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By Ray Pride Pride@moviecitynews.com

BAFTA 2013 Winners

BAFTA page

2012 NOMINATIONS AND WINNERS

(presented in 2013)

FELLOWSHIP

ALAN PARKER

OUTSTANDING BRITISH CONTRIBUTION TO CINEMA

TESSA ROSS

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

 

 

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 WRITER, DIRECTOR 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

 

 

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

 

 

DOCUMENTARY

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

 

 

 

 

ANIMATED FILM

BRAVE Mark Andrews, Brenda Chapman

FRANKENWEENIE Tim Burton

PARANORMAN Sam Fell, Chris Butler

 

 

DIRECTOR

AMOUR Michael Haneke

ARGO Ben Affleck

DJANGO UNCHAINED Quentin Tarantino

LIFE OF PI Ang Lee

ZERO DARK THIRTY Kathryn Bigelow

 

 

ORIGINAL SCREENPLAY

AMOUR Michael Haneke

DJANGO UNCHAINED Quentin Tarantino

THE MASTER Paul Thomas Anderson

MOONRISE KINGDOM Wes Anderson, Roman Coppola

ZERO DARK THIRTY Mark Boal

 

 

ADAPTED SCREENPLAY

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

 

 

LEADING ACTOR

BEN AFFLECK Argo

BRADLEY COOPER Silver Linings Playbook

DANIEL DAY-LEWIS Lincoln

HUGH JACKMAN Les Misérables

JOAQUIN PHOENIX The Master

 

 

LEADING ACTRESS

EMMANUELLE RIVA Amour

HELEN MIRREN Hitchcock

JENNIFER LAWRENCE Silver Linings Playbook

JESSICA CHASTAIN Zero Dark Thirty

MARION COTILLARD Rust and Bone

 

 

SUPPORTING ACTOR

ALAN ARKIN Argo

CHRISTOPH WALTZ Django Unchained

JAVIER BARDEM Skyfall

PHILIP SEYMOUR HOFFMAN The Master

TOMMY LEE JONES Lincoln

 

 

 

SUPPORTING ACTRESS

AMY ADAMS The Master

ANNE HATHAWAY Les Misérables

HELEN HUNT The Sessions

JUDI DENCH Skyfall

SALLY FIELD Lincoln

 

 

ORIGINAL MUSIC 

ANNA KARENINA Dario Marianelli

ARGO Alexandre Desplat

LIFE OF PI Mychael Danna

LINCOLN John Williams

SKYFALL Thomas Newman

 

 

CINEMATOGRAPHY

ANNA KARENINA Seamus McGarvey

LES MISÉRABLES Danny Cohen

LIFE OF PI Claudio Miranda

LINCOLN Janusz Kaminski

SKYFALL Roger Deakins

 

 

EDITING

ARGO William Goldenberg

DJANGO UNCHAINED Fred Raskin

LIFE OF PI Tim Squyres

SKYFALL Stuart Baird

ZERO DARK THIRTY Dylan Tichenor, William Goldenberg

 

 

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

 

 

COSTUME DESIGN

ANNA KARENINA Jacqueline Durran

GREAT EXPECTATIONS Beatrix Aruna Pasztor

LES MISÉRABLES Paco Delgado

LINCOLN Joanna Johnston

SNOW WHITE AND THE HUNTSMAN Colleen Atwood

 

 

MAKE 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

 

 

 

SOUND

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, D. M. Hemphill

SKYFALL Stuart Wilson, Scott Millan, Greg P. Russell, Per Hallberg, Karen Baker Landers

 

 

SPECIAL VISUAL 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

 

 

SHORT ANIMATION

HERE TO FALL Kris Kelly, Evelyn McGrath

I’M FINE THANKS Eamonn O’Neill

THE MAKING OF LONGBIRD Will Anderson, Ainslie Henderson

 

 

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

 

 

THE EE RISING STAR AWARD (voted for by the public) 

ELIZABETH OLSEN

ANDREA RISEBOROUGH

SURAJ SHARMA

JUNO TEMPLE

ALICIA VIKANDER

 

 

 

 

10 February 2013

 

 

 

 

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“The core fear is what can happen to you, personally. Your body. That’s what horror films deal with, precisely. We are a very thin skin wrapped around a pumping heart and guts. At any given moment it can come down to that, be it diseases, or somebody’s assault, or war, or a car wreck. You could be reduced to the simple laws of physics and your body’s vulnerability. The edged weapon is the penultimate weapon to disclose that reality to you.”
~ Wes Craven, 1996, promoting Scream

MAMET
Well, that, to me, is always the trick of dramaturgy; theoretically, perfectly, what one wants to do is put the protagonist and the audience in exactly the same position. The main question in drama, the way I was taught, is always what does the protagonist want. That’s what drama is. It comes down to that. It’s not about theme, it’s not about ideas, it’s not about setting, but what the protagonist wants. What gives rise to the drama, what is the precipitating event, and how, at the end of the play, do we see that event culminated? Do we see the protagonist’s wishes fulfilled or absolutely frustrated? That’s the structure of drama. You break it down into three acts.

INTERVIEWER
Does this explain why your plays have so little exposition?

MAMET
Yes. People only speak to get something. If I say, Let me tell you a few things about myself, already your defenses go up; you go, Look, I wonder what he wants from me, because no one ever speaks except to obtain an objective. That’s the only reason anyone ever opens their mouth, onstage or offstage. They may use a language that seems revealing, but if so, it’s just coincidence, because what they’re trying to do is accomplish an objective… The question is where does the dramatist have to lead you? Answer: the place where he or she thinks the audience needs to be led. But what does the character think? Does the character need to convey that information? If the answer is no, then you’d better cut it out, because you aren’t putting the audience in the same position with the protagonist. You’re saying, in effect, Let’s stop the play. That’s what the narration is doing—stopping the play… It’s action, as Aristotle said. That’s all that it is—exactly what the person does. It’s not what they “think,” because we don’t know what they think. It’s not what they say. It’s what they do, what they’re physically trying to accomplish on the stage. Which is exactly the same way we understand a person’s character in life—not by what they say, but by what they do. Say someone came up to you and said, I’m glad to be your neighbor because I’m a very honest man. That’s my character. I’m honest, I like to do things, I’m forthright, I like to be clear about everything, I like to be concise. Well, you really don’t know anything about that guy’s character. Or the person is onstage, and the playwright has him or her make those same claims in several subtle or not-so-subtle ways, the audience will say, Oh yes, I understand their character now; now I understand that they are a character. But in fact you don’t understand anything. You just understand that they’re jabbering to try to convince you of something.
~ David Mamet

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