Cannes: Screen at 40 - Wendy Mitchell, Editor (2012-14)

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Biggest Cannes drama?

There have been a few office screaming matches, and maybe a few crying spells along the way due to the pressure of putting out a huge daily magazine. In 2012, I had an inexperienced producer calling the office about 15 times, trying to play us off against other trades for a story. That was so annoying I remember it three years later.

And you always remember the mistakes. I still owe Jamie Carmichael at Content a beer for the time I said IFC had closed a US deal for Fish Tank well before it was signed. Oops. And there was the year our production editor Mark Mowbray was working so hard I told one of our corporate bosses I’d give him part of my salary. That might have been the rosé talking. I didn’t seem to follow through with the deal back in London.

Favourite Cannes moment?

My first year attending Cannes as a Screen reporter, I was visualising interviewing Brad Pitt on Paul Allen’s yacht, but the reality was the guy who played Max Rebo in Return Of The Jedi hunting me down to offer himself up for interview. That was a trend throughout all my Cannes experiences: interviewing David Hasselhoff, never George Clooney.

Proudest editorial achievement during your time at Screen International?

I was especially proud in the past few years that Screen has tried to offer more reporting and analysis on the lack of diversity in the film industry, both in the UK and around the globe. I’m also proud to have been Screen’s first female editor.

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

In the 10 years I worked at Screen from reporter to editor, I’d say the biggest change was the growing importance of the international markets. It was great to be working at a publication that has always known the value of the international industry, not just jumping on the bandwagon once the studios started caring more about non-US films. One of the first stories I worked on for Screen in 2005 was the dissolution of UIP, which showed just how much the majors could see the value of ruling their own destinies in key territories. Now just look at the industry frenzy to understand the Chinese market.

Biggest challenge facing the industry today?

I think one huge challenge is the still-thorny issue of theatrical windows. They won’t – and probably don’t – need to change for blockbuster tentpoles but for small independent films, having a 17-week theatrical window isn’t helping anyone, including the exhibitors who are trying to hold onto old models. It’s a digital world now and the industry needs to adapt to audience needs. Especially for independent filmmakers that can mean smarter revenue models in future, and more people legally watching films, which is what everyone should want.