#david was nominated for macbeth

[mizgnomer]

David and Georgia Tennant at the 2024 Olivier Awards

[fuckyeahgoodomens]

1) David Tennant is nominated for Macbeth for Best Actor Olivier Award

2) Well, well, well, look who has been announced as one of the presenters :)

The Olivier awards will take place on Sunday 14 April at the Royal Albert Hall and broadcasted via ITV :)

[martinsharmony]

Can someone provide a little more info about this award? When will we know if he won? Will it be televised? How did we contribute to his nomination?

WE DID IT KIDS 🥂🎉👏🏽

[davidtennantontwitter]

#DavidTennant nominated for Best Actor Award for Macbeth in Olivier Awards.

[thegeorgiatennantblog]

I’m a bit late to this but saw ppl complaining that Georgia is promoting rivals but not Macbeth and therefore not supporting David. a) she IS posting about Macbeth too and b) it is her public social media account she’s aware of that, she knows she doesn’t really need to do a whole lot of promotion for a sold-out, critically acclaimed Olivier nominated production. Rivals hasn’t been released yet, it’s obvious that one would try to promote it c) even if she is just promoting rivals, she’d be supporting her husbands show??

Hey nonnie! Thanks for the ask. I CANNOT stress this enough but it's good that you said this. Also she's his WIFE. Not some media publicist person. She's not running the media- promotion department for the West End. She posts what she wants on her Insta. They say she makes it about herself. Welp, listen. We celebrate the people in our lives not for what they've done in their career or the accolades they have received (everyone can see and do that thing). But when you celebrate the person you love, you celebrate what's special about them to you, and how you fit into the equation bcs after all it is your relationship that makes them anything to you. Without that you are strangers and that is nothing.

Also, Macbeth is like running for the second time. I don't think it needs any promotion as compared to sth that is coming out for the first time and given the nature of the project (and people already being critical of it bsc of such and such) she's putting more effort into making sure people are excited about it and that it is a success.

[denimbex1986]

'David Tennant and Cush Jumbo walk into the Donmar Warehouse’s offices, above the theatre’s rehearsal rooms in Covent Garden, and sit down on a sofa, side by side. Tennant has that look his many fans will instantly be able to call to mind of being at once stressed – with a desperado gleam in his eye – yet mischievously engaged, which has to do with the intelligence he applies to everything, the niceness he directs at everyone. He is wearing a mustard-coloured jersey and could be mistaken for someone who has been swotting in a library (actually, he has been rehearsing a fight scene). If I am right in supposing him to be tense at this mid-rehearsals moment, I know – from having interviewed him before – that it is not his way to put himself first, that he will crack on and probably, while he’s at it, crack a joke or two to keep us all in good spirits. But some degree of tension is understandable for he and Jumbo are about to perform in a play that explores stress like no other – Macbeth – and must unriddle one of the most dramatic marriages in all of Shakespeare’s plays.

This is star billing of the starriest kind. Tennant, at 52, has more triumphs under his belt than you’d think possible in a single career (including Doctor Who, Broadchurch’s detective, the serial killer Dennis Nilsen in Des, and the father in There She Goes). Jumbo has been seen on US prime time in The Good Wife and The Good Fight and in ITV’s Vera. But what counts is that each is a Shakespeare virtuoso. Jumbo, who is now 38, won an Ian Charleson award in 2012 for her Rosalind in As You Like It and, in 2013, was nominated for an Olivier for her Mark Antony in Phyllida Lloyd’s all-female Julius Caesar. More recently, she starred as a yearningly embattled Hamlet at the Young Vic. A dynamo of an actor, she is described by the former New York Times theatre critic Ben Brantley as radiating “that unquantifiable force of hunger, drive, talent usually called star power”. Tennant, meanwhile, who has played Romeo, Lysander and Benedick for the RSC, went on to embody Hamlet and Richard II in performances that have become the stuff of legend.

