BEAST / SOME VOICES / JUMP TOMORROW / LATE NIGHT SHOPPING / MONSOON WEDDING / THE WARRIOR / TOUCHING THE VOID / TO KILL A KING / THE MOTORCYCLE DIARIES / DEAD MAN’S SHOES / SIX SHOOTER / FESTIVAL / THE LAST KING OF SCOTLAND / THIS IS ENGLAND / VENUS / BRICK LANE / IN BRUGES / DOG ALTOGETHER / SLUMDOG MILLIONAIRE / HUNGER / THE LOVELY BONES / LOVE YOU MORE / NOWHERE BOY / ANOTHER YEAR / FOUR LIONS / 127 HOURS / SUBMARINE / ATTACK THE BLOCK / SHAME / CHALK / PITCH BLACK HEIST / THE IRON LADY / TYRANNOSAUR / SEVEN PSYCHOPATHS / THE IMPOSTER / THE CURSE / CONGRATULATIONS TO ALL OUR NOMINEES BOTH PAST AND PRESENT

The Nominations

OUTSTANDING BRITISH FILM Anna Karenina Joe Wright, Tim Bevan, Eric Fellner, Paul Webster, Tom Stoppard — The Best Exotic Marigold Hotel John Madden, Graham Broadbent, Pete Czernin, Ol Parker — Les Misérables Tom Hooper, Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh, William Nicholson, Alain Boublil, Claude-Michel Schönberg, Herbert Kretzmer — Seven Psychopaths Martin McDonagh, Graham Broadbent, Pete Czernin — Skyfall Sam Mendes, Michael G Wilson, Barbara Broccoli, Neal Purvis, Robert Wade, John Logan

OUTSTANDING DEBUT BY A BRITISH W RITER, DIR ECTOR OR PRODUCER Bart Layton (Director), Dimitri Doganis (Producer) The Imposter — David Morris (Director), Jacqui Morris (Director/ Producer) McCullin — Dexter Fletcher (Director/ Writer), Danny King (Writer) Wild Bill — James Bobin (Director) The Muppets — Tina Gharavi (Director/Writer) I Am Nasrine

The Nominations

PRODUCTION DESIGN Anna Karenina Sarah Greenwood, Katie Spencer — Les Misérables Eve Stewart, Anna Lynch-Robinson — Life Of Pi David Gropman, Anna Pinnock — Lincoln Rick Carter, Jim Erickson — Skyfall Dennis Gassner, Anna Pinnock

O SHORT ANIM ATION Here To Fall Kris Kelly, Evelyn McGrath — I’m Fine Thanks Eamonn O’Neill — The Making Of Longbird Will Anderson, Ainslie Henderson

The Nominations

SOUND

SHORT FILM The Curse Fyzal Boulifa, Gavin Humphries — Good Night Muriel d’Ansembourg, Eva Sigurdardottir — Swimmer Lynne Ramsay, Peter Carlton, Diarmid Scrimshaw — Tumult Johnny Barrington, Rhianna Andrews — The Voorman Problem Mark Gill, Baldwin Li

Django Unchained Mark Ulano, Michael Minkler, Tony Lamberti,Wylie Stateman — The Hobbit: An Unexpected Journey Tony Johnson, Christopher Boyes, Michael Hedges, Michael Semanick, Brent Burge, Chris Ward — Les Misérables Simon Hayes, Andy Nelson, Mark Paterson, Jonathan Allen, Lee Walpole, John Warhurst — Life Of Pi Drew Kunin, Eugene Gearty, Philip Stockton, Ron Bartlett, DM Hemphill — Skyfall Stuart Wilson, Scott Millan, Greg P Russell, Per Hallberg, Karen Baker Landers

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CONGRATULATIONS TO OUR SPECIAL VISUAL EFFECTS NOMINEES JOE LETTERI . ERIC SAINDON . DAVID CLAYTON . R. CHRISTOPHER WHITE

195 PICCADILLY PRESTIGIOUS HEADQUARTERS OF THE BRITISH ACADEMY OF FILM AND TELEVISION ARTS Lead your guests up the red carpet into this glamorous and unique venue with versatile entertaining spaces and state-of-the-art screening facilities. For events and reservations: events@195piccadilly.co.uk 020 7292 5860 www.bafta.org/venue-hire

The Nominations

SUPPORTING ACTOR Alan Arkin Argo — Christoph Waltz Django Unchained — Javier Bardem Skyfall — Philip Seymour Hoffman The Master — Tommy Lee Jones Lincoln

SPECIA L VISUA L EFFECTS The Dark Knight Rises Paul Franklin, Chris Corbould, Peter Bebb, Andrew Lockley — The Hobbit: An Unexpected Journey Joe Letteri, Eric Saindon, David Clayton, R Christopher White — Life Of Pi Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, Donald R Elliott — Marvel Avengers Assemble Janek Sirrs, Jeff White, Guy Williams, Dan Sudick — Prometheus Richard Stammers, Charley Henley, Trevor Wood, Paul Butterworth

The Nominations

SUPPORTING ACTR ESS Amy Adams The Master — Anne Hathaway Les Misérables — Helen Hunt The Sessions — Judi Dench Skyfall — Sally Field Lincoln

EE RISING STA R AWA R D Elizabeth Olsen — Andrea Riseborough — Suraj Sharma — Juno Temple — Alicia Vikander

Nominations correct at time of going to press.

JURIES AND CHAPTERS

JURIES

CHAPTERS

Outstanding Debut by a British Writer, Director or Producer — Stephen Woolley (Chair) Mick Audsley Peter Bradshaw Jane Goldman Asif Kapadia Simon Relph Ann Scott Tanya Seghatchian Peter Straughan Joe Utichi James Watkins

Craft Chapters — Cinematography Costume Design Directing Editing Make Up & Hair Music Production Design Screenplay Sound Special Visual Effects

Short Animation — Justin Johnson (Chair) Daniel Fleet Vivien Halas Peter Lord Maria Manton Siri Melchior Mike Please Joanna Quinn Andrew Ruhemann Brian Sibley Shane Walter

Opt -In Chapters — Animation Documentary Film Not in the English Language Outstanding British Film Short Film and Animation Craft chapters are made up of Academy members with specialist experience in the relative field; opt-in chapters are open to all members who are willing to commit to watching the eligible films. For full details on the voting process, including this year’s change from three rounds to two, please visit: www.bafta.org/film/awards

Short Film — Lisa Bryer (Chair) Hayley Atwell Laurence Boyce Andrew Curtis Leo Davis Rebecca Frayn John Maclean Rob Mitchell Tristan Oliver Diana Phillips Carter Pilcher Gregers Sall Jury members correct at time of going to press.

Warner Bros. Pictures Congratulates Our Nominees At The %% "ritish Academy Film Awards In 2013

Best Film GRANT HESLOV, BEN AFFLECK, GEORGE CLOONEY Director BEN AFFLECK

Supporting Actor ALAN ARKIN

Adapted Screenplay CHRIS TERRIO

Original Music ALEXANDRE DESPLAT

Leading Actor BEN AFFLECK

Editing WILLIAM GOLDENBERG

Special Visual Effects PAUL FRANKLIN, CHRIS CORBOULD, PETER BEBB, ANDREW LOCKLEY

Make Up & Hair PETER SWORDS KING, RICHARD TAYLOR, RICK FINDLATER Sound TONY JOHNSON, CHRISTOPHER BOYES, MICHAEL HEDGES, MICHAEL SEMANICK, BRENT BURGE, CHRIS WARD Special Visual Effects JOE LETTERI, ERIC SAINDON, DAVID CLAYTON, R. CHRISTOPHER WHITE

ARGO

â&#x20AC;&#x201D; Best Film Nominee Words by Wendy Ide

Best Film Nominee

ARGO

Words by Wendy Ide — Wendy Ide is a film critic and features writer for The Times

— “Ben Affleck effectively places the audience on the rack and tightens it incrementally.” — 44

