BAFTA: 'Argo' Wins Best Film And Best Director, Daniel Day-Lewis Lead Actor, Emmanuelle Riva Lead Actress, Anne Hathaway Supporting Actress, Christoph Waltz Supporting Actor, 'Django Unchained' & 'Silver Linings Playbook' Screenplays, 'Brave' Animation, 'Amour' Foreign, 'Skyfall' Best British Film

Coverage by Deadline’s International Editor Nancy Tartaglione and London correspondent Joe Utichi with Editor-in-Chief Nikki Finke writing and editing:

LONDON: Refresh For Latest… The 2013 BAFTA Film Awards did its best to spread out its British Academy of Film and Television Arts honors to many films tonight, no doubt paving the way for the Academy Awards to do the same. Warner Bros’ Argo won 3 categories including the evening’s big prize, Best Film, as well as Director for Ben Affleck and Editing for William Goldenberg. The dramatic thriller now is the solid favorite for Best Picture Oscar after winning what’s known as the British Oscars in an uninterrupted string of prestigious awards wins. Lincoln‘s Daniel Day-Lewis was the expected winner in Leading Actor for DreamWorks. But Amour‘s Emmanuelle Riva scored an upset for Leading Actress at the impressive age of 85 while the Sony Classics Pictures film won Foreign Language. Quentin Tarantino won for Django Unchained‘s Original Screenplay and David O. Russell for Silver Linings Playbook‘s Adapted Screenplay, making it a big night for The Weinstein Company which took home 3 prizes in all including Supporting Actor for Christoph Waltz. Working Title/Universal’s Les Misérables received the most awards – 4 –  including Supporting Actress for Anne Hathaway. Fox’s Life Of Pi garnered 2. Pixar/Disney’s Brave won Animated Film. The first award – for Outstanding British Film – went to James Bond #23, Eon Productions/MGM/Sony Pictures’ Skyfall which also won for Original Music.

About 10 minutes before the lights went up in the Royal Opera House tonight, guests were treated to a montage of 100 years of British film. Outside, pouring rain has turned to snow and traffic is snarled all over central London. It’s in part due to the awards arrivals but also because of Chinese New Year celebrations in nearby Trafalgar Square. At least the massive storm that hit New York over the weekend did not impact A-listers getting here. But Meryl Streep has been replaced by Sarah Jessica Parker to present the Leading Actor award.

Stephen Fry, hosting again this year, welcomes the crowd and apologizes for his own facial hair: “I have a strong feeling I’m not the only actor who’s come here this evening with a beard.” He notes how Working Title/Universal’s Les Miserables is a British film despite its Australian and American cast and that it was extraordinary to have Helena Bonham Carter burst into song without even having a drink. “I’m joking, of course. She was drunk every day on set.” Fry muses on the many films being eked out of JR Tolkien’s The Hobbit. Says, “You can expect to see me in the Hobbit 9: Are We Home Yet Gandalf?” Fry asks Jennifer Lawrence to blow a kiss to the audience, and she obliges.

Singer Paloma Faith takes the stage to sing a medley over images of the nominated films – Argo, Les Misérables, Life Of Pi, Lincoln, and Zero Dark Thirty – and others.

The ‘In Memoriam’ montage began with Marvin Hamlisch and ended with Tony Scott.

The 2013 BAFTA Awards

ARGO – Grant Heslov, Ben Affleck, George Clooney

Producer George Clooney, who was supposed to direct Argo but then turned it over to Ben Affleck, accepts saying, “Ben, if this is your second act, I don’t know what in hell you do for your third. You are remarkable. I can’t tell you what an honor it’s been to work with you.” Clooney then introduces his producing partner Grant Heslov (“the best producer I’ve ever worked with”) who thanks BAFTA and “all the folks at Warner Bros”. Then he addresses Affleck: “To Ben, I want to say thank you for coming aboard and thank you for taking us on this journey. It’s been amazing.” Finally Affleck takes the podium. “Every single person here has been so nice…” Then he pokes fun at Warner Bros: “The people from the studio said, ‘You know what? We never win.'” He thanks BAFTA again.