Jumbo settles herself cross-legged on the sofa, relaxed in her own body, wearing a white T-shirt, dusky pink tracksuit bottoms, and modestly-sized gold hoop earrings. She looks as if she has come from an exercise class – and she has in one sense – no need to ask whether rehearsals, at this stage, are full-on. As we shake hello, she apologises for a hot hand and I for a cold one, having just come in from a sharp November morning. She is chirpy, friendly, waiting expectantly for questions – but what strikes me as I look at her is how her face in repose, at once dramatic and pensive, gives almost nothing away, like a page waiting to be written on.

Max Webster, the director, is setting the play in the modern day and Macbeth, a taut and ageless thriller, is especially friendly to this approach. I want to plunge straight in to cross-question the Macbeths. Supposing I were a marriage counsellor, what might they tell me – in confidence – about their alliance? Tennant is a step ahead: “There are two versions of the marriage, aren’t there? The one at the beginning and the fractured marriage later.” And he then makes me laugh by asking intently: “Are they sharing the murder with their therapist?”

He suggests Macbeth’s “reliance” on his wife is unusual and “not necessarily to be expected in medieval Scotland” (another excuse for the contemporary production): “I look to my wife for guidance: I don’t make a decision without her,” he explains. “We’ve been through some trauma which has induced an even stronger bond.” Jumbo agrees about the bond and spells out the trauma, reminding us the Macbeths have lost a child, but hesitates to play the game (I have suggested she talk about Lady Macbeth in the first person): “I want to get it right. I don’t want to get it wrong. I don’t know what to say… If I improv Lady Macbeth, it will feel disrespectful because you don’t know if what you’re saying on her behalf is true. And then you’re going to write what I say down and she [Lady Macbeth] is going to be: ‘Thanks, Cush, for f-ing talking about me that way.’” She emphasises that, as an actor, you must never judge your character, whatever crime they might have committed. And perhaps her resistance to straying from the text is partly as a writer herself (it was her play, Josephine and I, about the entertainer and activist Josephine Baker, that put her career into fast forward, opening off Broadway in 2015).

She stresses that the great problem with Lady Macbeth is that she has become a known quantity: “She is deeply ingrained in our culture. Everyone thinks they know who she is. Most people studied the play at school. I did – I hated it. It was so boring but that’s because Shakespeare’s plays aren’t meant to be read, they’re meant to be acted. People think they know Lady Macbeth as a type – the strong, controlling woman who pushed him to do it. She does things women shouldn’t do. The greatest misconception is that we have stopped seeing Lady Macbeth as a human being.”

For Tennant, too, keeping an open mind is essential: “What I’m finding most difficult is the variety of options. I thought I knew this play very well and that it was, unlike any other Shakespeare I can remember rehearsing, straightforward. But each time I come to a scene, it goes in a direction I wasn’t expecting.” He suggests that momentum is the play’s great asset: “It has such muscle to it, it powers along. Plot-wise, it’s more front-footed than any Shakespeare play I’ve done.” And is it ever difficult for him as Macbeth to subdue his instinctive comic talent? “Well, yes, that’s right, there are no gags! But actually, there are a couple of funny bits though I’d never intentionally inflict comedy on something that can’t take it. I hope I’m creating a rounded human being with moments of lightness, even in the bleakest times.” Jumbo adds: “Bleakness is funny at times”, and Tennant, quick as a flash, tops this: “Look at our government!” (He is an outspoken Labour supporter.) Later, when I ask what makes them angriest, he says: “Well, she [Suella Braverman]’s just been sacked so… I’m now slightly less angry than I was.” Jumbo nods agreement, adding that what makes her angriest is “unkindness”.

It is Tennant who then produces, with a flourish, the key question about the Macbeths: “Why do they decide to commit a crime? What is the fatal flaw that allows them to think that’s OK? I don’t know that they, as characters, would even know. Has the loss of a child destabilised their morality?” In preparation, Tennant and Jumbo have been researching post-traumatic stress disorder. “PTSD is a modern way of understanding something that’s always been there,” suggests Tennant – and the Macbeths are traumatised three times over by battle, bereavement and murder. “We’ve looked at postpartum psychosis as well,” Jumbo adds. They have been amazed at how the findings of modern experts “track within the play”. Tennant marvels aloud: “What can Shakespeare’s own research process have been?” Jumbo reminds him that Shakespeare, like the Macbeths, lost a child. She relishes the play’s “contemporary vibe which means it’s something my 14-year-old niece will want to see. Even though you know the ending, you don’t want it to go there. It’s exciting to play that as well as to watch it.”