A white-knuckle nail-biter of a film, punctuated with affectionate, sharply-observed movie industry satire: Ben Affleck’s hostage rescue movie is one of 2012’s most robustly entertaining pictures. The film is based on extracts from the book The Masters Of Disguise by former CIA operative Tony Mendez (played by Affleck) and a 2007 Wired article (‘The Great Escape’). It’s an account of the extraction of six American embassy staff from Tehran during the 1979 Iran hostage crisis. The six had managed to escape when militants stormed the embassy, and sought refuge in the home of the Canadian ambassador. Mendez’s ingenious solution is to draft the assistance of a pair of jaded Hollywood insiders (Alan Arkin and John Goodman) and create a fake movie production, titled Argo, which is scouting for locations in Iran. The embassy staff members are given a crash course in film production and assume new identities as crew members. Affleck’s take on the event may be a loose interpretation of the facts (the chronology of some events is rearranged and the truth is tweaked for dramatic effect), but there is no questioning the authenticity of the storytelling. The attention to period detail is meticulous: from the choice of font for the opening titles to the colour palette of nicotine and coffee stain browns which unerringly evokes the late 1970s, to the synthetic fabrics which are clammy with the nervous sweat of those whose lives depend on an audacious lie: the entire film feels entirely rooted in the period. Affleck shot predominantly on film (mainly 35mm, with some Super8mm and Super16mm), then heightened the

Argo

graininess in some scenes still further to evoke the urgent, immediate feel of movies such as All The President’s Men (1976). Actual archive footage is incorporated throughout, and such is the rigorous attention to detail that this sourced material blends seamlessly with the newly shot footage. This is Affleck’s most ambitious and challenging film to date. Not only is it a period piece which is partially shot abroad (Turkey doubles for Iran), it is larger in scope, cast and budget than his previous pictures. Like his character, Mendez, Affleck had a lot of responsibility resting on his shoulders. It’s tempting to assume that Affleck used the stress of directing in his performance, and the perpetual anxiety that simmers under his CIA poker face is real. His performance is purposefully understated, the better to allow his fellow actors the space to shine. Arkin and Goodman’s wisecracking duo are irresistible, earning Arkin a Supporting Actor nomination. Meanwhile, among the shredded nerves and chewed fingernails of the embassy staff, a virtually unrecognisable Scoot McNairy stands out as the jittery Joe Stafford, a man who is ultimately crucial to the success of a plot in which he has no faith. The film – particularly the climactic scenes – is a masterclass in building suspense. Affleck effectively places the audience on the rack and tightens it incrementally. The meticulously constructed cover story seems as flimsy as a house of cards and destined to collapse before the escape is made. It’s so unbearably tense, you almost forget to breathe.

ARGO Best Film nominees Grant Heslov, Ben Affleck, George Clooney Other nominated categories Adapted Screenplay; Director; Editing; Leading Actor; Original Music; Supporting Actor

LES MISÉRABLES

— Best Film Nominee Words by Mark Kermode

Best Film Nominee

LES MISÉRABLES

Words by Mark Kermode — Mark Kermode is a film critic for BBC Radio 5 Live, The Observer and Sight And Sound, and a presenter of BBC Two’s The Culture Show

— “Filled with both sweeping long shots and intense close-ups, this is a proudly cinematic venture.” — 48

During the first weekend of its record breaking UK opening, Tom Hooper’s bold and brilliant screen adaptation of the hit stage musical Les Misérables produced a tidal wave of tears. According to news reports, not only was the film generating the same rounds of spontaneous applause which had greeted Hooper’s previous BAFTA winner, The King's Speech, but it was also reducing audiences of all ages – both male and female – to extraordinary displays of emotion. The reason why Les Misérables was having such an emotional impact on viewers became the source of debate not only on entertainment shows but also on serious news programmes, with everyone concluding that the film packed such a dramatic punch because (as with theatre) the players were really singing... Hooper’s determination to have his cast sing live on set, rather than miming to pre-recorded tracks, raised complex logistical problems, all of which were cleverly overcome by the first class production team. Hidden earpieces allowed the actors to perform to the sound of a pianist, whose playing of the orchestrations would later be matched – no mean feat (no wonder that the film’s multiple BAFTA nominations include Sound alongside Best Film and Outstanding British Film). In this way, every nuance of the vocal performances could be captured on set as the actors sang just as they would speak – to themselves, to each other, to the audience. Thus was Supporting Actress nominee Anne Hathaway able to deliver her breathtakingly fragile rendition of ‘I Dreamed A Dream’, captured in one continuous take, pitched somewhere between a whisper and a scream, between speech and song.

Les Misérables

Similarly, Leading Actor nominee Hugh Jackman could showcase the skills that had previously earned him an Olivier Award nomination for his lead role in the Royal National Theatre’s West End production of Oklahoma!, which he describes as “one of the highlights of my career”. Yet there is nothing stagey about Les Misérables; filled with both sweeping long shots and intense close-ups, this is a proudly cinematic venture, eager to take the audience beyond the boundaries of a theatrical production, as BAFTA nominee Danny Cohen’s camera darts in and out of the crowds. With its lavish production design and close attention to detail in costume and hair and make up (earning further nominations for Eve Stewart and Anna Lynch-Robinson, Paco Delgado and Lisa Westcott), the film invites the audience both to step back and to zoom in as it sweeps from panoramic vistas to intense intimacy in an instant. Those familiar with the stage show will find something new in the shape of the song ‘Suddenly’, written specifically for the film by Alain Boublil, Claude-Michel Schönberg and Herbert Kretzmer. But perhaps the greatest triumph of Les Misérables is that (like Alan Parker’s Evita [1996]) it has also proved a hit with viewers who have little or no interest in musical theatre. A genuine crossover hit, this is more than just a great musical, or great theatrical adaptation. It’s a great film.

LES MISÉRABLES Best Film nominees Tim Bevan, Eric Fellner, Debra Hayward, Cameron Mackintosh Other nominated categories Cinematography; Costume Design; Leading Actor; Make Up & Hair; Outstanding British Film; Production Design; Sound; Supporting Actress

Daryl McGregor STYLED BY

Kevin Mackintosh PHOTOGRAPH BY

The Official Chocolatier to the British Academy of Film and Television Arts hotelchocolat.co.uk

LIFE OF PI

â&#x20AC;&#x201D; Best Film Nominee Words by Rosie Fletcher

Best Film Nominee

LIFE OF PI

Words by Rosie Fletcher — Rosie Fletcher is Associate Editor at Total Film

— “The virtual three-hander of boy, boat and untameable force is the crux of the film.” — 52

An ‘unfilmable’ book, an impossible story; director Ang Lee’s adaptation of Yann Martel’s beloved Man Booker prizewinning bestseller is a paean to the wonder and dread of nature, a tale to “make you believe in God”, which truly exalts the importance of storytelling and the sublime possibilities of cinema. A boy is stranded in a lifeboat on the Pacific Ocean with a Bengal tiger for 227 days. It’s little wonder a film version drifted in limbo for almost a decade – first finding port with directors M Night Shyamalan, Alfonso Cuarón and Jean-Pierre Jeunet before finally anchoring with Lee. His approach utilises both new technology and old to create wide canvas vistas of sky, sea and shipwreck-ees. “It needs a 3D structure,” says Lee. “It’s not just a gimmick, it’s not a cartoon, you’re doing drama. It’s almost like staging. You start thinking about that, and you have to look at things differently. It is a new film language.” Working with production designer David Gropman, with whom he collaborated on Taking Woodstock (2009), Lee’s division of screen space was inspired by the theatre (proscenium arch, wings and backdrop), with 3D used to create depth, detail and epic scope. Violent storms soak the screen; clouds are reflected in the still ocean with watercolour tranquillity; a whale breaches with breathtaking beauty before splashing and trashing Pi’s carefully conserved food supply. The unbridled marvel and magnitude of nature is paramount, not least in the harrowing, eye-defying sinking of the Japanese freighter Tsimtsum, which is transporting Pi, aka Piscine Molitor

Life Of Pi

Patel, his family and the menagerie of animals from their Pondicherry zoo in India to Canada, where they plan to relocate after the animals are sold. Bookended by Slumdog Millionaire’s Irrfan Khan as the adult Pi, relating his life-affirming spiritual tale to Rafe Spall’s Yann Martel, we begin in French India, with young Pi (Ayush Tandon) collecting religions as other children would football cards. Yet it’s the virtual three-hander of boy, boat and untameable force that’s the crux of the film, with newcomer, and non-swimmer, Suraj Sharma taking centre stage as the lone youth in the hands of fate. Sharma is vulnerable and committed, howling at the sky, batted about like a doll by the elements. If Sharma’s performance is impressive, it’s overshadowed only by Richard Parker, the marauding, snarling, big cat, who is never less than mesmerising. Realised by a mix of CGI, animatronics and four live tigers, he’s as convincing a beast as any creature created on celluloid, anthropomorphised only by Pi’s craving for meaning and companionship. Ang Lee has experience with adaptations (Sense And Sensibility [1995], Brokeback Mountain [2005]) and spectacle (Crouching Tiger, Hidden Dragon [2000], Hulk [2003]) and if he makes small changes to Martel’s story in removing the more gruesome cruelty of the animals at sea, he loses none of the wonder. Regardless of convincing us of the existence of a deity, Lee’s film reminds us of the true power and awe of cinema. It doesn’t matter if the audience believes Pi’s story: we can hardly believe our eyes.

