Terry left Screen to write My Indecision Is Final: The Rise And Fall Of Goldcrest Films. He returned to journalism, as editor of Screen Finance and managing editor of Variety Europe, before setting up a consultancy business, Bridge Media, in 1993. In 2000, he was part of an investment group that bought Hammer Films, where he served as CEO until 2006 when the group sold the company. Since 2010, Terry has been teaching, writing novels and undertaking occasional consultancy projects.

Terry Ilott

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Biggest Cannes drama?

Too numerous to mention. Many of the best and worst involved the Go-Go Boys, Menahem Golan and Yoram Globus of the Cannon Group. They enlivened my entire tenure at Screen, often in ways that were very funny.

On one occasion, we’d published a story to which they took great exception and they decided to pay a personal visit to the editorial office. Moments before they arrived, I took a phone call and, the noise in the office being so great, I found the only way to concentrate was to duck under the desk, which was covered in green baize all the way down to the floor.

I was thus out of sight when Menahem and Yoram stormed in, demanding my head. Disappointed by my absence, they withdrew, but not before they had terrorised the entire office. I emerged from my hiding place unaware of my good fortune. I am pleased to say that relations were quickly restored.

Favourite Cannes moment?

Again, too numerous to mention. High on the list would have been the occasion I was invited out to a villa on the Cap d’Antibes and found myself in very select company – the beautiful people, no less. It was a dreamy afternoon spent swimming, eating and lying around in the sun.

Proudest editorial achievement during your time at Screen International?

Undoubtedly my proudest achievement was putting real news first. I was lucky that my tenure coincided with an incredibly news-rich period in the life of the British film industry, with first EMI being bought and sold and then Rank, and in the midst of this new companies like Virgin, Palace, Hemdale, J&M and Goldcrest emerging to compete with the world’s best. It was a busy time.

Biggest change in the international film industry that occurred while you were Editor?

I took over the editorship in 1983. This was at the beginning of the huge growth of the independent sector, financed by the boom in home video. The independents took the lead in everything: innovative financing, Oscar and BAFTA successes, creativity. The majors were left to play catch-up. It was boom time.

Biggest challenge facing the industry today?

This is a big question. Clearly, the old business model doesn’t work any more, but there is no sign of a new model that makes any sense. The result is a virtual creative paralysis in Hollywood, where everyone is terrified of risk. But film is a risky business. It has to be.

Someone has to find a way to bring back risk within a business model that works. Otherwise, film as we have known it – an art form that is both creative and popular – is doomed. We will be left with something that is either creative or popular, but not both. Sadly, I don’t have the answer.

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