A further exciting challenge is the show’s use of binaural technology (Gareth Fry, who worked on Complicité’s The Encounter, is sound designer). Each audience member will be given a set of headphones and be able to eavesdrop on the Macbeths. “The technology will mess with your neurons in a did-somebody-just-breathe-on-me way,” Jumbo explains. “You’ll feel as if you’re in a conversation with us, like listening to a podcast you love where you feel you’re sat with them having coffee.” Tennant adds: “What’s thrilling is that it makes things more naturalistic – we’re able to speak conversationally.”

Fast forward to opening night: how do they manage their time just before going on stage? Tennant says: “I dearly wish I had a set of failsafe strategies. I don’t find it straightforward. I’ve never been able to banish anxiety. It can be very problematic and part of the job is dealing with it. I squirrel myself away and tend to get quite quiet.” But at the Donmar, this will be tricky as backstage space is shared. Jumbo encourages him: “When I’ve played here before, I found the group dynamic helpful,” she says, but explains that her pre-show routine has changed since her career took off and she became a mother: “These days, I no longer have the luxury of saying: I’m going to do five hours of yoga before I go on. When I leave home at four in the afternoon, I might be thinking about whether I’ll hit traffic or, whether my kid’s stuff is ready for the next day. You get better at this, the more you do it. The main thing – which doesn’t sound that sexy – is to make sure to eat at the right time, something light, like soup, because when I’m nervous I get loads of acid and that does not make me feel good on stage. I have a cut-off point for eating and that timing has become a superstition in its own way.”

In 2020, Tennant and Jumbo co-starred in the compulsively watchable and disturbing Scottish mini-series Deadwater Fell for C4. How helpful is it to have worked together before? Tennant says it is “hugely” valuable when tackling something “intense and difficult” to be with someone you are “comfortable taking chances with”. Although actors cannot depend on this luxury: “Sometimes, you have to turn up the first day and go: ‘Ah, hello, nice to meet you, we’re going to be playing psychopathic Mr and Mrs Macbeth.’” And Jumbo adds: “I’ve been asked to do this play before and said no. You have to do it with the right person. I knew this would be fun because David is a laugh as well as being very hard-working.” He responds brightly with a non sequitur: “Wait till you see my knees in a kilt…” Are you seriously going to wear a kilt, I ask. “You’ll have to wait and see,” he laughs.

It is perhaps the kilt that triggers his next observation: “We’re an entirely Scottish company, apart from Cush,” he volunteers, suggesting that Macbeth’s choice of a non-Scottish wife brings new energy to the drama. He grew up in Paisley, the son of a Presbyterian minister, and remembers how, in his childhood, “whenever an English person arrived, you’d go “Oooh… from another worrrrld!”, and he reflects: “Someone from somewhere else gives you different energy.” And while on the Scottish theme, it is worth adding that Macbeth is the part that seems patiently to have been waiting for Tennant: “People keep saying: you must have done this play before? I don’t know if Italian Shakespeareans keep being asked if they have played Romeo…”

I tell them I remember puzzling, as a schoolgirl, over Macbeth’s line about “vaulting ambition, which o’erleaps itself and falls on th’other” – the gymnastic detail beyond me. Tennant suggests that what Macbeth has, more even than ambition, is hubris. But on ambition, he and Jumbo reveal themselves to be two of a kind. Tennant says: “Ambition is not a word I’d have understood as a child but I had an ambition to become an actor from tiny – from pre-school. I did not veer off from it, I was very focused. When I look at it now, that was wildly ambitious because there were no precedents or reasons for me to believe I could.”

