Richard E. Grant Brings Enthusiasm as BAFTA Film Awards Host

Richard E. Grant poses for photographers upon arrival at the BAFTA Film Awards after party in London on Feb. 2, 2020. (AP)
Richard E. Grant poses for photographers upon arrival at the BAFTA Film Awards after party in London on Feb. 2, 2020. (AP)
TT

Richard E. Grant Brings Enthusiasm as BAFTA Film Awards Host

Richard E. Grant poses for photographers upon arrival at the BAFTA Film Awards after party in London on Feb. 2, 2020. (AP)
Richard E. Grant poses for photographers upon arrival at the BAFTA Film Awards after party in London on Feb. 2, 2020. (AP)

There is no bigger cheerleader of awards season than Richard E. Grant.

He brings joy to the red carpet, snapping selfies with stars and posting congratulations to nominees on social media.

Now this enthusiasm has been tapped to host the EE BAFTA Film Awards on February 19 at the Royal Festival Hall.

“I’m an unabashed fan of movies and of talent and always have been. I’ve never been disingenuous or, you know, blasé about that,” he says.

“I probably have to restrain myself from permanently taking selfies with every nominee and winner coming up on the stage.”

“From that point of view, I am the right fit for the job, hopefully,” he says.

Grant also knows how it feels to participate in awards season and sit, nervously, waiting for that career changing envelope to be opened. He was nominated as supporting actor at both the BAFTAs and Oscars in 2019 for “Can You Ever Forgive Me?”

And he’s aware that, as a working actor, hosting has its challenges.

“Traditionally if you’re a comedian, your role is very clear to roast the audience. Whereas I’m an actor and, you know, even though I’m the vast vintage that I am now, I still want to work and collaborate with directors and actors and writers for the remainder of my breathing days. So roasting them is not really an option and not something that I want to do.”

When asked if there will be any humor in the ceremony — Grant has jokes.

“No, it’s going to be very, very serious. There’ll be no jokes and it will be … it’ll be brutally earnest,” he says, laughing.

Rebel Wilson got mixed reviews for her joke heavy turn as the BAFTA ceremony emcee last March, which at one point involved a cake of Benedict Cumberbatch’s face.

This year, “All Quiet on the Western Front” leads the nominees with 14. “The Banshees of Inisherin” and “Everything Everywhere All at Once” both have 10 nominations.

As you’d expect, Grant knows quite a few of the nominees, having worked with EE Rising Star nominees Naomi Ackie and Daryl McCormack, plus Bill Nighy, Cate Blanchett and most of the “Banshees” cast.

But there will be big changes at the BAFTA Film Awards ceremony this year.

After six years of walking up the red carpeted steps into the Royal Albert Hall, nominees will be attending an event held beside the River Thames on London’s Southbank at the Royal Festival Hall.

Also, for the first time, the last 30 minutes of the show will be broadcast live on BBC One, as BAFTA moves towards the idea of a fully live ceremony.

“In an age where everything can be paused or fast forwarded or, you know, watched on at a later time, the thing of it being live gives it a kind of frisson and excitement and also the possibility that something can go fantastically well or really badly. And that’s always a good thing,” Grant says.

British rapper Lil Simz will be performing at the ceremony and both the prince and princess of Wales will be in the audience, as he is president of the British Academy of Film and Television Arts.

Grant, currently working with script writers on what he’ll be saying on stage, claims he’s more excited than nervous, adding he’ll probably be “levitating” on the big day.

“It is absolutely genuine,” he says of his boundless enthusiasm, “and it’s to the annoyance of some people.”

“Just surviving in show-business because it is, you know — for what it looks like from the outside — it is a profession that is has an enormous amount of rejection in built into it. So when people are recognized or succeed at what they’re doing and do it so brilliantly — I’m a great champion of that.”



Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
TT

Blake Lively Sues ‘It Ends With Us’ Director Justin Baldoni Alleging Harassment and Smear Campaign

Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)
Blake Lively attends the LACMA Art+Film Gala at the Los Angeles County Museum of Art (LACMA) in Los Angeles, California, on November 2, 2024. (AFP)

Actor Blake Lively sued "It Ends With Us" director Justin Baldoni and several others tied to the romantic drama on Tuesday, alleging harassment and a coordinated campaign to attack her reputation for coming forward about her treatment on the set.

