When Elvis star Austin Butler arrived at this year’s BAFTA Awards, it wasn’t his model girlfriend Kaia Gerber who accompanied the actor as his plus-one.
Instead, Butler attended the ceremony with Polly Bennett, the movement coach who spent months working with the star to help him transform into The King.
When the camera panned to his seat after his name was called out as the winner of this year’s best actor award, it was Bennett he was hugging; on stage, she was his first thank you very much: “I could not have done this without you and I love you so much.”
Image: Pic: Warner Bros
Bennett, a British movement director and choreographer who is based in London, is the go-to woman for transformations when actors need to portray very famous real-life people.
After working on the London 2012 Olympics and later as an assistant choreographer for Steve Coogan and John C Reilly for 2018’s Stan & Ollie, she landed the job as the chief movement coach behind Rami Malek‘s Oscar-winning portrayal of Queen frontman Freddie Mercury. Taking on the royals for The Crown soon followed, and this year she completed her “musical icon trilogy” with British actress Naomi Ackie’s metamorphosis into Whitney Houston in I Wanna Dance With Somebody.
With millions watching their every move, actors are used to being scrutinised, critiqued and criticised. But playing an icon, knowing your performance is going to be compared with the much-worshipped real thing, is perhaps one of the hardest jobs in the business.
“I think it’s a massive task because people have such an affiliation for Elvis,” Bennett tells Sky News. “People know him, people know the performances, so it didn’t slide past either of us that it was quite a big deal.”
‘Imagine you’ve got a mosquito on the back of your knee…’
Image: Pic: Ruby Bell
Bennett’s planned six months working with Butler for the Baz Luhrmann production, which was filmed in Australia, ended up turning into a year-and-a-half, on and off, in part due to breaks during the pandemic. They worked together for several hours every day.
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The Butler she met before their rehearsals started was “a really musical guy” already; he played the piano, had played guitar to a certain level, “and was a sort of closet singer”. The groundwork was there. They practised swing and tap dancing to get the feel of Presley, and recited his lyrics as poetry.
We have met at a dance studio in central London, and Bennett demonstrates her methods for conveying movements to make them real. It’s not simply “shake your hand”, but “reach out to show off your wedding ring” and shake “as if you’re taking off a glove”. For the Elvis leg shake: “I’d like you to imagine you’ve got a little mosquito on the back of your kneecap. So it’s not coming from your hip, it’s coming from your knee.”
This is where it all comes from, she says. “There’s so many ‘isms’ that people think [Elvis] does, and it’s all based in a truth, it’s all based in an understanding of something. But actually, the more footage I watched, the more research I did, the more books I read, the more interviews I saw… actually, it’s not really his hips that are the first thing that move, it’s his feet, it’s his knees.”
No copying allowed
Image: (L-R) Rami Malek, Bennett and Butler at the BAFTAs. Pic: Greg Williams
Luhrmann’s Elvis charts the singer from his teenage years until his death at the age of 42, so Butler, now 31, had to learn different Presleys as he aged. “We had to keep him flexible in that sense because the filming schedule was out of sequence. He’d be in the ’50s one day and then the next day he would be in a jumpsuit [in the early ’70s] on stage.”
Bennett also used Presley’s heritage to teach Butler. “His mum used to tap dance and do the shuffles and the bops in their house. That’s what Elvis grew up around – a mum who was quite effervescent, and moved. So rather than just looking at one piece of footage and going, that’s how he moves now, it’s trying to rewind and go, where did he get this from? That’s so much more helpful for an actor than just copying.
“We’re trying to understand the difference between imitation and embodying. And obviously Austin, as much as he tried, isn’t an exact replica of Elvis; his arms are different lengths, his body is a different shape. So you have to try and find the essence of a person rather than try and do everything exact, because everything exact actually doesn’t sit right in Austin’s body.”