“For me, same,” says Jumbo, “I don’t remember ever wanting to be anything else.” She grew up in south London, second of six children. Her father is Nigerian and was a stay-at-home dad, her mother is British and worked as a psychiatric nurse. “At four, I was an avid reader and mimicker. I got into lots of trouble at school for mimicking. My ambition was similar to David’s although, as a girl, the word ‘ambition’ has always been a bit dirty…” Tennant: “It certainly is to a Scottish Presbyterian.” “Yes,” she laughs, “perhaps I should have said Celts and Blacks… Girls grow up thinking they should be modest, right? But I had so much ambition. I knew there was more for me to do and that I could be good at doing it.”

And what were they like as teenagers – as, say, 14-year-olds? Tennant says: “Uncomfortable, plooky…” What’s plooky, Jumbo and I exclaim in unison. “A Scottish word for covered in spots.” “That’s great!” laughs Jumbo. “Unstylish,” Tennant concludes. Her turn: “At 14, I was sassy, a bit mouthy, trying to get into a lot of clubs and not succeeding because I looked way too young for my age. And desperate for a snog.”

And now, as grownups, Tennant and Jumbo are, above all, keenly aware of what it means to be a parent. Jumbo has a son, Maximilian (born 2018); Tennant five children between the ages of four and 21. Parenthood, they believe, helps shape the work they do. “Being a parent magnifies the job of being an actor,” says Jumbo, “because what we’re being asked to do [as actors] is to stay playful and in the present – be big children. As a parent, you get to relive your childhood and see the world through your child’s eyes as if for the first time and more intensely. We don’t do that much as adults.”

Tennant reckons being a parent has given him “empathy, patience – or the requirement for patience – and tiredness. It gives you a big open wound you carry around, a vulnerability that is not a bad thing for this job because it means you have an emotional accessibility that can be very trying but which we need.” But the work-life balance remains, for Tennant, an ongoing struggle: “Just when you think you’ve figured it out, something happens,” he says, “and you have to recalibrate it because your children need different things at different times.” Jumbo sometimes looks to other actors/parents for advice: “To try to see what they are doing – but you never quite get it right.”

And would they agree there is a work-life balance involved in acting itself? Is acting an escape from self or a way of going deeper into themselves? Tennant says: “I don’t think the two are mutually exclusive though they sound as though they should be – I think it is both.” Jumbo agrees: “On the surface, you’re consciously stepping away from yourself but, actually, subconsciously, you have to do things instinctually so you find out more about yourself without meaning to.”

And when they go deeper, what is it that they find? Fear is another of the motors in Macbeth – what is fear for them? “Something being wrong with one of my kids,” Tennant says and Jumbo concurs. And what about fear for our planet? Tennant says: “There is so much to feel fearful and pessimistic about it can be…” Jumbo finishes his sentence: “Overwhelming.” He picks it up again: “So overwhelming that you don’t do anything.” Jumbo worries about this, tries to remind herself that doing something is better than doing nothing: “If everybody did something small in their corner of the world, the knock-on effect would be bigger.” Tennant admits to feeling “anxiety” and distinguishes it from fear. Jumbo volunteers: “I recognise fear in myself but don’t see it as a helpful emotion. It’s underactive, a place to stand still.”

As actors who have hit the jackpot, what would they say, aside from talent, has been essential to their success? Tennant says: “Luck – to be in the right place at the right time, having one job that leads to another.” Jumbo remembers: “Early in my career, I had a slow start. You have to fill your soul with creative things, which is not always easy if you can’t afford to go out. You have to find things that are free, get together with people who are creative and give you good vibes and not people who are bitter and jealous or have lots of bad things to say about the world. This tends to bring more creative things to you.” Tennant observes: “As the creative arts go, acting is a difficult one to do on your own – if you’re a painter, you can paint – even if no one is buying your paintings.” Jumbo chips in: “Because of that, it can be quite lonely when it’s not happening.” “Tennant concludes: “It’s bloody unfair – there are far too many good actors, too many of us.”