LIFE OF PI Best Film nominees Gil Netter, Ang Lee, David Womark Other nominated categories Adapted Screenplay; Cinematography; Director; Editing; Original Music; Production Design; Sound; Special Visual Effects

TWENTIETH CENTURY FOX & FOX SEARCHLIGHT PICTURES would like to thank the BRITISH ACADEMY OF FILM AND TELEVISION ARTS and proudly congratulate our nominees.

Best Film Leading Actor - Daniel Day-Lewis Supporting Actor - Tommy Lee Jones Supporting Actress - Sally Field Adapted Screenplay Original Music Cinematography Production Design Costume Design Make Up & Hair

Best Film Director Adapted Screenplay Original Music Cinematography Editing Production Design Sound Special Visual Effects EE Rising Star Award - Suraj Sharma

Leading Actress â&#x20AC;&#x201C; Helen Mirren Make Up & Hair

Outstanding British Film

Special Visual Effects

Supporting Actress â&#x20AC;&#x201C; Helen Hunt

LINCOLN

â&#x20AC;&#x201D; Best Film Nominee Words by Ian Nathan

Best Film Nominee

LINCOLN

Words by Ian Nathan — Ian Nathan is executive editor of Empire

— “It is a film about real politics. How ideals must be carried by art and guile, if not outright chicanery. ” — 56

After 12 elusive years in development, when Steven Spielberg finally unveiled his cinematic appreciation of Abraham Lincoln, 16th President of the United States, critics were taken aback. They were surprised at what it wasn’t. It wasn’t, for instance, the awaited biopic of the stovepiped emancipator, dour as an undertaker, from dirt-poor Kentucky childhood to the White House. It wasn’t a Civil War epic, a recalibration of Saving Private Ryan’s (1998) roiling battlefields to the greys and blues of the 1860s. It wasn’t hagiography. It wasn’t whitewash. And no JFK conspiracies were hatched for the man who would shoot Honest Abe. Tony Kushner’s script, based on Doris Kearns Goodwin’s masterful biography Team Of Rivals, had indeed grown to span the life of the greatest President — an extraordinary, ‘DW Griffith’ picture of Lincoln’s momentous life running to 550 pages. But in a brilliant calculation, Spielberg took only the last 50 pages, sharpening his aim upon Lincoln’s final four months in office and his struggle to get the 13th Amendment passed, outlawing slavery, thus saving America’s soul. A gamble that would require him to delay peace in the Civil War. Here, not at Gettysburg, was the lodestone to the Lincoln myth. “I’ve always had a passion for his deeds,” Spielberg says of his revisionist slant. “Not the image America has embraced, but his actual deeds.” Let us attend then to what Lincoln, the film, most certainly is… It is a film about real politics. How ideals must be carried by art and guile, if not outright chicanery. This purest of presidents was willing to bully, cajole and bribe voters to pass his inviolate bill in the House of Representatives. James

Lincoln

Spader heads a trio of hilarious whips who gallop across the US applying political thumbscrews to flighty representatives. Lincoln, we swiftly learn, is no saint. It is a film about words. Kushner’s script is a marvel of oration – a compendium of Twainian whimsy, Shakespearean musicality and Biblical fury. Here is a playwright’s delight in the rhythms and oddities of language, never ducking the dense fabric of legislative vernacular, challenging both actors and audiences with long, rich, often very funny speeches. It is a film with many great performances and a single magnificent one. Daniel Day-Lewis’ Lincoln – reed-voiced, stiff-limbed and strangely aloof – is a font of inscrutable anecdotes, but the conviction beneath comes ironclad. Power requires the powerful. There has been much talk about how Spielberg has pulled back from his natural flourishes, careful not to upstage history. “This is as close as I have got to directing for the stage,” he laughs. Yet this is also a film about style. Lincoln is a deeply beautiful work, veiling Washington in a light thickened with dust, tobacco smoke and time itself, through which we peer into the whiskey-dark luxuriance of its interior world. Finally, this is a film about Spielberg. It speaks of a director, 40-something years into his career, still enthralled by his medium. As with Schindler’s List (1993) and Munich (2005), Spielberg has proven himself an impassioned artist who looks to history as a bellwether for his own times. Daring to present democracy, however flawed, as a necessity. Convinced cinema can both grapple with the world and fill us with wonder. Here, as Spielberg hoped, is a “living president”.

LINCOLN Best Film nominees Steven Spielberg, Kathleen Kennedy Other nominated categories Adapted Screenplay; Cinematography; Costume Design; Leading Actor; Make Up & Hair; Original Music; Production Design; Supporting Actor; Supporting Actress

ZERO DARK THIRT Y

â&#x20AC;&#x201D; Best Film Nominee Words by Kim Newman

Best Film Nominee

ZERO DARK THIRT Y

Words by Kim Newman — Kim Newman is an award-winning author and a film critic for, among others, Sight And Sound and Empire

— “In contrast to the Bourne and Bond films, Zero Dark Thirty is about the minute details of spycraft.” — 60

As soon as Osama bin Laden, the al-Qaeda leader who instigated the 9/11 attacks, was found in Pakistan by the CIA and assassinated by US special forces, it was inevitable there would be films about the kill mission. Zero Dark Thirty was actually in development already, originally intended as a film about the CIA’s frustrating failure to track down the world’s most wanted terrorist… after 2 May 2011 it had an ending. This resolution was a mixed blessing for the film in that director Kathryn Bigelow and screenwriter Mark Boal – reteaming after their hit with The Hurt Locker (2008), arguably the first great film to emerge from the ‘War on Terror’ – had to tell a long, complicated story and maintain suspense, even though audiences already knew how the story panned out. Bigelow says: “Our thinking was this is about the people, the men and women on the ground in the workforce, who found this house, and then, therefore, found this man. Ultimately, it is not really about him as much as it is about them. They humanized that hunt and humanized that journey. It’s their story. The fact that you knew the ending only amplified the drama.” In pointed contrast to the Bourne and Bond films, Zero Dark Thirty is about the minute details of spycraft – gathering scraps of information from interrogations (‘enhanced’ or affable), satellite photos, phone-taps, informants, undercover operatives and travel or financial records, and trying to work out the location of the unseen bin Laden in the same way astronomers can tell the path of an object that is out of sight from the effect it has on the trajectory of other objects.

Zero Dark Thirty

All this is complicated by both changes of policy, as a new political administration rules out “the detainee program”, and sheer fatigue, with the Great White Whale set to simply disappear forever. It’s a densely-populated, world-spanning, jittery narrative, but Bigelow and Boal make it possible to follow and easy to relate to by focusing on Maya ( Jessica Chastain), an unlikelyseeming intelligence analyst. Maya grows from turning up in a suit and quivering in a corner as her colleague waterboards a suspect to dodging bullets in the field and seizing terrierlike on the lead that turns up the target. Like Jeremy Renner in The Hurt Locker, Chastain delivers an emblematic character for this particular war, and an emotional through-line which pays off in the tense, tough, ruthlessly matter-of-fact assault on Abbottabad. In a coda, the film suggests that though this story has its ending, the issues are still fundamentally unresolved. Bigelow says: “I think what’s so interesting and so poignant for Jessica, myself, for all of us, is this idea that this woman has spent the last ten years exclusively in the pursuit of one man and yes, at the end of the day, she triumphed, but it’s not a victory because finally, at the end, you’re left with much larger questions, such as, ‘Where does she go from here? Where do we go from here? Now what?’”