‘I made Rami walk up and down Oxford Street with his mic’
Image: Malek as Freddie Mercury in Bohemian Rhapsody, and Naomi Ackie (below) as Whitney Houston in I Wanna Dance With Somebody. Pics: 20th Century Fox/Sony Pictures
Working with Butler was different to Malek, who was not such a natural mover. “We had to do a lot of work of just understanding music, hearing beats in music, hearing accents, being able to hear the half counts… at that point he wasn’t a performer that had ever been on stage himself. So I made Rami walk up and down Oxford Street with his microphone above his head, while he was training, to get him used to the idea of people looking at him, and wanting people to look at him.”
Mercury boxed as a child, she says, which is reflected in the way he performed. “[I said to Rami], what do you see in his stage performances that feels similar to that? And Rami was like, ‘he does the fist raises’. He’s not just doing it because it feels good, he’s doing it because it’s something that he’s worked on his whole life.”
Ackie’s transformation into Houston was just as impressive, says Bennett, despite the film falling a little under the radar in comparison with the other two. They worked on her background as a gospel singer and also the fact she was a tomboy growing up, very different to the glamorous superstar people came to know.
“When she was a kid, she didn’t wear dresses, she was wearing dungarees and hanging out with her brothers, and she was exposed to drugs very early. We spoke a lot about a boy in a dress, as Whitney. So the idea that she was a little boy, and she’d put a dress on, so she’s sort of acting feminine, rather than inherently being what we understand as feminine.”
Will Butler win the Oscar?
Image: Pic: Warner Bros
With a BAFTA and a Golden Globe already under his rhinestone belt, Butler could well find himself following in Malek’s footsteps and making a winner’s speech on Oscars night, too (it appears to be a two-horse race between him and The Whale actor Brendan Fraser).
Win or lose, Bennett says she is proud of what they have achieved. “I mean, the fact that there’s nobody going, ‘he doesn’t look like Elvis’ or ‘he doesn’t sound like Elvis,” she laughs. “It’s quite nice that we’ve achieved that for the fans, for the family, and for the people involved in telling the story.”
For an actor playing a real person, those behind-the-scenes roles – the hair and make-up artists and vocal trainers, as well as movement coaches – play a huge part in winning those awards.
Bennett agrees and laughs. “I’m not trying to go, look at me, look at all the amazing things I’ve done. But I do love the idea of people being recognised for the work they do, because it’s not just people out there on their own, watching YouTube late at night, thinking about how to play Elvis Presley.
“It was amazing to go with [Butler] as his guest to the BAFTAs because that’s also him acknowledging that people in my position – choreographers, movement directors – we don’t have awards, we’re not part of that circuit.” She pauses and gives a wry smile. “Which is a shame.”
You can watch the Academy Awards on Sunday 12 March from 11pm exclusively on Sky News and Sky Showcase. Plus, get all the intel from our Oscars special Backstage podcast, available wherever you get your podcasts, from Monday morning
The government has taken the first step in appealing a court’s decision that asylum seekers cannot be housed in an Essex hotel.
The Home Office is seeking permission to intervene in the case, which, if granted, will allow it to appeal the interim judgment handed down last week.
Epping Forest District Council sought an interim High Court injunction to stop migrants from being accommodated at The Bell Hotel in Epping, which is owned by Somani Hotels Limited.
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3:38
Councils vs migrant hotels: What next?
The interim injunction demanded the hotel be cleared of its occupants within 14 days.
In a ruling on Tuesday, Mr Justice Eyre granted the temporary block, but extended the time limit by which it must stop housing asylum seekers to 12 September.
Somani Hotels will now appeal against the court order blocking the use of the hotel as accommodation for asylum seekers, the company’s solicitors have said.
Meanwhile, security minister Dan Jarvis said on Friday that closing hotels housing asylum seekers must be done “in a managed and ordered way” as he unveiled government plans to challenge the High Court’s decision.
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He told broadcasters: “This government will close all asylum hotels and we will clear up the mess that we inherited from the previous government.
