by becoming the first native american to be nominated for a best actress academy award. born in montana and raised on the blackfeet indian reservation, lily gladstone first really made an impact in 2016 with a critically acclaimed performance opposite kristen stewart... you want the other half? ..in film—maker kelly reichardt�*s independent picture certain women. i don't mean to keep you from getting work or anything. ijust knew if i didn't start driving, i wasn't going to see you again. the past 12 months have seen her career move to much greater heights — cast by martin scorsese in killers of the flower moon. you've got nice colour skin. what colour would you say that is? my colour. acting opposite legends leonardo dicaprio and robert de niro, gladstone gives an outstanding performance as mollie burkhart, a real life native american woman who sees greedy white men trying to get their hands on oil rich osage nation land. why did you come here? she is seen as the heart and soul of the film with a screen presence that really lingers in the mind. i ought to kill these men who killed my family. i love everyone in this room right now. portraying mollie burkhart saw lily gladstone win a golden globe as well as earn an historic oscar nomination that has set her on the path to movie stardom. hello. hello, lily. tom. very good to meet you. welcome to london. thank you so much. shomikasi. that's how you are. i don't know what you said, but it must have been indian for " handsome devil. " they laugh i really love watching you acting. there's something quite magical about what happens between you and the camera. and it's interesting. i mean, you're not a wildly kinetic actor. you really convey a lot by stillness. is that kind of conscious on your part? a lot of it depends on the character, but i'm a lot... it's funny — in my life i'm more so. it was actually, i think, kelly reichardt who helped break me of some of my kineticism. if you were to ask her, she would say, i had one speed, which was fast. none of that is what ended up in takes. that character i had originally constructed to be very hyperactive and it didn't start working in the lens until there was a still that came. and then kelly was just so pleased with the still, so i wouldn't like attribute it all to her, but she definitely reminded me that that's where a lot of my strength on film lies. that role that you're referring to, the film directed by kelly reichardt, certain women, certainly, in a way, put you on the map as an actor. and martin scorsese told me that he cast you in killers of the flower moon after watching you in that film. he thought there was a lot going on in your eyes. how do you understand his comment? yeah. when i was working with kelly, she labelled it the "monta na still. " she figured that must be it, since michelle williams and i were both born in the same hospital. she's a montana girl, too, and she says michelle can do that. and she assured me that a lot of actors have a hard time being still in frame so it was nice to hear that that was a unique thing. when i first read grann�*s book, killers of the flower moon, and was reading mollie, i understood immediately that for her to work on film, i would have to have that same level of stillness. it was nice to know that certain women had introduced me to marty in that way, so i had the freedom to fight against the urge that you have oftentimes as an actor, to do more, to move more, to fill the space or to show your work, i guess. because of what kelly helped bring out of me in certain women and gave me the chance to do, just absolutely gave marty the tools that he needed to tell the story the way he wanted. scorsese: two of one and then two of the other, all... - and that character, mollie burkhart, that you do play in killers of the flower moon, it is actually based on a real person, a woman who suffered torment and anguish because of what happened in oklahoma in the 1920s when awful things were done by greedy white men to the osage nation. did you feel, in a way, a responsibility to really get this right, your role, because you were playing a real person in a way? yeah, absolutely. it was, you know, ithink, a lot of actors really chomp at the bit to do biopics. this one, while, you know, it was based on a real person, there's no recordings of her voice. there's no videos of her movement. there's really no—one alive who remembers her or who knew her. she passed away in 1936. and outside of the photographs that i would sit and just absorb, there was a lot of building to do. and i wanted to approach her with the same kind of care that i would have expected another actress to carry — my grandmother, lily, my great—grandmother, lily, who i'm named after. they would have been contemporaries. mollie would have been ten years older than my great—grandma, lived through similar things, similar transitions in the world. came from a similar background in that they grew up speaking their own language, raised in their very specific cultural paradigms, but also grew up very devoutly catholic and kind of the interesting cocktail that that makes. i just let the people that i was meeting, particularly in meeting margie burkhart, the granddaughter of ernest and mollie. in margie, i saw so much of mollie's face, just the photos i'd been looking at, but really the pacing that she had, the way that she sits and really listens and digests things. you can see almost these thoughts turning over in her head in kind of a specific way. the humour, the kind of dry humour that she embraces things with. it