ZERO DARK THIRTY Best Film nominees Mark Boal, Kathryn Bigelow, Megan Ellison Other nominated categories Director; Editing; Leading Actress; Original Screenplay

AP SIR AL AN PA RKER

Academy Fellowship — Words by Quentin Falk

Academy Fellowship

SIR AL AN PA RKER —Words by Quentin Falk

— “The Fellowship is as important as anything I have ever been awarded. It means an enormous amount to me.” — 64

For a filmmaker already among the most garlanded in BAFTA history, the ultimate award of this year’s Fellowship to writerdirector Sir Alan Parker still somehow manages to take his breath away. This will be the seventh award from the Academy in a career which has spanned more than four decades and 14 features. Four have rewarded his work on the films Bugsy Malone (1976), Midnight Express (1978) and The Commitments (1991), while a fifth, presented in 1985 when Parker was barely 40, acknowledged his Outstanding British Contribution to Cinema. “When it was first mooted I might get the Fellowship, I thought about what I might say… you know, the beginnings of my speech. Then ten years passed…” laughs Parker with a great, disarming roar. “It’s as important as anything I have ever been awarded. It means an enormous amount to me.” His shelf of BAFTA trophies doesn’t even begin to convey the breadth of Parker’s other film-related activities, which include stints as Chairman of the British Film Institute and as inaugural Chair of the British ( later UK) Film Council. A knighthood for services to the film industry in the New Year Honours list of 2002 followed his CBE in 1995. But, it is for his work behind the camera that Parker has created, at 68, his most enduring legacy. There are two distinct strands in the bulk of his filmography: the “issue” drama, exemplified by Mississippi Burning (1988) (civil rights) and The Life Of David Gale (2003) (capital punishment), and music, as portrayed so popularly in five of his films, including Bugsy Malone (1976), Fame (1980 ), Evita (1996 ) and The

Sir Alan Parker — “I’ve always said that you can’t make films about life unless you live a life.” —

This page Bugsy Malone (1976) Mississippi Burning (1988) Evita (1996) Opposite The Evacuees (1975)

Academy Fellowship This page The Commitments (1991) Opposite Fame (1980) Over the page Angel Heart (1987)

“…and the BAFTA award for the Best Speech which didn’t mention “...and the BAFTA award for the Best Speech which their kids watching at home, agents, lovers, mothers, mentors, God didn’t mention and Harvey Weinstein goestheir to...” kids at home, agents, lovers,

mothers, God and Harvey Weinstein goes to…”

Sir Alan Parker

Commitments. A fifth, Pink Floyd – The Wall, directed in the same year as Shoot The Moon (1982), his most “personal” film, arguably created the template for the succeeding onrush of innovative music promos. Yet his entry into directing arrived more by good luck than judgement. As a young copywriter who’d entered advertising straight from school without any real qualifications, he had already written yards of commercials, and begun honing his cartooning skills, before joining one of the most successful agencies, Collett Dickenson Pearce (CDP) in his early 20s, where the likes of David Puttnam and Charles Saatchi were already employed. After creating a stir with a newspaper ad for sherry – leading one of his bosses to exclaim, amusedly, “Alan, in all these years of putting Harvey’s Bristol Cream on a pedestal, you come along and sell it off a barrow” – Parker asked if he and a skeleton team could have some money “to experiment” making television commercials, then still in their infancy. His request was granted, so with someone operating a 16mm camera, another art directing and a third working the Nagra tape recorder, that left Parker, 23 at the time, “as the only one who couldn’t actually do anything. So they suggested I’d better be the one who said ‘Action!’” The resulting experiments impressed his bosses, who asked him to start up his own production company with a generous, interest-free loan. He poached Alan Marshall, “the best producer in the agency”, and together with a secretary, they set up shop in Soho. “Probably 90 per cent of our work was for CDP at the

SELECT FILMOGRAPHY 2003 1999 1996 1994 1991 1990 1988 1987 1984 1982 1982 1980 1978 1976 1975

The Life Of David Gale Angela’s Ashes Evita The Road To Wellville The Commitments Come See The Paradise Mississippi Burning Angel Heart Birdy Pink Floyd – The Wall Shoot The Moon Fame Midnight Express Bugsy Malone The Evacuees

Academy Fellowship BAFTA WINS AND NOMINATIONS Won The Commitments (1991) Direction & Best Film — Outstanding British Contribution to Cinema – shared with Alan Marshall (1985) — Midnight Express (1978) Direction — Bugsy Malone (1976) Screenplay — The Evacuees (1975 ) Single Play Nominated Evita (1996) Adapted Screenplay — Mississippi Burning (1988) Direction — Fame (1980) Direction — Bugsy Malone (1976) Direction

Opening Portrait Photographer Sarah Dunn, Grooming Karla Zajec, Scarf: Hackett The film photos and original illustration in this article have been kindly provided by Sir Alan Parker

outset, and in that first year, we won just about every award going,” recalls Parker. Marshall would, of course, become Parker’s strong rightarm, first on a series of shorts then on seven features over the next dozen years. However, before they embarked on Bugsy Malone in 1976, Parker’s own full-length debut was with a television production of Jack Rosenthal’s The Evacuees (1975), which earned him his first BAFTA for Single Play. Despite early admiration for the Hollywood movies of the likes of Elia Kazan (On The Waterfront [1954]) and Fred Zinnemann (High Noon [1952]), his main inspirations were strictly domestic, small screen affairs, such as Ken Loach’s Cathy Come Home (1966) and Ken Russell’s Elgar (1962). The beginning of his own awards trail in television was clearly rather poignant. “I was obsessed with how brilliant Loach and Tony Garnett were when I was a young filmmaker and I remember asking them how they did it. They replied: ‘Stop asking us how we did it and ask instead, why we did it?’ That’s something I’ve carried over into lectures I give when I go to film schools and the students tend to go on about the technical stuff. I tell them it’s what you say, rather than how you say it.” The aforementioned Zinnemann would become a rather unlikely mentor. “He seemed to take a shine to me and my work, and I used to go to his office and show him my films before anyone else. He loved Birdy (1984). But when I showed him Angel Heart (1987), he told me afterwards, ‘Alan, being a film director is an incredible privilege; don’t waste it.’” Although he still works “on something everyday” – there have been screenplays for, among others, Coram Boy and Blood Brothers, as well as a novel, The Sucker’s Kiss – Parker hasn’t actually made a new film for ten years.This doesn’t faze him, although he admits he misses the “camaraderie and madness of the film set”. He continues: “I started when I was 23 and haven’t really stopped. Writing a screenplay is a bit like making a film but without the camera. It gets very tiring. I’m also proud of what I’ve done. I’ve always said that you can’t make films about life unless you live a life, and too many directors spend all their lives on film sets and in editing rooms.” Parker certainly doesn’t rule out a return to filmmaking. But, of the gruelling, time-consuming process, he says he’s reminded of a quote by the late, great Mario Zacchini, the original circus cannonball, who “wisely said that the blast of the cannon ejecting him into the air at 90mph was nothing compared with the rough part, which was landing in the net the other end.”

CONGRATULATIONS TO ALL OF OUR NOMINEES! LOVE MICHAEL AND BARBARA

ALBERT R. BROCCOLI’S EON PRODUCTIONS PRESENTS DANIEL CRAIG AS IAN FLEMING’S JAMES BOND IN “SKYFALL” JAVIER BARDEM RALPH FIENNES NAOMIE HARRIS BÉRÉNICE MARLOHE WITH ALBERT FINNEY AND JUDI DENCH AS “M” COMUSIC EXECUTIVE WRITTEN PRODUCERS ANDREW NOAKES DAVID POPE BY THOMAS NEWMAN PRODUCER CALLUM MCDOUGALL BY NEAL PURVIS & ROBERT WADE AND JOHN LOGAN PRODUCED DIRECTED BY MICHAEL G. WILSON AND BARBARA BROCCOLI BY SAM MENDES FEATURING “SKYFALL” PERFORMED BY ADELE

FELLOWS

â&#x20AC;&#x201D; Of The Academy

1971 1972 1973 1974 1975 1976 1976 1977 1978 1979 1979 1980 1980 1981 1981 1981 1982 1983 1984 1984 1985 1986 1987 1988 1989 1990 1991 1992 1992 1993 1993 1994 1995 1996 1996 1996 1996 1997 1997 1997 1997 1997 1997 1998 1998 1999 1999

Alfred Hitchcock Freddie Young OBE Grace Wyndham Goldie David Lean Jacques Cousteau Sir Charles Chaplin Lord Olivier Sir Denis Forman Fred Zinnemann Lord Grade Sir Huw Wheldon David Attenborough CBE John Huston Abel Gance Michael Powell Emeric Pressburger Andrzej Wajda Sir Richard Attenborough CBE Sir Hugh Greene Sam Spiegel Jeremy Isaacs Steven Spielberg Federico Fellini Ingmar Bergman Sir Alec Guinness CH, CBE Paul Fox Louis Malle Sir John Gielgud David Plowright Sydney Samuelson CBE Colin Young CBE Michael Grade CBE Billy Wilder Jeanne Moreau Ronald Neame CBE John Schlesinger CBE Dame Maggie Smith Woody Allen Steven Bochco Julie Christie Oswald Morris OBE Harold Pinter CBE David Rose Sean Connery Bill Cotton CBE Eric Morecambe & Ernie Wise Elizabeth Taylor

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

Michael Caine Stanley Kubrick (posthumous) Peter Bazalgette Albert Finney John Thaw Dame Judi Dench Warren Beatty Merchant Ivory Productions Andrew Davies Sir John Mills Saul Zaentz David Jason John Boorman Roger Graef John Barry OBE Sir David Frost OBE Lord Puttnam CBE Ken Loach Anne V Coates OBE Richard Curtis CBE Will Wright Sir Anthony Hopkins CBE Bruce Forsyth CBE Terry Gilliam Nolan Bushnell Dawn French & Jennifer Saunders Vanessa Redgrave CBE Shigeru Miyamoto Lord Bragg Sir Christopher Lee CBE Peter Molyneux OBE Sir Trevor McDonald OBE Martin Scorsese Rolf Harris CBE Names and honours correct at time of presentation.