And are they in any way like the Macbeths in being partly governed by magical thinking – or do they see themselves as rationalists? (I neglect to ask whether they call Macbeth “the Scottish play”, as many actors superstitiously do.) “I am a rationalist. I’m almost aggressively anti-nonsense,” Tennant says. Jumbo, unfazed by this manifestation of reason, speaks up brightly: “I’m a magical thinker, I’m half Nigerian and that’s all about magical realism and belief in energy. If something goes my way, I think: God, I felt that energy. And the thing that drew me to theatre as a kid was its magic.” And now Tennant, alerted by the word “magic”, starts to clamber on board to agree with her – and Jumbo laughs as they acknowledge the power of what she has just said.'

[febelinlove]

well wELl WELL

I know this is not what everyone expected to see I think for David it was also a kind of victory, so there is no need to cry too much. Even though that's exactly what I do!

I'm still in love with all the talented people who showed up at the awards. We got a great Macbeth. We also got a great looking (as always) Michael and David And I'm not at all upset because...

The rewards of our hearts are what David received this evening and will always have I hope to see a couple nomination next time and I WANT to see them in a couple

[consanguinitatum]

In honor of David Tennant's Olivier nomination for Macbeth...

I feel like giving out something special from my collection in celebration of David Tennant's nomination for Macbeth at today's Olivier Awards:

Here's a photo printed in a local newspaper from Long Day's Journey Into Night, a 1994 production David did at the Dundee Rep!

This was the second time David had starred alongside Edith MacArthur, who famously told David's father Sandy he'd do just that someday (the first time had been in 1992's Who's Afraid of Virginia Woolf, also at the Dundee Rep.)

Here he plays Edmund Tyrone, a consumptive (which you can see from his haggard appearance.)

I wish it was a better quality photo, but ya know....sometimes you have to take what you can get!

[mizgnomer]

David Tennant and Cush Jumbo in Macbeth (Photoset Part 3) Donmar Warehouse, December 2023 - February 2024

Photographer: Marc Brenner

Link to [ Part One ] [ Part Two ]

[fuckyeahgoodomens]

David with Georgia and Michael with Anna today at the Olivier Awards! 😍

(David is nominated for Macbeth and Michael is one of the presenters :))

Od damn David's suit has stars on it, NGK! ❤

Glorious! ❤

You can watch the stream live on youtube here :)

Michael was just on stage presenting together with Anna Maxwell Martin - the Good Omens S1 Beelzebub! ❤:)

Update: David did not win :(

[thealogie]

Not David Tennant saying in the red carpet interview how he never thought to play Macbeth because it always goes to 'big strapping lads' and then they not only deprive him of the award, they also misspell his name, he's never gonna stop feeling like a wee dafty from Paisley who's here by mistake at this rate. Wet cat vibes are here to stay

Dude I know. Well he knows how hard it is to get nominated for a Shakespeare role and they sat him in the front, so I think his imposter syndrome was both fed and assuaged tonight BUT just goes to show he probably read those reviews that were like “aww he’s kind of scrappy for Macbeth isn’t he?”

[gone2soon-rip]

SIR MICHAEL GAMBON (1940-Died September 27th 2023,at 82,Pneumonia).Anglo-Irish actor forever remembered by millions of Harry Potter fans as Professor Albus Dumbledore,in the last 6 films of the Harry Potter film franchise.

Gambon started his acting career with Laurence Olivier as one of the original members of the Royal National Theatre. Over his six-decade-long career, he received three Olivier Awards, two Screen Actors Guild Awards, and four BAFTA Awards. In 1998, he was knighted by Queen Elizabeth II for services to drama.

Gambon appeared in many productions of works by William Shakespeare such as Othello, Hamlet, Macbeth and Coriolanus. Gambon was nominated for thirteen Olivier Awards, winning three times for A Chorus of Disapproval (1985), A View from the Bridge (1987), and Man of the Moment (1990). In 1997, Gambon made his Broadway debut in David Hare's Skylight, earning a Tony Award for Best Actor in a Play nomination.