Daniel Day-Lewis onstage laughed: “On the chance I might one day have to speak on an occasion as this, I’ve actually stayed in character as myself for the last 55 years.” He noted that “I had BAFTA sets put in every house I’ve ever lived in. When I get up from a chair, it simultaneously unleashes a chorus of applause, with a few boos and some drunken hecklers.” Then he became serious. “I’m so grateful to BAFTA. My fellow nominees, I don’t know if I deserve this. But I do know every one of you deserves it at least as much as I do.” And to his Lincoln team, he said, “My colleagues, I miss you. I wish we were still on this expedition together.” He called filmmaker Steven Spielberg “the rudder of the boat” they sailed on.


In the awards show audience as well as among the media backstage, there were audible gasps when Emmanuelle Riva’s name was announced. She was indeed a surprise winner given BAFTA’s tendency to pick the marquee contenders. She was not present to accept the award.

ARGO – Ben Affleck

ANNE HATHAWAY Les Misérables

Anne Hathaway ascended the stage and took the BAFTA mask from presenter George Clooney – and then turned back around to hug the actor. “What am I thinking? I almost walked past George Clooney without hugging him. That’s just stupid,” she explained. She thanked the cast, noting to Hugh Jackman: “I’ve run out of superlatives for you, man”, as well as the crew, Working Title, Universal, and especially Victor Hugo “without whom none of us would be here”. Also she gave a shout-out to co-star Eddie Redmayne who had food poisoning. “I’d be holding your hair back.” Backstage, Anne scolded herself in front of the media. “I’m coming down with laryngitis. Shut up, Hathaway.” But she added, “I’m overjoyed and I’m such an airhead right now, but that’s not really new. I’m still collecting myself.” She noted that “the biggest surprise of the entire experience was how much of a sweetie pie Russell Crowe is. He was integral to cast bonding.”

CHRISTOPH WALTZ Django Unchained

Onstage, an obviously emotional Christoph Waltz explained that, “Why I get to stand here is really no mystery because it says so at the beginning of our movie: ‘written and directed by Quentin Tarantino’.” He thanks by name Harvey Weinstein and Amy Pascal “for their attention. But it all starts with Quentin. Behind everything, I need and want to thank you for the thing that touches me the most, your unconditional trust… You silver-penned devil, you.” Backstage, Waltz was asked how it feels now that he’s two for two: “Like four,” says Waltz. “With Quentin, it’s trust and respect and, on my part, admiration for this master storyteller. I am completely and utterly at ease and convinced that what he writes is something I can say.”

DJANGO UNCHAINED – Quentin Tarantino

Onstage, Quentin Tarantino called the award “really really nice, really cool. I want to thank my actors for doing a bang up job with my dialogue.” He has always said he felt British audiences responded to his films in a special way, starting with Reservoir Dogs. Tonight he thanked BAFTA, calling it “a very terrific organization. I’m kind of famous for not joining organizations but I’m proud to be part of yours.” He thanked by name Harvey Weinstein of The Weinstein Company and Amy Pascal of Sony Pictures (which owned foreign). “This was a pretty hot potato script, and to take this and go out and make a lot of money with it, that’s pretty damn impressive. Thanks guys.” Backstage, QT said: “I thought, if I win, do I put it next to the other BAFTA or find a place on the other side?” About writing, he mused, “About 90% of my lines come out of the material. I get the characters talking to each other and suddenly someone says something clever. Every once in a while there’ll be a cool line that I’m holding onto for decades. But it doesn’t happen that often.” Tarantino took one last question from an Aussie journalist and went off on a long dialogue screed in his Django Australian accent. (“John Jarratt helped me get it down.”)


David O. Russell onstage accepted saying, “It’s a wonderful year for film and for writers.” He thanked his son for his inspiration. This was the film’s first prize of the evening, and it was presented by Jennifer Garner, wife of Ben Affleck whose Argo also was nominated for Adapted Screenplay. Awkward? Not to winner Russell who told the media why he was late, “I was backstage talking to Jennifer Garner about pre-schools in Boston.” He said: “I love our film, and I believe in the heart and soul of our film, because I made it for personal reasons. Apart from enjoying it as a movie, if you can connect to the things in there, that’s everything.”

BRAVE – Mark Andrews, Brenda Chapman

Brave co-director Mark Andrews accepted saying: “To me, being brave is about being true to yourself and allowing our loved ones the same freedom.” Backstage, Andrews noted: “No matter how many times you make these films [at Pixar], you’re making this film for the very first time. So the success is a dream come true. There’s that validation that comes with not just audiences, but your peers recognizing the work.”