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Congratulates all nominees and winners at this year’s BAFTA Awards CANADA | DOMINICAN REPUBLIC | GERMANY | MALAYSIA | UNITED KINGDOM +44 (0)1753 656 767 www.pinewoodgroup.com

TR TESSA ROSS Outstanding British Contribution To Cinema â&#x20AC;&#x201D; Words by Anwar Brett 72

Outstanding British Contribution To Cinema

TESSA ROSS

—Words by Anwar Brett

— “I love working and I work very hard. But I don’t believe it’s about me, in all honesty.” — 74

Humility is an unexpected quality to find amid the hyperbole and hullabaloo of the film industry. But talk to Tessa Ross, Controller of Film and Drama at Channel 4 and the recipient of the Outstanding British Contribution to Cinema this year, and you will be struck by how keen she is to divert credit for her success with the broadcaster. Yet she must be doing something right to have been a part of so many hits over the past decade, including such diverse films as Enduring Love (2004), This Is England (2006), Happy-Go-Lucky (2008), Nowhere Boy (2009), The Last King Of Scotland (2006), The Lovely Bones (2009) and Slumdog Millionaire (2008). “It’s hugely humbling and I feel quite nervous just talking about it,” Ross explains, “because I know I’m going to have to stand up on a stage in front of some very famous and shiny, pretty people. It’s wonderful but it’s also the thing I least expected to have to do. However, it’s not about me, it’s about everybody else. “I was allowed to spend money from an organisation built 30 years ago to do this very thing. So I’ve taken on a mantle maybe in a new way, or in a different way, for the world in which we live now. But the purpose was created 30 years ago by David Rose and Jeremy Isaacs. It’s lovely when people say thank you, it’s absolutely wonderful because I love working and I work very hard. But I don’t believe it’s about me, in all honesty.” Such modesty is becoming in one who has built – with her team – such a successful track record, but it’s also refreshing, a sign of her firmly held priorities. Ross is not the sort to

Tessa Ross — “Every decision you make is not about you, it’s about the talent you’re supporting.” —

This page Slumdog Millionaire (2008) The Last King Of Scotland (2006) Opposite Happy-Go-Lucky (2008)

Outstanding British Contribution To Cinema

— “The work is the priority, and that’s incredibly liberating for most creative people.”

—

This Page The Iron Lady (2011) Enduring Love (2004) Nowhere Boy (2009) Opposite This Is England (2006)

Tessa Ross

the sort to race her fellow producers onto the stage to grab the prize, hog the limelight and make the speech. She is, by her own definition, a facilitator for the kind of behind the camera talents she clearly reveres. Slumdog Millionaire director Danny Boyle has returned the compliment, stating in the past that he sees her as one of the few production executives who really understands how to make the business work. “I’ve grown up around people who have moaned all their lives about ‘bloody executives’,” she adds, “and in truth we are often – if not always – the baddies in any article, because as a group we’re seen to be the money, suits and uncreative. So, the question is how you do this job in a way that allows people to feel good about you so that they are able to come to you with their problems.” Ross and her team crave creative involvement in the projects they support, films that in these economically strained times are typically co-financed with a multitude of partners. But where some might be investing with an eye to financial profit, the Channel 4 business model is quite different to most others. “In a way, it’s because it’s not about money. When you’re working to a remit with a public purpose, the agenda is a cultural one more than anything else, and the job is to protect the talent in the way that you think is the most creative. This means that the work is the priority, and that’s incredibly liberating for most creative people.” Her own creativity has been expressed in a range of media since her graduation from Oxford University, beginning in theatre before coming under the wing of Bill Bryden at BBC

SELECT FILMOGRAPHY Tessa Ross as executive producer 2012 Seven Psychopaths 2011 The Iron Lady 2011 Wuthering Heights 2011 Shame 2011 Attack The Block 2011 The Eagle 2010 Submarine 2010 127 Hours 2010 Never Let Me Go 2010 Another Year 2010 Four Lions 2009 The Lovely Bones 2009 Nowhere Boy 2008 Slumdog Millionaire 2008 Happy-Go-Lucky 2008 How To Lose Friends & Alienate People 2008 Genova 2007 Far North 2008 In Bruges 2006 This Is England 2006 The Last King Of Scotland 2004 Enduring Love 2004 Dead Man’s Shoes 2000 Billy Elliot

Outstanding British Contribution To Cinema

The Iron Lady (2011) Slumdog Millionaire (2008)

Opening portrait Courtesy of Channel 4. Film stills courtesy of Rex.

Scotland, an experience Ross recalls with great pleasure. “I was able to commission a huge number of screenwriters, playwrights, television writers. I commissioned Jimmy McGovern, Ken Campbell and Maureen Duffy, a whole host of really interesting pieces.” Now married with three children, Ross seems to have struck an equable balance between the professional and personal, so that neither has suffered from the demands of the other. When she joined Channel 4 more than ten years ago she began her rise to her current post. The broadcaster is a natural home for her in many ways, an easy observation in the hindsight of her successes, but a predictable one from the example set by David Rose the former Commissioning Editor for Fiction at Channel 4. “When I was at British Screen, I watched David work with such grace and so much wisdom, and yet the wisdom was never forced down people’s throats, I thought, ‘That’s how to do it,’ where every decision you make is not about you and your career, it’s about the talent that you’re supporting. “I’ve always thought, ‘Where are the clever people, and how can I make sure they can work here?’ Channel 4 was a perfect combination of trying to work at the edges and making sure that the discovery of new talent was as important as protecting those who you already knew existed.” The challenge for the future is making sure that all the talent at large in British cinema has the opportunity it needs to flourish. This underlines the significance of what Tessa Ross regards as her proudest achievement during the past decade – to have film production enshrined in the Channel 4 remit. “This happened on the back of a review in the House of Lords where they asked me to go and talk about the making of Slumdog Millionaire,” Ross explains. “I went to talk to a group of peers and the question was asked in that room if it would be helpful if film was in the remit, because film had never been in the remit.” She continues: “It’s been what Channel 4 has done all its life – making fiction on film is what it’s done from the Film On Four days – but this makes it unassailable. You always want to build things which, in governance terms, are protected forever and are not just dependent on success.You want them to be protected through good times and bad. So, now it’s in the remit, it would be very hard for the next generation not to continue to commit to film.” All humility aside, that’s a pretty notable achievement.