was very much how i ended up being able to embody the specific beats and movements of mollie was through her granddaughter. mollie comes over as a woman who has quite a kind of commanding presence. she seems very self—assured. so do you, if i may say so, in real life. what was it like, though, when you went on the set for the first time with people like leonardo dicaprio or robert de niro? were you intimidated or starstruck at all? graciously, leo had invited me over for dinner beforehand to get through the "star—struckedness" of it all. he unstruck me! but, yeah, doing the work, it happens a lot of times when, you know, say, like, when a character's landing, when they're settling into my skin, sometimes there's a shake in that transition. it definitely was a more intense shake working with leo and then again with bob later down the road. shakes came back when i was in front of him. the first few takes... she laughs then you just kind of embrace really quickly why these film—makers, these actors, these men, are just such shapers of the entire film world that i grew up watching. you understand why they have such longevity in their work. it's cos it's about the work. scorsese: well, look, | i'm going to lay this out, kind of, and then we're going to move it according to the drums. really quickly, you just find yourself embraced and invited in and just part of the collaborative process to get to the truth of what these scenes are about. i owed it to all of them to not stay in that "star—strucked" state, to just do the work. thank you. thank you, guys. applause i was at the cannes film festival last year, and that's when killers of the flower moon was launched. when did you get the impression that people were viewing the film as being quite special, both the film and your performance? i mean, it seemed to do well at cannes, didn't it? it did. i had seen the film once before that, in a smaller screening with my parents, but to see it in that theatre with the ocean of people behind you. in my instance with cate blanchett sitting square in front of me, i think a lot of people experience that when they're watching theatre. the audience absolutely changes the way that the production goes, and it definitely changed my watch of it. but what was so affirming to me and what i felt immediately when the lights came up and the cameras were pointing at everybody and highlighting their performance, and then it just got incredibly loud.. cheering and applause ..when it settled on me. i felt like i still feel — i happen to be the actress carrying this, but that response was because the audience had felt the level of compassion and connection to mollie. the same protectiveness that i felt watching it the first time. and that moment went viral, didn't it? it did. the standing ovation at cannes. yeah. it's a lovely one to go back and watch. when the camera's moving around and you're seeing the actresses playing the sisters, when it goes to william belleau, and it's all of the indigenous actors in that space and what they brought to the screen, it felt like there were a million people in there and it felt more people watching it from all different places. i think there probably were. let me ask you, if i may, a little bit about your background. growing up as a native american, how much did you feel separate and apart from mainstream us culture? and if you did, did that in a way help you, or has it helped you be a better actress in a way? i didn't realise how unique it was, where i grew up, until i left. we moved to the city, the seattle area, when i was going into middle school, and it was definitely a culture shock. but growing up, my love for acting came from watching movies on the rez. the reservation i grew up on is very close to glacier national park and when i was a child it was buried under snow nine months out of the year. so, what you do is, you watch movies. i think popular media is one of the accessible points for a lot of rural folks. so it definitely felt like we weren't enclosed away from the rest of the world. but you, like we all do, when you don't see yourself directly represented in film, you project yourself into these scenarios and these characters. i really resonated and wanted to be an ewok when i was a little girl by watching return of the jedi. i realised how few people really had an understanding of who we were, how people's ideas of who we were were so shaped by what you do see of our representation in the media, what you do see, or what you did see at the time, with a lot of mascots in the united states. that famous indian head coin profile, or, you know, the westerns. battle cry the john ford westerns of buck skins and beads and feathers. i remember having to answer some very stupid questions... ..and it did give me a grounding in how to navigate an industry that built that image, later, and not navigate it on their terms, but navigate my way through it where i was able to kind of avoid some of that. i mean, it's interesting, because if you look at the representation of native americans in hollywood films, there was a study which i think you're familiar with, conducted by the annenberg inclusion initiative. they looked at a bunch of hollywood films looking for native american speaking roles, and they found it was less than i%. i mean, were you surprised how low it was? no, because you seek out native performers and performances when that's who your role models are. but when you're watching these narratives where you're not directly represented and just projecting yourself into it and feeling like