“We’ve made a commitment that we will close all of the asylum hotels by the end of this parliament, but we need to do that in a managed and ordered way.
“And that’s why we’ll appeal this decision.”
An analysis by Sky News has found 18 other councils are also actively pursuing or considering similar legal challenges to block asylum hotels – including Labour-run Tamworth and Wirral.
Disquiet with the use of asylum hotels is at a high after the latest statistics showed there were more than 32,000 asylum seekers currently staying in hotels, marking a rise of 8% during Labour’s first year in office.
The number of small boat crossings in the Channel is also up 38% on the previous 12 months.
Following the Epping case, a wave of protests is expected outside of asylum hotels across the country in the coming days.
Stand Up To Racism is preparing to hold counter-protests outside the asylum hotels on Friday, including in Bournemouth, Cardiff and Leeds, with further demonstrations expected on Saturday.
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‘We can’t take them’: Wirral residents on migration
In its case, Epping Forest District Council argued that the owners of the Bell Hotel did not have planning permission to use the premises to accommodate asylum seekers.
It argued that the injunction was needed amid “unprecedented levels of protest and disruption” in connection with the accommodation.
Shadow justice secretary Robert Jenrick said the people of Epping who protested and its council have “led the way”, writing in The Telegraph that “our country’s patience has snapped”.
His Conservative colleague Chris Philp, the shadow home secretary, said on Thursday that people have “every right” to protest over asylum hotels in their areas.
Kemi Badenoch, the Tory leader, has urged councils to explore legal challenges – with Conservative-run Broxbourne Council announcing that it would do so.
Paula Basnett, the Labour leader of Wirral council, said: “We are actively considering all options available to us to ensure that any use of hotels or other premises in Wirral is lawful and does not ride roughshod over planning regulations or the wishes of our communities.”
Carol Dean, the Labour leader of Tamworth Borough Council, said she understood the “strong feelings” of residents about the use of a local hotel to house asylum seekers, and added: “We are closely monitoring developments and reviewing our legal position”.
Labour-controlled Stevenage council added: “The council takes breaches of planning control seriously and we’re actively investigating alleged breaches relating to the operation of hotels in Stevenage.”
Actor Noel Clarke has lost his High Court libel case against the publisher of The Guardian, over a series of news articles which featured claims from a number of women.
The first article, published in April 2021, said some 20 women who knew Clarkein a professional capacity had come forward with allegations of sexual misconduct.
The 49-year-old actor, writer and director, best known for his 2006 film Kidulthood and starring in Doctor Who, sued the publisher and vehemently denied “any sexual misconduct or wrongdoing” – but the court has found Guardian News and Media (GNM) successfully defended the legal action on the grounds of truth and public interest.
Image: Noel Clarke outside court during the trial in April. Pic: PA
The meanings of all eight of the newspaper’s publications were found to be “substantially true”, the judge, Mrs Justice Steyn, said in a summary of the findings.
“I have accepted some of Mr Clarke’s evidence… but overall I find that he was not a credible or reliable witness,” she said.
In her ruling, the judge also said suggestions that more than 20 witnesses, “none of whom are parties or have a stake in this case, as [Clarke] does” had come to court to lie was “inherently implausible”.
From the evidence heard, it was “clear that women have been speaking about their experiences of working with Mr Clarke for many years”, she said.
‘A deserved victory for women who suffered’
Lucy Osborne and Sirin Kale, the journalists who carried out the investigation, told Sky News they had always been confident in everything published.
“I think that this is not a problem that’s going to go away,” said Osborne. “This kind of behaviour very much still happens in the TV and film industry and other industries. So I do hope this judgment gives other women the confidence to speak out about what they’ve experienced.”
Image: Clarke rose to fame with his 2006 film Kidulthood. Pic: PA
Guardian editor-in-chief Katharine Viner described the ruling as “a deserved victory for those women who suffered because of the behaviour of Noel Clarke”.