PAST BAFTA WINNERS

Capturing some of Britain’s finest behind-the-scenes artists — A Photographic Essay By Sarah Dunn

Jacqueline Durran (Costume Designer)

Nick Park (Writer, Producer, Animator)

Christine Blundell (Make Up and Hair Designer)

Glenn Freemantle (Sound Designer and Supervising Sound Editor)

Chris Dickens (Editor)

John Richardson (Special Effects Supervisor)

Jeremy Brock (Writer)

Katie Spencer (Set Decorator)

Mike Newell ( Director)

Sarah Greenwood (Production Designer)

Mark Herbert ( Producer)

Shoot Credits

BAFTA Wins Jacqueline Durran Costume Designer — Costume Design Vera Drake (2004) Nick Park Writer, Producer, Animator — Short Animation A Grand Day Out (1989) — Short Animation The Wrong Trousers (1993) — Short Animation A Close Shave (1995) — British Film Wallace And Gromit: The Curse Of The Were-Rabbit (2005) — Children’s Award, Feature Film Wallace And Gromit: The Curse Of The Were-Rabbit (2005) — Short Animation Wallace And Gromit: A Matter Of Loaf And Death (2008)

Christine Blundell Make Up and Hair Designer — Make Up & Hair Topsy-Turvy (1999) Glenn Freemantle Sound Designer and Supervising Sound Editor — Sound Slumdog Millionnaire (2008) Chris Dickens Editor — Editing Slumdog Millionnaire (2008) John Richardson Special Effects Supervisor — Special Visual Effects Aliens (1986) — Special Visual Effects Harry Potter And The Deathly Hallows: Part 2 (2011) Jeremy Brock Writer — British Film The Last King Of Scotland (2006) — Adapted Screenplay The Last King Of Scotland (2006)

Katie Spencer Set Decorator — Production Design Atonement (2007) Mike Newell Director — Direction Four Weddings And A Funeral (1994) — Best Film Four Weddings And A Funeral (1994) Sarah Greenwood Production Designer — Production Design Atonement (2007) Mark Herbert Producer — Short Film My Wrongs 8245-8249 And 117 (2002) — British Film This Is England (2006) — Television Award, Mini Series This Is England ‘88 (2011)

Styling Supervisor: Marcella Martinelli Make Up and Grooming: Karla Zajec and Simone Vollmer And with thanks to BAFTA Partners; 88 Rue Du Rhone Asprey, Champagne Taittinger, Charles Worthington, ESCADA, Hackett, Hotel Chocolat, Lancôme & The Savoy Hotel

Picture courtesy of BAFTA/Alexandra Thompson

SALON-INSPIRED PRODUCTS FOR HAIR THAT’S ALWAYS IN RED CARPET CONDITION www.charlesworthington.com

CHARLES WORTHINGTON IS PROUD TO BE THE OFFICIAL HAIR STYLIST TO THE EE BRITISH ACADEMY FILM AWARDS

NEW BAFTA EDITION INSTANT AMPLIFYING VOLUME TREATMENT

HACKETT.COM OFFICIAL MENSWEAR STYLIST FOR THE EE BRITISH ACADEMY FILM AWARDS IN 2013

OFFICIAL WOMENSWEAR PARTNER TO THE EE BRITISH ACADEMY FILM AWARDS IN 2013 WWW.ESCADA.COM

IN MEMORIA M The following pages honour the esteemed contribution to the film industry by those committed individuals who have sadly died in the last 12 months. To learn more about their many achievements, visit bafta.org/heritage/inmemoryof Richard Adler Composer 03 August 1921 – 21 June 2012 Chikage Awashima Actress 24 February 1924 – 16 February 2012 Frank Bailey Consultant 13 March 1929 – 01 August 2012 Bernard Behrens Actor 28 September 1926 – 19 September 2012

Faith Brook Actress 16 February 1922 – 11 March 2012 Max Bygraves Entertainer 16 October 1922 – 31 August 2012 Harry Carey Jr Actor 16 May 1921 – 27 December 2012 Janet Carroll Actress 24 December 1940 – 22 May 2012 Annette Caulkin Executive 06 October 1917 – 06 August 2012

Sir Richard Rodney Bennett Composer 29 March 1936 – 24 December 2012

Christopher Challis Cinematographer 18 March 1919 – 31 May 2012

Zina Bethune Actress 17 February 1945 – 12 February 2012

Tsilla Chelton Actress 21 June 1919 – 15 July 2012

Turhan Bey Actor 30 March 1922 – 30 September 2012

Hal Chester Producer 06 March 1921 – 25 March 2012

Anita Björk Actress 25 April 1923 – 24 October 2012

Charles Chilton Producer, Writer, Presenter 15 June 1917 – 02 January 2013

Ernest Borgnine Actor 24 January 1917 – 08 July 2012

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Ray Bradbury Writer 22 August 1920 – 05 June 2012

In Memoriam Jon Finch Actor 02 March 1941 – 28 December 2012

Larry Hagman Actor 21 September 1931 – 23 November 2012

Michael Clarke Duncan Actor 10 December 1957 – 03 September 2012

Eduardo de Gregorio Writer, Director 12 September 1942 – 13 October 2012 . Stanley Dent Executive 19 May 1917 – 24 July 2012

William Finley Actor 20 September 1940 – 14 April 2012

Marvin Hamlisch Composer 02 June 1944 – 06 August 2012

John Clive Actor 06 January 1933 – 14 October 2012

Michel Duchaussoy Actor 29 November 1938 – 13 March 2012

Jonathan Frid Actor 02 December 1924 – 14 April 2012

Roger Hammond Actor 21 March 1936 – 08 November 2012

John Coates Producer 07 November 1927 – 16 September 2012

Charles Durning Actor 28 February 1923 – 24 December 2012

Robert Fuest Director, Screenwriter, Production Designer 30 September 1927 – 21 March 2012

John Harris Cinematographer 15 May 1925 – 03 July 2012

Brian Cobby Actor 12 October 1929 – 31 October 2012

Stephen Dwoskin Filmmaker 15 January 1939 – 28 June 2012

Malcolm Cockren Executive 19 August 1944 – 04 December 2012

Jake Eberts Producer 10 July 1941 – 06 September 2012

Lionel Cole Producer 10 October 1921 – 29 July 2012

David R Ellis Director 08 September 1952 – 07 January 2013

Thomas S Cook Writer 25 August 1947 – 05 January 2013

Nora Ephron Writer, Director, Producer 19 May 1941 – 26 June 2012

Judith Crist Critic 22 May 1922 – 07 August 2012

John Fabian Actor 19 May 1927 – 11 April 2012

Lucio Dalla Actor, Singer, Songwriter 04 March 1943 – 01 March 2012

Leonardo Favio Director 28 May 1938 – 05 November 2012

Yash Chopra Director, Producer 27 September 1932 – 21 October 2012

Hal David Lyricist 25 May 1921 – 01 September 2012

Ben Gazzara Actor 28 August 1930 – 03 February 2012

Samuel William ‘Bill’ Hinzman Actor 24 October 1936 – 05 February 2012

Robin Gibb Composer, Performer 22 December 1949 – 20 May 2012

Celeste Holm Actress 29 April 1917 – 15 July 2012

Vadim Glowna Director, Actor 26 September 1941 – 24 January 2012

Mike Hopkins Sound Editor 12 August 1959 – 30 December 2012

Frank Godwin Actor, Producer, Director 23 June 1917 – 06 September 2012

Whitney Houston Singer, Actress 09 August 1963 – 11 February 2012

Ulu Grosbard Director, Producer 09 January 1929 – 19 March 2012

Philip Hudsmith Director 13 February 1925 – 01 February 2012

Bruce Guerin Actor 18 January 1919 – 27 June 2012

Geoffrey Hughes Actor 02 February 1944 – 27 July 2012

Tonino Guerra Screenwriter 16 March 1920 – 21 March 2012

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In Memoriam Eiko Ishioka Art Director 12 July 1938 – 21 January 2012

Zalman King Director, Producer 23 May 1942 – 03 February 2012

Chris Marker Filmmaker 29 July 1921 – 29 July 2012

John Moffatt Actor 24 September 1922 – 10 September 2012

Philip Jenkinson Film Archivist, Television Presenter 17 August 1935 – 11 March 2012

Jack Klugman Actor 27 April 1922 – 24 December 2012

Tony Martin Actor 25 December 1913 – 27 July 2012

Eileen Moran Visual Effects Producer 23 January 1952 – 03 December 2012

Elyse Knox Actress 14 December 1917 – 16 February 2012

David McCormick Editor 24 October 1944 – 11 January 2013

Joy Mukherjee Actor, Director 24 February 1939 – 09 March 2012

Sylvia Kristel Actress 28 September 1952 – 18 October 2012

Ralph McQuarrie Illustrator, Designer 13 June 1929 – 03 March 2012

Nagisa Ôshima Director 31 March 1932 – 15 January 2013

Herbert Lom Actor 11 September 1917 – 27 September 2012

Russell Means Actor 10 November 1939 – 22 October 2012

Patti Page Singer 08 November1927 – 01 January 2013

Gunther Kaufmann Actor 16 June 1947 – 10 May 2012

Stanley Long Cinematographer, Producer, Director 26 November 1933 – 10 September 2012