there's a level of representation there, you're also acutely aware of there not being those native actors that you want to see in these incredible roles. i always hope to see actors like, you know, my brother tatanka means playing roles like han solo. you know, he deserves to fill spaces like that. i think less than 0.25%, so one quarter of i% is the representation represented in that study. but what about the impact that you can have in this area? i mean, your nomination alone has been historic. what do you hope your legacy is from this award season hoopla, for want of a better term, in terms of changing the representation of native americans? i keep thinking about this conversation i just had just a week and a half ago with my friend sterlin harjo, who's muskogee creek and seminole. he's the creator of the tv show reservation dogs on fx. open your eyes. he said that we're kicking a door down and the impulse is to just run through it, like, "oh, i'm here, i made it, i got through the door "and i'm in the room now." but because there's so many shoulders we're standing on and so many people that we want to be in that room, sometimes what we need to do is just stand there and hold it open. so, i hope that's the legacy. i keep repeating it. these wins that i happen to be carrying don't belong tojust me. i want that to be a lasting legacy for native performers. the ideas of stories being shared, being things that shape a general cultural understanding, which, you know, we're at a point in history, and you hear it from climate activists constantly, leo definitely being one. that our way out of these crises are to look to people who have survived the end of the world time and time again. you know, indigenous communities being, you know, really, the stewards to the natural world. 95% of our population in the united states, in some places, in most places, was wiped out. yet we're still here. so by bringing indigenous performers into a place where we're leading ladies, we're leading films, that people are feeling, they're resonating with from all walks of life, is proving that we belong in these places and we have a lot to offer. like, the stories that we have to tell are ones that everybody can benefit from, not just us. it's interesting you say that, the importance of telling your own stories, cos i wanted to ask you, you know, martin scorsese, leonardo dicaprio, robert de niro, fine, upstanding men, but they're all white men. did you have any apprehension about collaborating with white men on telling a story about a terrible wrong done to indigenous people in the united states? absolutely. there was apprehension about all of it, in all aspects of it. where a lot of comfort came before walking in and seeing what it actually was to work with these incredible, incredible humans was the legacy of work that they all had. i have faith that we can alter the course of our planet's history before it is too late. but it is up to all of us. applause leo with his climate activism and the way that i know his organisation centres grassroots indigenous people. i had a feeling that that's what he would be like to work with on this project and certainly was. you know, with friends that i had in the osage community before i ever set foot there and was talking to, once i was allowed to, i understood that there was great apprehension amongst osage about how this was going to be handled. i kept hearing, rightfully so, the concerns about the violence either being overly gratuitous or being too passive and dismissed, where people don't even feel it, don't feel the reality of it. so, there was this kind of dual scepticism and fear. the gratuity coming from marty's films like casino. it was a glorious time. put him in the alley and tellj the cops he got hit by a car. gunshots goodfellas. but my introduction to martin scorsese as a film—maker was with his film kundun. all beings desire happiness. all wish to find their purer selves. i saw that there was great potential to be brought inside of a world we can't access any more. the 1920s osage oil boom, showing osage people like i'd seen in photographs when i was younger, cos my dad made a point of talking about this period. not necessarily the reign of terror because we didn't have that language, but of osage oil wealth. ijust remember the first time i saw the film, seeing the slide show of all of these images come to life, just how incredible it was to see that world that was stripped so quickly. i felt the same way watching kundun. i was young enough to start grasping the free tibet movement and just so grateful to get to have that feeling of experiencing a place that is so sacred and is no longer accessible by the people who belong there. tibet will call on the west for help and hope that these countries will recognise our independence. it was done in a way that i think only a film—maker as dedicated, as tenacious, as humanist as scorsese. there was absolutely concern, but once i got there and felt, you know, the collaboration that i was invited into, but also the collaboration that i was witnessing with the osage community. a lot of times native actors, when we step into these roles, it's assumed that we just have all the answers inherently in ourselves. i did have to be in that position to advocate and answer a lot of questions on set when we're in the improv of it or the really nitty gritty collaboration of it. but that all came because the film had built such a strong safety net of osage voices in every department around the whole production. so i neverfelt like i had to be