She continued: “Going to court is difficult and stressful, yet more than 20 women agreed to testify in the High Court, refusing to be bullied or intimidated.
“This is also a landmark judgment for Guardian journalism, and for investigative journalism in Britain… The judgment is clear that our investigation was thorough and fair, a template for public interest journalism.”
Clarke’s response
Clarke described the result as disappointing and maintained he believes the newspaper’s reporting was “inaccurate and damaging”.
“I have never claimed to be perfect,” he said. “But I am not the person described in these articles. Overnight I lost everything.”
He said he wanted to thank witnesses who supported his case, as well as his family, “who never stopped believing there was something worth fighting for”.
What happened during the trial?
The trial took place from early March to early April 2025, hearing evidence from multiple witnesses who made accusations against Clarke, including that he had allegedly shared nude photographs of them without their consent, groped them, and asked them to look at him when he was exposed.
Clarke also gave evidence over several days. At one stage, the actor appeared visibly emotional as he claimed the publisher had “smashed my life” with its investigation.
His lawyer told the court he had been made a “scapegoat” and was an “easy target”, as a star at the height of his success when the media industry “zealously sought to correct itself” following the #MeToo movement.
The actor had been handed the outstanding British contribution to cinema award at the BAFTAs just a few weeks before the report was published. Following the article, BAFTA announced it had suspended his membership.
But lawyers for The Guardian told how newspaper’s investigation was “careful and thorough”, saying it had been carried out “conscientiously” by the journalists involved.
In March 2022, police said the actor would not face a criminal investigation over the allegations.
On the 10th anniversary of the Shoreham air disaster, the families of some of those killed have criticised the regulator for what they describe as a “shocking” ongoing attitude towards safety.
Most of them weren’t even watching the aerobatic display overhead when they were engulfed in a fireball that swept down the dual carriageway.
Image: A crane removes the remains of the fighter jet that crashed on the A27. File pic: Reuters
Jacob Schilt, 23, and his friend Matthew Grimstone, also 23, were driving to play in a match for their football team, Worthing United FC.
Both sets of parents are deeply angry that their beloved sons lost their lives in this way.
“It obviously changed our lives forever, and it’s a huge reminder every 22nd of August, because it’s such a public anniversary. It’s destroyed our lives really,” his mum, Caroline Shilt, said.
“It was catastrophic for all of us,” Jacob’s father, Bob, added.
Image: Jacob Schilt died in the Shoreham disaster
Image: Matthew Grimstone on his 23rd birthday, the last before he died in the Shoreham disaster
‘They had no protection’
Sue and Phil Grimstone argue that the regulator, the Civil Aviation Authority (CAA), has not been held accountable for allowing the airshow to take place where it did.
“At Shoreham, the permission given by the CAA did not allow displaying aircraft to perform over paying spectators or their parked cars,” they said.
“But aircraft were permitted to fly aerobatics directly over the A27, which was in the display area, a known busy road.
“This was about ignoring the safety of people travelling on a major road in favour of having an air show. They had no protection.”
Caroline Schilt said the continuing lack of accountability, a decade after the disaster, “makes us very angry.”
Image: Caroline and Bob Schilt
Image: A programme for a memorial for Jacob Schilt and Matthew Grimstone
Image: Sue and Phil Grimstone say the CAA has not been held accountable
A series of catastrophic errors
The crash happened while the experienced pilot, Andy Hill, a former RAF instructor, was attempting to fly a loop in a 1950s Hawker Hunter jet.
But he made a series of catastrophic errors. His speed as the plane pitched up into the manoeuvre was far too slow, and therefore, he failed to get enough height to be able to pull out of the dive safely. The jet needed to be at least 1,500ft higher.
Mr Hill survived the crash but says he does not remember what happened, and a jury at the Old Bailey found him not guilty of gross negligence manslaughter in 2019.