Patricia Medina Actress 19 July 1919 – 28 April 2012

Frank Pierson Director, Writer, Producer 12 May 1925 – 22 July 2012

Jeff Keen Filmmaker 26 November 1923 – 21 June 2012

Tracy Lorie Marketing and Publicity Executive 1963 – 20 April 2012

Mariangela Melato Actress 19 September 1941 – 11 January 2013

Claude Pinoteau Director 25 May 1925 – 05 October 2012

Bo Kellett Director, Writer 25 December 1927 – 27 November 2012

Susanne Lothar Actress 15 November 1960 – 25 July 2012

Claude Miller Director 20 February 1942 – 04 April 2012

Martin Poll Producer 24 November 1922 – 14 April 2012

David Kelly Actor 11 July 1929 – 12 February 2012

Cornel Lucas Photographer 12 September 1920 – 08 November 2012

Nolan Miller Costume Designer 08 January 1933 – 06 June 2012

Dory Previn Songwriter 22 October 1925 – 14 February 2012

Rajesh Khanna Actor 29 December 1942 – 18 July 2012

Richard Lynch Actor 12 February 1936 – 19 June 2012

Charlotte Mitchell Actress 23 July 1926 – 02 May 2012

Arnaldo Putzu Artist, Illustrator 06 August 1927 – 01 September 2012

Davy Jones Actor 30 December 1945 – 29 February 2012 Erland Josephson Actor 15 June 1923 – 25 February 2012 Alex Karras Actor 15 July 1935 – 10 October 2012

Kurt Maetzig Director 25 January 1911 – 08 August 2012

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Carlo Rambaldi Special Effects Artist 15 September 1925 – 10 August 2012

In Memoriam Bingham Ray Executive 01 October 1954 – 23 January 2012

Tony Scott Director 21 June 1944 – 19 August 2012

Boleslaw Sulik Filmmaker 08 April 1929 – 22 May 2012

David Whitaker Composer 06 January 1931 – 11 January 2012

Joyce Redman Actress 09 December 1918 – 10 May 2012

Ravi Shankar Musician, Composer 07 April 1920 – 11 December 2012

Bruce Surtees Cinematographer 3 August 1937 – 23 February 2012

Andy Williams Singer 03 December 1927 – 25 September 2012

Angharad Rees Actress 16 July 1944 – 21 July 2012

Dinah Sheridan Actress 17 September 1920 – 25 November 2012

Ron Taylor Filmmaker 08 March 1934 – 09 September 2012

William Windom Actor 28 September 1923 – 16 August 2012

Martin Richards Producer 11 March 1932 – 26 November 2012

Robert Sherman Composer 19 December 1925 – 05 March 2012

Phyllis Thaxter Actress 20 November 1919 – 14 August 2012

Michael Winner Director, Writer, Producer 30 October 1935 – 21 January 2013

J Michael Riva Production Designer 28 June 1948 – 07 June 2012

Kaneto Shindo Director, Screenwriter 22 April 1912 – 29 May 2012

Neil Travis Editor 12 October 1936 – 28 March 2012

Run Wrake Animator, Illustrator 24 November 1963 – 21 October 2012

Richard Robbins Composer 04 December 1940 – 07 November 2012

Victor Spinetti Actor 02 September 1929 – 18 June 2012

Frederick Treves Actor 29 March 1925 – 30 January 2012

Isuzu Yamada Actress 05 February 1917 – 09 July 2012

Ann Rutherford Actress 02 November 1917 – 11 June 2012

James Stevens Composer 05 May 1923 – 25 June 2012

Susan Tyrrell Actress 18 March 1945 – 16 June 2012

Matthew Yuricich Visual Effects Artist 19 January 1923 – 28 May 2012

Steve Sabol Filmmaker 02 October 1942 – 18 September 2012

Mel Stuart Director 02 September 1928 – 09 August 2012

Gore Vidal Writer 03 October 1925 – 31 July 2012

Richard Zanuck Producer 13 December 1934 – 13 July 2012

Andrew Sarris Film Critic 31 October 1928 – 20 June 2012

Emma Style Casting Director 15 May 1962 – 17 December 2012

Koji Wakamatsu Director, Producer, Actor 01 April 1936 – 17 October 2012

The Academy has made every effort to compile an accurate In Memoriam listing of film practitioners between 21 January 2012 and 22 January 2013.

Harris Savides Cinematographer 28 September 1957 – 09 October 2012

Claudine Walker Actress 10 August 1922 – 13 September 2012

Pierre Schoendoerffer Director 05 May 1928 – 14 March 2012

Simon Ward Actor 16 October 1941 – 20 July 2012

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CINEMA

9productions cinemas 900 32countries THE ROYAL BALLET

Alice’s Adventures in Wonderland Live see for yourself Thursday 28 March 2013

The Nutcracker Live second highest grossing UK film Thursday 13 December 2012

Swan Lake Live fourth highest grossing UK film Tuesday 23 October 2012

La Fille mal gardée Live fifth highest grossing UK film Wednesday 16 May 2012

www.roh.org.uk/cinema IN ASSOCIATION WITH Sarah Lamb as Alice in Christopher Wheeldon’s Alice’s Adventures in Wonderland, The Royal Ballet

Outside Broadcasts for Winners

Contact: Adam Berger: adam@ctvob.co.uk or Bill Morris: bill@ctvob.co.uk / 020 8453 8989 / www.ctvob.co.uk Photo credits: Ryder Cup: Hugh Routledge / Rex Features. NFL & Burghley Horse Trials: Terry Harris / Rex Features. BRIT Awards: Brian Rasic / Rex Features The Ashes (photos 1 & 2): Glyn Thomas / Rex Features. Open Championship Golf Tournament: Charles Knight / Rex Features. BAFTA Awards: BAFTA

Helping you to shine Congratulations to the winners and nominees of the EE British Academy Film Awards in 2013. Deloitte have been the scrutineers of the BAFTA awards for seven years and we are proud of our long-standing association with BAFTA and wider relationships in the media sector. Whether or not today is your day in the spotlight, find out how weâ&#x20AC;&#x2122;re helping the industry stand out by visiting www.deloitte.co.uk/tmt

OFFICERS — of the Academy

OFFICERS

COMMITTEES

HRH The Duke of Cambridge, KG Academy President Duncan Kenworthy OBE Academy Vice-President Sophie Turner Laing Academy Vice-President

Elected Members of the Film Committee — Nik Powell Chairman Pippa Harris Deputy Chair – David Arnold Jeremy Brock Andrew Curtis Christopher Figg Justin Johnson Maggie Rodford Kenith Trodd Clare Wise

Board of Trustees — John Willis Chairman of the Academy Tim Corrie Deputy Chairman of the Academy Pippa Harris Deputy Chairman, Film Committee Jane Lush Deputy Chairman, Television Committee Harvey Elliott Chairman, Games Committee Anne Morrison Chairman, Learning and Events Committee Andrew Newman Chairman, Television Committee Nik Powell Chairman, Film Committee – Andy Harries Co-opted Board Member Michael Harris Chairman, Finance and Audit Committee Stephen Heppell Co-opted Board Member Medwyn Jones Chairman, Commercial Committee – Amanda Berry OBE Chief Executive Kevin Price Chief Operating Officer

Elected Members of the Television Committee — Andrew Newman Chairman Jane Lush Deputy Chair – James Dean Neil Grant Olivia Lichtenstein Krishnendu Majumdar Anne Morrison Julian Scott Andre Singer Brian Woods Elected Members of the Games Committee — Harvey Elliott Chairman – Georg Backer Paul Jackson Ray Maguire Johnny Minkley

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PA RTNERS — of the Academy

BAFTA’s partners have shown great loyalty in their year-round association with the BAFTA brand, and share our commitment and passion for the industries we represent. We warmly thank them for their commitment to the Academy and our work of promoting excellence in the film, television and games industries. ACADEMY PARTNERS — 88 Rue Du Rhone Audi Boothnation British Airways Champagne Taittinger Evian and Badoit Grolsch Hotel Chocolat Howard Smith Paper Group Sargent Disc Villa Maria ACADEMY SUPPORTERS — Barco Channel 4 CTV Deloitte Dolby Lipsync Post Max Bourne The Farm STRATEGIC PARTNERS — Brightcove Maglabs BAFTA SCOTLAND — Audi BBC Scotland Blushbooth Burn Stewart Distillers Cineworld Channel 4 Creative Scotland Cusquena Edit 123 Grosvenor Cinema Hotel Chocolat House of Fraser Inverarity Morton Lancôme Material

PRS for Music Rainbow Room International Red Bull Rekorderlig Ruby Flowers Sequence Sound Acoustics STV The Corinthian Club Wire Media BAFTA CYMRU — AB Acoustics Audi Autograffeg Avanti Artists BBC Cymru Wales Capital Law Cardiff and Vale College Cardiff Council Champagne Taittinger Cineworld Cranc ELP Ethos First Great Western Giovanni’s Gorilla ITV Wales Mad Dog Casting Mela Media NEP PRG S4C Sassoon Skillset Academy + St David’s The Celt Experience The National Screen and Sound Archive of Wales Trosol University of Glamorgan Welsh Government Work Based Learning Programmes For further information on partnership opportunities, please contact: Louise Robertson 44 (0)20 7292 5844 lousier@bafta.org +

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

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Reach Out and Engage Congratulations to all nominees and winners at the EE British Academy Film Awards in 2013 from your friends at Dolby Laboratories For more information, please visit www.dolby.com

CBS Outdoor, leader in urban audience engagement, would like to congratulate all BAFTA winners and nominees For further information on CBS Outdoorâ&#x20AC;&#x2122;s portfolio of advertising solutions, please contact Michelle Gardiner on 020 7428 3656 or email michelle.gardiner@cbsoutdoor.co.uk

www.cbsoutdoor.co.uk Nominations

FIL M AWARDS PARTNERS — In 2013

With enduring thanks to all the Official Partners of the EE British Academy Film Awards in 2013.