Gambon made his film debut in Othello (1965). Other notable films include The Cook, the Thief, His Wife & Her Lover (1989), The Wings of the Dove (1997), The Insider (1999), Gosford Park (2001), Amazing Grace (2006), The King's Speech (2010), Quartet (2012), and Victoria & Abdul (2017). Gambon also appeared in the Wes Anderson films The Life Aquatic with Steve Zissou (2004), and Fantastic Mr. Fox (2009). Gambon enhanced his stardom through his role of Albus Dumbledore in the Harry Potter film series from 2004 to 2011, replacing Richard Harris following his death in 2002.

For his work on television, he received four BAFTA Awards for The Singing Detective (1986), Wives and Daughters (1999), Longitude (2000), and Perfect Strangers (2001). He also received two Primetime Emmy Award nominations for Path to War (2002) and Emma (2009). Other notable projects include Cranford (2007) and The Casual Vacancy (2015). In 2017, he received the Irish Film & Television Academy Lifetime Achievement Award. In 2020, he was listed at No. 27 on The Irish Times' list of Ireland's greatest film actors.Michael Gambon - Wikipedia

[grntaire]

david macbeth olivier nomination secured 🙏🏼

[angie-words]

David Tennant nominated for Best Actor - Olivier Awards

Seeing DT's nomination for Best Actor for the Olivier Awards has reminded me how much I wanted to see his Macbeth but it was impossible to get tickets. I'm hoping they do another run in the Autumn as rumoured because I will be all over that

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[scotianostra]

The Scottish actor Nicol Williamson was born on October 14th 1938 in Hamilton.

Williamson was an enormously talented actor who was considered by some critics to be the finest actor of his generation in the late 1960s and the 1970s, rivalled only by Albert Finney in his generation.

Born the son of a factory owner. When he was 18 months old, his family moved to Birmingham, England. Williamson was sent back to Hamilton to live with his grandparents during World War II due to Birmingham's susceptibility to bombing, but returned when the war ended, and was educated at the Central Grammar School for Boys, Birmingham

He left school at 16 to begin work in his father’s factory and later attended the Birmingham School of Speech & Drama. He recalled his time there as “a disaster” and claimed “it was nothing more than a finishing school for the daughters of local businessmen”. After his national service as a gunner in the Airborne Division, Williamson made his professional debut with the Dundee Repertory Theatre in 1960.

In 1962 he made his London debut as Flute in Tony Richardson’s production of A Midsummer Night’s Dream at the Royal Court Theatre. His first major success came in 1964 with John Osborne’s Inadmissible Evidence for which he was nominated for a Tony Award when it transferred to Broadway in 1965. 1964 also saw him appearing as Vladimir in Samuel Beckett’s Waiting for Godot at the Royal Court Theatre. In 1968, he starred in the film version. Williamson’s Hamlet for Tony Richardson at the Roundhouse caused a sensation and was later transferred to New York and made into a film, with a cast including Anthony Hopkins and Marianne Faithfull. Faithfull later stated in her autobiography Faithfull that she and Williamson had had an affair while filming Hamlet.

His most celebrated film role was as Merlin the magician in the King Arthur epic Excalibur in 1981. Director John Boorman cast him as Merlin opposite Helen Mirren as Morgana over the protests of both actors; the two had previously appeared together on stage in Macbeth, with disastrous results, and disliked each other intensely. It was Boorman’s hope that the very real animosity that they had towards each other would generate more tension between them on screen, as is evident from their scenes together. Williamson gained recognition from a much wider fanbase for his performance as Merlin. A review of Excalibur in the London Times in 1981 said, “The actors are led by Williamson’s witty, perceptive Merlin, missed every time he’s off the screen.”

Some of his other notable cinematic performances are as a deeply troubled Irish soldier in the 1968 Jack Gold film The Bofors Gun; Sherlock Holmes in the 1976 Herbert Ross film The Seven-Per-Cent Solution; and Little John in the 1976 Richard Lester film Robin and Marian.