alone or speak out of turn or speak for osage people as a blackfeet woman. so, yeah, just all got laid to rest once we were there and into the meat of it. does it ever cross your mind what motivates people to have voted for you during awards season? because a lot of hollywood types want to be politically correct and do the right thing. so they might say, "oh, native american actress, "we should vote for her," as opposed to voting for your performance. i know that a lot of people want to say that and i think a lot of people who are very offended by the "wokeness" in the world or who are terrified of critical race theory shaping curriculum too much or what have you. all of these talking points, you know, they come from, they come from a very close minded perspective. you know, it's kind of... i don't know. i feel like... ..if that were the case, then why would i be the first nominee? times absolutely are changing. people's perspectives are broadening. the academy has gotten much more diverse in the last 10—20 years. native and indigenous film—makers have been continually blowing audiences away with what we've been making. people are just ready. and, you know, like i said, a lot of our stories, they have a wider impact. we're at a time in history where people are really hungry for that. so, i feel like the culture is ready for it. i don't necessarily feel like the culture is trying to contrive it. well, lily gladstone, thank you so much for talking to talking movies and good luck with everything that happens in your life. absolutely. thank you so much for having me. it was a real pleasure. at the oscars, lily gladstone didn't win the best actress trophy. instead, that prize went to emma stone. but the 2024 awards season most definitely put her on the map. she has earned recognition from movie fans, peers and industry executives, and she appears to have a very promising future ahead of her as a thoughtful, talented, leading lady, and as a very effective trailblazer for greater on—screen native american representation. she appears to represent the changing face of hollywood, and i, for one, will be closely watching her career. i can't wait to see what she does next. heavy rain falls the storm, it's. .. well, its powerful. hm. so we need to be quiet for a while. it's good for the crops, that's for sure. just be still. hello there. for the start of this weekend, it's going to feel that we've stepped back into winter, and that's due to the strength and direction of the wind, a cold north—westerly which will feed in a rash of frequent, heavy showers. we've got low pressure that is pushing this way in the north and east and spiralling around that low in an anti clockwise direction. tightly packed isobars with the further winds in the north. the temperatures will fall away and a chilly start saturday morning. as we start saturday, a frequent rash of showers in the north but we will see them pushing across wales and central and southern england as we go through the morning. some of the showers are heavy with rumbles of thunder. through the middle part of the afternoon, some showers across england and wales, frequent further north and west and northern ireland up into scotland. elevation of 500 metres means we could see some snow as well. the wind will play its part. it will be a strong north — north—westerly, 40-55 mph and in further south, 30—a0 mph. your thermometers may suggest 9—10 c but unusual to be talking about what it feels like this time of year but the wind — chill will mean it feels colder, really cold considering we saw temperatures peaking at 19 celsius a week ago. the showers will continue to fade as that low pulls away and we can see the ridge of high pressure. i have good news, sunday should be a quieter day before the next batch of rain waits in the wings. here, on the north sea coast, a little bit more of a breeze and more sunshine coming through and it will be a drier day, 9—12 c the highs, feeling a little warmer. rain will gather out to the west and look what's in store for the week ahead. unsettled, with a glimpse of something more promising as we head towards easter. live on bbc news: gunfire. gunmen open fire and trigger explosives at a concert hall near moscow. at least 60 people are believed dead and more than 100 injured. ukraine has denied any involvement in the attack. the us says it believes islamic state is responsible. plus, a very personal message from catherine, princess of wales, who's revealed she's receiving chemotherapy for cancer. this, of course, came as a huge shock and will and i have been doing everything we can to process and manage this privately for the sake of our young family. hello, i'm carl nasman. we want to bring you the latest on two major stories developing at this hour. in a moment, we'll discuss the revelation that britain's princess of wales says she is in the early stages of cancer treatment. but first, the islamic state militant group has claimed responsibility for an attack on civilians in russia on friday night — it's a claim that us officials say they have intelligence to corroborate. russia says at least 60 people — including children — were killed and almost 100 were left injured. thousands came out to see the russian rock band picnic, which was due to perform in krasnogorsk, a suburb to the north—west of moscow. the music group said on instagram earlier that they sold out the crocus city hall. videos from those inside were posted on social media, you can see some here. they show panicked concertgoers taking cover as shots ring out inside the venue.