Official After-Party Host

Official Hotel

Disaronno

The Savoy

Official Airline

Official Jeweller and

British Airways

Nominees Party Host

Asprey

Official Beauty

Official Menswear

Lancôme

Hackett

Official Beer

Official Outdoor Media

Grolsch

CBS Outdoor

Official Bottled Water

Official Paper

Evian

Howard Smith Paper Group

Official Bottled Water

Official Photobooth

Badoit

Boothnation

Official Car

Official Placemats

Audi

TCM

Official Champagne

Official Watch

Taittinger

88 Rue Du Rhone

Official Chocolate

Official Wine

Hotel Chocolat

Villa Maria

Official Hair Stylist

Official Womenswear

Charles Worthington

ESCADA

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The Bathurst Satchel

A N YA H I N DM A RCH A N YA H I N D M A R C H.C O M

FIL M AWA RDS GIFT PROVIDERS — In 2013

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

88 Rue Du Rhone

Evian

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

Exclusive stay at the Evian Royal Resort in France, and a refreshing brumisateur spray. www.evian.com

Anya Hindmarch

Grolsch

Exclusively designed BAFTA tote bag. www.anyahindmarch.com

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

Asprey

Hackett

Finest Ascot calf travel photograph frame. www.asprey.com

Hackett Mayfair leather credit card wallet. www.hackett.com

Chapter Hotels

Hotel Chocolat

A luxurious night’s stay and dinner for two at The Magdalen Chapter (Devon) or The Montpellier Chapter (Cheltenham). www.chapterhotels.com

Elegant and indulgent Pink Champagne Truffles. www.hotelchocolat.co.uk

Charles Worthington

Lancôme

A selection of products from the new Salon at Home Secrets Collection. www.charlesworthington.com

The bag includes Lancôme’s musthave products for the awards season. www.lancome.co.uk

Cocorose London

The Savoy

Exclusively designed foldable ballet pumps. www.cocoroselondon.com

Specially commissioned notecards, featuring work by artist David Downes. www.fairmont.com/savoy-london

Cross

Taittinger

A sophisticated writing instrument for effortless writing. www.cross.com

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

Disaronno A bottle of Disaronno – the world’s favourite Italian liqueur. www.disaronno.com

Timothy Han London

ESCADA

Villa Maria

ESCADA’s earthy-coloured horse print silk scarf. www.escada.com

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

Handcrafted candles using only the finest all-natural ingredients. www.timothyhan.com

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freud communications is proud to be entering its sixteenth year as the retained agency for the EE British Academy Film Awards. For further information contact Kate Lee, Director

T: +44(0)20 3003 6349

E: kate@freud.com

Sargent-Disc congratulates the nominees of the EE British Academy Film Awards in 2013.

Academy Partner

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Training & Academia

Production Card

Movie Magic Budgeting

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Vista Accounting

ACKNOWLEDGE MENTS — The Academy wishes to thank

EE Nik Powell, Pippa Harris and members of the Film Committee John Willis, Chairman Tim Corrie, Deputy Chairman Film voting juries and members Film companies and distributors for their invaluable assistance Our Host, Stephen Fry All staff at the Academy AD Events International Limited – Design of the Awards dinner and after-party All advertisers in this brochure Alphagrip: Andy Webber, Eugene McDonagh and Graham Anderson BBC: Mirella Breda and Mark Linsey Brent Carpets: Brett Roberts Brighter Connections - online voting: Ben Jefferson Charing Cross Police Station: Michael Bateman, Westminster Police Events Unit Cineworld – Film Awards regional tour partner City of Westminster Council: Adel Rozsa and Ben Williams Coach Logistics: Richard Asghar-Sandys Covent Garden London Deloitte – our scrutineers EE: Andrew Pearcey, Magda Lojszczyk and Sarah Jones Eve Trakway Barriers: Richard Judge and Mark Fisher Film Awards trailer created by Empire Design for BAFTA. Supported by DCM, Dolby, Pearl and Dean, The Farm, LypSync and Universal Music First Option: Richard Bradshaw Freud Communications: Kate Lee, Nik Selman, Jo Fernihough,Vicky Grayson, Jo Whitehead and the Film team Grosvenor House: Claire Keene, Melieke Chakravarty-Klok, Anna Bailey and team Mask Graphic Elements: FORMAT.LDN Max Bourne Autocue – prompting services Music & Arts Security: Paul McTaggart Red Carpet consultant: Helen Preece Royal Opera House: Moya Maxwell and Dean Drury Smart AV: Darren Poultney Sola Consulting – traffic management: Martin Sola StudioSmall – brochure and ticket design The Farm Group – post-production facilities BAFTA Filmed Content host: Zoë Ball West Design – Royal Opera House Red Carpet and Press Area production: Lucy Smail Whizz Kid Television: Malcolm Gerrie, Lisa Chapman, Katherine Allen, Lisa McCormack, Zoe Cook, Sophie Huda and Chad Rogers Yellow Pumpkin – placemats: Jane Booth At BAFTA Head of Film: Deena Wallace Head of Production: Clare Brown Awards Event Producer: Helen Kierney Production Secretary: Sophie Klein BAFTA Team: Jim Bradshaw, Alex Cook, Bradley Down, Clare Ellis, Pippa Irvine, Rob Jones, David Lortal, Steve Noble, Georgina Norton, Siobhan Pridgeon, Sam Rhodes, Kemuel Solomon, Kelly Smith, Gabby Taranowski, Adam Tuck and Nick Williams BAFTA Filmed Content: Sophie Deveson, Cassandra Hybel, Tom Coope and Georgina Cunningham Nominations Press Conference: Clare Brown and Adam Tuck

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END CREDITS

Editor Toby Weidmann Managing Editor Christine Robertson Contributors Anwar Brett Quentin Falk Rosie Fletcher Wendy Ide Mark Kermode Ian Nathan Kim Newman Partnerships & Ad Sales Louise Robertson Natalie Moss Amy Elton Phil Eacott Design & Art Direction StudioSmall Telephone + 44 (0 )20 7739 9499 www.studiosmall.com Art Directors David Hitner & Guy Marshall Designers Peter Bruce & Owen Evans Producer Katherine Doubleday

Printing Team Telephone + 44 (0 )113 272 4800 hello@team-impression.com www.teamimpression.com Published by British Academy of Film and Television Arts 195 Piccadilly London W1J 9LN Telephone + 44 (0 )20 7734 0022 reception@bafta.org www.bafta.org Although every effort has been made to ensure the accuracy of the information contained in this publication, the Publishers cannot accept liability for errors or omissions. No part of this publication may be reproduced without the written permission of BAFTA. All nominees imagery used with kind permission from the distributors/filmmakers. EE Rising Star imagery: Suraj Sharma and Juno Temple courtesy of EE; Elizabeth Olsen, Andrea Riseborough and Alicia Vikander courtesy of Rex Features. â&#x20AC;&#x201D; ÂŠ BAFTA Publishing 2013

Picture Editor Janette Dalley Past Winners Photography Sarah Dunn info@sarahdunn.com www.sarahdunn.com CBP00024452401134826

Cover Illustrations Jonathan Burton c/o Handsome Frank Telephone + 44 (0)7786 320 578 www.handsomefrank.com

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The Academy chooses Munken Polar and Regency Gloss, supporting excellence in print. Printed on Munken Polar 250g/m2 and 120g/m2 and Regency Gloss 115g/m2. Supplied by Howard Smith Paper. www.hspg.com