Image: Andrew Hill arrives at the Old Bailey in London in 2019.
Pic: PA
When the inquest finally concluded in 2022, the coroner ruled the men had been unlawfully killed because of a series of “gross errors” committed by the pilot.
The rules around air shows have been tightened up since the crash, with stricter risk assessments, minimum height requirements, crowd protection distances, and checks on pilots.
But Jacob and Matt’s families believe the CAA still isn’t doing enough to protect people using roads near airshows, or other bystanders not attending the events themselves.
“They’re really not thinking about third parties and other road users,” said Caroline. “It’s quite shocking” added Bob.
Image: Emergency services attend the scene on the A27.
Pic: PA
The families recently raised concerns about the Duxford airshow in a meeting with the CAA.
While aircraft are no longer allowed to fly aerobatics over the M11, they do so nearby – and can fly over the road at 200ft to reconfigure and return. If the M11 has queuing traffic in the area, the display must be stopped or curtailed.
The Grimstones believe this demonstrates accepting “an element of risk” and are frustrated that the CAA only commissioned an independent review looking at congested roads and third-party protection earlier this year.
“We feel the CAA are still dragging their feet when it comes to the safety of third parties on major roads directly near an air show,” they said.
The family have complained about the CAA to the parliamentary ombudsman.
Image: A memorial for the Shoreham Airshow victims on the banks of the Adur in Shoreham
‘There are still question marks’
Some experts also believe the CAA has questions to answer about a previous incident involving Mr Hill, after organisers of the 2014 Southport Airshow brought his display to an emergency stop because he had flown too close to the crowd, and beneath the minimum height for his display.
In its investigation into the Shoreham disaster, the Air Accident Investigation Branch (AAIB) later found that while the CAA inspector present had an informal discussion with the pilot, no further action was taken, and the incident was not reported to the AAIB.
Retired pilot Steve Colman has spent many years looking into what happened at Shoreham, and he believes the CAA failed to fulfil their statutory obligation to fully investigate and report the incident at Southport.
“If it had been properly investigated,” he said, “it’s likely the minimum height on the pilot’s display authorisation would have been increased – from 500ft on the Hawker Hunter, it would probably have been increased to 800-1000ft. Or it could have been cancelled. But we will never know.
“You have to ask the question – if the Southport incident had been investigated, then was Shoreham more likely or less likely to have occurred?” he said. “I think there can only be one answer – it’s less likely to have occurred.”
Tim Loughton, who was the MP for Shoreham at the time, believes a balance must be struck.
“We don’t want to regulate these events out of existence completely. A lot of the smaller air shows no longer happen because they couldn’t comply with the new regulations … but certainly there are still question marks over the way the CAA conducted and continues to conduct itself. I would welcome more parliamentary scrutiny.”
Image: Shoreham air crash victims (from clockwise top left) Matthew Grimstone, Graham Mallinson, Tony Brightwell, Mark Reeves, Matt Jones, Maurice Abrahams, Richard Smith, Jacob Schilt, Daniele Polito, Mark Trussler, Dylan Archer
Rob Bishton, chief executive at the CAA, said: “Our thoughts remain with the families and friends of those affected by the Shoreham Airshow crash.
“Following the crash, several investigations and safety reviews were carried out to help prevent similar incidents in the future. This included an immediate review of airshow safety and a full investigation by the Air Accidents Investigation Branch. All recommendations and safety improvements from these reviews were fully implemented.
“Airshows continue to be subject to rigorous oversight to ensure the highest possible safety standards are maintained.
“At a previous airshow in 2014 the pilot involved in the Shoreham accident was instructed to abort a display by the show’s flying director. This incident was investigated by the UK Civil Aviation Authority and regulatory action was taken.”
Mr Bishton added: “As part of the work to review the safety oversight of airshows following the tragic Shoreham crash, the actions taken by the regulator following such a stop call were enhanced.”
But the families of those killed still believe much more could be done.