AMOUR – Michael Haneke, Margaret Ménégoz

Neither filmmaker Michael Haneke nor producer Margaret Ménégoz were in attendance to accept the award.

SKYFALL – Sam Mendes, Michael G. Wilson, Barbara Broccoli, Neal Purvis, Robert Wade, John Logan

Bradley Cooper and Ben Affleck presented the prize. Producer Michael G Wilson noted it’s a first for the Bond films. Director Sam Mendes said the prize is “icing on the cake” thanks Daniel Craig “around whom we built this movie” for his bravery, brilliance and “sheer bloody-mindedness”. This category always looked to be a two-film race between Skyfall and Les Miserables. Changes to the voting system – cutting it down to a 2-round system – suggested the pics leading the nominations might end up taking home prizes in the big categories – which are voted on by the entire membership. Skyfall‘s win may well reflect the number of BAFTA-voting Brit practitioners who’ve had a hand in Bond over the years with the franchise celebrating its 50th anniversary.

SEARCHING FOR SUGAR MAN – Malik Bendjelloul, Simon Chinn

LIFE OF PI – Claudio Miranda

Director Ang Lee accepts the cinematography prize for Claudio Miranda who isn’t there, then pulls out a piece of paper and says, “Well, the first half of the speech is about how great it is to work with me. So let’s skip that.”

ARGO – William Goldenberg

William Goldenberg, who was also nominated in this category for Zero Dark Thirty (with Dylan Tichenor), addressed Ben Affleck: “I share this award with you. You’re a partner, and you made every day coming to work a real thrill.” Backstage, he added: “We’ve been so thrilled about the awards [Argo] has won so far. People love the movie and embrace it. I don’t expect anything, but this is nice.”

LIFE OF PI – Bill Westenhofer, Guillaume Rocheron, Erik-Jan De Boer, Donald R. Elliott

Backstage, Bill Westenhofer complimented Ang Lee as “the absolute dream director. He knows what he wants, communicates it well, but lets us bring our own ideas to the table. He’s not very specific. He’ll say ‘I want this to be a pensive sky’ and we get to interpret what he means.”

LES MISÉRABLES – Eve Stewart, Anna Lynch-Robinson

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

Backstage, Simon Hayes said: “We really got a chance to showcase live production sound. It was a labor of love from start to finish. The challenge was getting clean enough recordings. It would have been insane to go in without pre-recording, only to have poor sound quality at the end. We knew we had to get it right on set.”

SKYFALL – Thomas Newman

Backstage, Thomas Newman said: “You think it’s just music, and I’ve done music before, but then there’s James Bond staring at you – and you can’t help but remember that.”

ANNA KARENINA – Jacqueline Durran

Backstage, Jacqueline Durran said: “Shock is just receding now, but there’s an adrenalin rush when your name’s called out.”

LES MISÉRABLES – Lisa Westcott

BART LAYTON (Director), DIMITRI DOGANIS (Producer) – The Imposter


SWIMMER – Lynne Ramsay, Peter Carlton, Diarmid Scrimshaw

THE MAKING OF LONGBIRD – Will Anderson, Ainslie Henderson

On Saturday before the BAFTAS, Fox held pre-nominees cocktail reception in honor of Life Of Pi (9 nominations) and Lincoln (10 nominations) with Daniel Day-Lewis, Sally Field, Suraj Sharma, Ang Lee and Fox chairman Jim Gianopulos in attendance. Also at receptions on Saturday were George Clooney, Ben Affleck, Tom Cruise, Jeremy Renner, Amy Adams, Joaquin Phoenix, Jennifer Lawrence, Bradley Cooper, Samuel L Jackson, Barbara Broccoli, Chris Tucker, Mark Strong and Warner Bros UK chief Josh Berger, among others. As for the Les Misérables crowd – nominated 9 times here including for Best Film and Best British Film – Hugh Jackman, Anne Hathaway, Eddie Redmayne and director Tom Hooper did not attend the nominees reception in London on Saturday and instead accompanied the film for a special screening at the Berlin Film Festival before hitting the British capital on Sunday morning.

    1. Jack,
      I was coming here to say the exact same thing except I don’t love Tarantino and never have. I think he and his much vaunted “dialogue” have been wildly overrated and overpraised (I find his dialogue gimmicky, self-indulgent, often tedious, and it always sounds the same) and it has clearly gone to his head.