Williamson had a reputation as a bit of a hellraiser and a troublesome man who was known for several tantrums and on-stage antics. During the Philadelphia tryout of Inadmissible Evidence, a play in which he delivered a performance that would win him a Tony Award nomination in 1965, he hit the equally mercurial producer David Merrick. In 1968 he apologised to the audience for his performance one night while playing Hamlet and then walked off the stage, announcing he was retiring. In the early 1970s, Williamson left the Dick Cavett Show prior to a scheduled appearance, leaving the host and guest Nora Ephron to fill the remaining time. In 1976, he slapped an actor during the curtain call for the Broadway musical, Rex. In 1991, he hit co-star Evan Handler on the backside with a sword during a Broadway performance of I Hate Hamlet.

In 1974, Williamson recorded an abridged reading of The Hobbit for Argo Records, with authorisation for abridgement provided by Tolkien’s publisher. The recording was produced by Harley Usill. According to his official website, Nicol himself re-edited the original script, removing many occurrences of “he said”, “she said”, and so on, as he felt that an over-reliance on descriptive narrative would not give the desired effect. In 1971, Williamson married actress Jill Townsend, who played his daughter in the Broadway production of Inadmissible Evidence. They had a son, Luke, but divorced in 1977.

Despite concerns over his health in the 1970s, Williamson admitted drinking heavily and claimed to smoke 80 cigarettes a day. In an episode of The David Frost Show in the 1960s, during a discussion about death, which also involved poet John Betjeman, Williamson revealed that he was very much afraid of dying, saying that “I think of death constantly, throughout the day” and that “I don’t think there is anything after this, except complete oblivion.” On 25 January 2012, Luke Williamson announced on his father’s official web site that Nicol Williamson had died on 16th December 2011, aged 75, after a two-year struggle with oesophageal cancer. The news was released late as the actor did not want any fuss to be made over his death.

[denimbex1986]

'It's the biggest night for British film in the calendar and, like clockwork, the BAFTA Film Awards are returning to Southbank Centre’s Royal Festival Hall in London with a very special host.

Fresh off the back of the success of his return to Doctor Who, David Tennant will be hosting this year's BAFTAs, which will likely be another evening of unforgettable accolades recognising the stellar film talent of the past year.

Of course, Tennant was most recently on our screens as the Fourteenth Doctor in the very special slate of Doctor Who's 60th anniversary episodes, where he surprisingly "bigenerated" with Fifteenth Doctor, Ncuti Gatwa. While there are "no plans" for Fourteen to return to the Whoniverse, Tennant will be returning to our screens in this exciting new presenting capacity.

Aside from Doctor Who, Tennant is known for his starring roles in Prime Video's Good Omens, Broadchurch and in theatre productions of Much Ado About Nothing, Richard II, Hamlet, and, currently, Macbeth.

This marks the first time the Scottish actor has presented the inaugural honours event and commenting on the announcement of the news, Tennant said: "I am delighted to have been asked to host the EE BAFTA Film Awards and help celebrate the very best of this year's films and the many brilliant people who bring them to life.”

More recently, Tennant became the talk of last year's BAFTA TV Awards when he and Catherine Tate jointly presented the award for Features.

During the preamble before the presentation, fans of Tennant were shocked to learn that the acclaimed actor has never received a BAFTA nomination.

While Tennant has been nominated for BAFTA Scotland and Wales, he has not received a nomination from the main BAFTAs. Well, while this isn't a nomination, fans of the actor will undoubtedly be excited about his new BAFTA news.

Jane Millichip, CEO of BAFTA, also said: “We are over the moon that David Tennant will be our host for the 2024 EE BAFTA Film Awards. He is deservedly beloved by British and international audiences, alike.

"His warmth, charm and mischievous wit will make it a must-watch show next month for our guests at the Royal Festival Hall and the millions of people watching at home.

"The EE BAFTA Film Awards recognise exceptional films and the talented people who make them. More than 7500 of our BAFTA members – creatives from all corners of the British and global film industry – have been voting over the holidays and we will be publishing their chosen longlists later today.

"We hope it will inspire people to watch more films and encourage everyone to join in the conversation on who should win a BAFTA next month.”...

The big event itself, which Tennant will be at the helm of, will be held at the Southbank Centre’s Royal Festival Hall in London on Sunday 18th February, being broadcast on BBC One and iPlayer in the UK.'