The federal lawsuit was filed in New York just hours after Baldoni and many of the other defendants in Lively's suit sued The New York Times for libel for its story on her allegations, saying the newspaper and the star were the ones conducting a coordinated smear campaign.

The lawsuits are major developments in a story emerging from the surprise hit film that has already made major waves in Hollywood and led to discussions of the treatment of female actors both on sets and in media.

Lively's suit said that Baldoni, the film's production company Wayfarer Studios and others engaged in "a carefully crafted, coordinated, and resourced retaliatory scheme to silence her, and others, from speaking out."

She accuses Baldoni and the studio of embarking on a "multi-tiered plan" to damage her reputation following a meeting in which she and her husband, actor Ryan Reynolds, addressed "repeated sexual harassment and other disturbing behavior" by Baldoni and a producer Jamey Heath, who is also named in both lawsuits.

The plan, the suit said, included a proposal to plant theories on online message boards, engineer a social media campaign and place news stories critical of Lively.

The alleged mistreatment on set included comments from Baldoni on the bodies of Lively and other women on the set.

Baldoni's attorney Bryan Freedman did not immediately respond to a request for comment on Lively's lawsuit. But he previously called the same allegations "completely false, outrageous and intentionally salacious."

Lively's lawsuit comes the same day as the libel lawsuit filed in Los Angeles Superior Court by Baldoni and others against the Times seeking at least $250 million. The Times stood by its reporting and said it plans to "vigorously defend" against the lawsuit.

Others who are defendants in Lively's suit and plaintiffs in the libel suit include Wayfarer and crisis communications expert Melissa Nathan, whose text message was quoted in the headline of the Dec. 21 Times story: "‘We Can Bury Anyone’: Inside a Hollywood Smear Machine."

Written by Megan Twohey, Mike McIntire and Julie Tate, the story was published just after Lively filed a legal complaint with the California Civil Rights Department, a predecessor to her new lawsuit.

The libel lawsuit says the newspaper "relied almost entirely on Lively’s unverified and self-serving narrative, lifting it nearly verbatim while disregarding an abundance of evidence that contradicted her claims and exposed her true motives. But the Times did not care."

A spokesperson for the Times, Danielle Rhoades, said in a statement that "our story was meticulously and responsibly reported."

"It was based on a review of thousands of pages of original documents, including the text messages and emails that we quote accurately and at length in the article. To date, Wayfarer Studios, Mr. Baldoni, the other subjects of the article and their representatives have not pointed to a single error," the statement said.

But Baldoni's lawsuit says that "If the Times truly reviewed the thousands of private communications it claimed to have obtained, its reporters would have seen incontrovertible evidence that it was Lively, not Plaintiffs, who engaged in a calculated smear campaign."

Lively is not a defendant in the libel lawsuit. Her lawyers said in a statement that "Nothing in this lawsuit changes anything about the claims advanced in Ms. Lively’s California Civil Rights Department Complaint, nor her federal complaint, filed earlier today."

The romantic drama "It Ends With Us," an adaptation of Colleen Hoover’s bestselling 2016 novel, was released in August, exceeding box office expectations with a $50 million debut. But the movie’s release was shrouded by speculation over discord between Lively and Baldoni. Baldoni took a backseat in promoting the film while Lively took centerstage along with Reynolds, who was on the press circuit for "Deadpool & Wolverine" at the same time.

Lively came to fame through the 2005 film "The Sisterhood of the Traveling Pants," and bolstered her stardom on the TV series "Gossip Girl" from 2007 to 2012. She has since starred in films including "The Town" and "The Shallows."

Baldoni starred in the TV comedy "Jane the Virgin," directed the 2019 film "Five Feet Apart" and wrote "Man Enough," a book pushing back against traditional notions of masculinity. He responded to concerns that "It Ends With Us" romanticized domestic violence, telling the AP at the time that critics were "absolutely entitled to that opinion."

He was dropped by his agency, WME, immediately after Lively filed her complaint and the Times published its story. The agency represents both Lively and Reynolds.

Baldoni's attorney, Freedman, said in a statement on the libel suit that "the New York Times cowered to the wants and whims of two powerful ‘untouchable’ Hollywood elites."

"In doing so, they pre-determined the outcome of their story, and aided and abetted their own devastating PR smear campaign designed to revitalize Lively’s self-induced floundering public image and counter the organic groundswell of criticism amongst the online public," he added. "The irony is rich."