  1. Hmm a nice evenly spread list of honors. Nicely played BAFTA voters, and a well deserved Best Film nod for Argo…..Your move AMPAS.

  2. Affleck wins for best director….again, this should piss off a few people at the Academy for Motion Picture Arts and Sciences.

    1. The oscars made a mistake not adding Ben Affleck to the list of nominees for best director, and it shows. He is winning every award but them. Good luck picking the beat director at the oscars anyway.

    1. Have you seen ‘Argo’, Mr Fix? It is not anti-Iranian, as the prologue takes pains to point out, and focuses on known historical events. Anti-what happened and what was done by certain people and groups, but anti-Iranian? No.

  3. This has been a humiliating award season for the Oscars. Nearly every award show feels Argo is the best film AND best director, yet the Oscar’s didn’t even nominate it for the latter. For shame.

    1. It isn’t so much a humiliation of the Oscars as it is a humiliation of the Directors’ Branch of the Academy, who were stupid enough to leave Affleck off their list. What would really stick it to the elderly snobs in the Directors’ Branch would be if the individuals of the larger Academy just went ahead and crossed out all the Directors’ nominees on their ballots and wrote in Ben Affleck. I would think that a mass protest vote in favor of Affleck would be something that the Academy wouldn’t be able to ignore.

      I suppose that that depends on how large a percentage of the Academy is voting via paper ballots rather than via online ballots, though. Since my impression as a fanboy in the peanut gallery is that the online ballots don’t allow for write-ins (especially since the paper ballots don’t technically have a write-in line), an Affleck protest vote would have to come entirely from those who will still be voting by paper ballots. Or I suppose that voters could flood the Academy’s telephone lines with messages of protest starting tomorrow.

      Failing that, there’s two things that the Academy could do to prevent the Affleck Snub from happening ever again:

      1) It could add a write-in vote to the process, OR

      2) It could fold the Best Director Oscar into the Best Picture Award, so that the Best Picture award becomes primarily the director’s award and only secondarily the producers’ award. If the producers don’t like that, well, they can just suck it. Nobody wants to hear the non-directing producers take credit for the director’s work at the end of a four-hour awards ceremony anyway — because it’s not the producer’s movie to begin with.

      1. >>because it’s not the producer’s movie to begin with.

        It is actually, at least part of it. Producers fund, they get a short list of actors who are contenders for the principle cast, they may even have a say in the creative side. Add in finding a reliable distributor who can effectively release it – film festivals (if it’s that sort of film), advertising, promo tours once it gets premiere dates. Producers are a huge part of the success of a film.

  4. There is no way Argo is the best film. Yet another mediocre film season. Oscar should not award people for not sucking. Every year it gets harder to debate that Film is better than Tv. This is nonsense.

    1. At least it was entertaining. The year Crash won, oh my, there were curses in my household. Zero Dark Thirty is just too polarizing to win and Lincoln has too many speeches burying a great performance. And while I appreciated the effort behind Les Miserables, it was a long slog of a film and far too sentimental. I’d rather a well edited caper film take the prize than some “noble” film.

      What would your pick be?

  5. What about Tom Hooper? Les Miserables is the only movie that I could watch over and over again. He is the best director this year.

  6. This film won’t win best picture because of the snub. Grammys admiring the mistake would only cause them to come under fire for lack of leadership and direction.

  7. Can Stephen Fry host the Oscars, pretty please? He would be ever so much more graceful than the usual suspects with the exception of Hugh Jackman (who was pretty darn smooth). Anyone who bashes The Hobbit delights me.

    And thank you for printing the bulk of their comments, but editing out the annoying list and fake gasps of surprise. You make everyone, even Anne Hathaway, sound tolerable.

  8. Jack,
    I was coming here to say the exact same thing except I don’t love Tarantino. I think he and his much vaunted “dialogue” have been wildly overrated and overpraised and it has clearly gone to his head. BTW, I find his dialogue to be gimmicky, formulaic (his characters are always making speeches; it’s not dialogue it’s monologue most of the time), often tedious, puerile, and it always sounds the same no matter what the context.

  9. So proud of our fellow South Africans for the brilliant job done on “Searching for Sugarman” which won Best Documentary. Amazing story!

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