Latest – Page 109
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FeaturesIn the loop
At a time when the BBC’s prosperous film arm is one of the UK’s only stable ports of call for independent producers, its new creative director talks to Geoffrey Macnab about her editorial and commissioning strategy and her debut slate.
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FeaturesThe Station agents
Berlin-based producer Egoli Tossell Film has comfortably ramped up its activities to focus on $10m-$22m international films, scoring initial success this autumn with Michael Hoffman’s The Last Station. Martin Blaney reports
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FeaturesHollywood Middle East
Imagenation Abu Dhabi has laid the groundwork to become a major backer of international features, striking partnerships with three well-capitalised US independents to co-finance slates of films. Chief executive Edward Borgerding and COO Stefan Brunner talk strategy with Mike Goodridge
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FeaturesChile heat
Oscar-winning Spanish director Fernando Trueba unveiled his first new dramatic feature in seven years, the Chile-set The Dancer And The Thief, at San Sebastian last month. Chris Evans reports
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FeaturesImax Transformed
As exhibitors and studios alike strive to make the theatrical experience one worth leaving the house for, the long-struggling Imax Corp is finally finding its groove and is set to go into the black for the first time. Jeremy Kay spoke to CEO
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FeaturesThe Eagle has landed
Duncan Kenworthy is one of the UK’s biggest producers, with three Richard Curtis blockbusters to his name - but he hasn’t produced a film since 2003.Matt Mueller caught up with him on the Hungarian location shoot of his long-cherished film, The Eagle Of The Ninth.
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FeaturesDistribution: A Love Story
Overture Films has emerged as one of the main ports of call for independent films looking for US distribution. Key executives Chris McGurk, Danny Rosett and Peter Adee talk to Mike Goodridge about their coming of age
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FeaturesStudio Braun in independent arena
Studio veteran Wolfgang Braun talks to Martin Blaney about the challenges of his new role as head of recently galvanized German distributor Kinowelt
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FeaturesThe great entertainer
Ivan Reitman has directed some of the biggest comedies of the last 30 years,but he is more focused these days on producing films for the likes of hisson Jason and auteur Atom Egoyan, writes Denis Seguin.
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FeaturesAll things bright and beautiful
As Bright Star prepares to open in cinemas around the world, its veteran Australian producer Jan Chapman tells Sandy George about her immersive and committed approach to film-making.
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FeaturesMeadows takes five
Film-maker Shane Meadows tells Sarah Cooper about his latest feature, Le Donk & Scor-Zay-Zee, shot over five days for a mere $75,000
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FeaturesMaking Neds
Seven years after he won the Golden Lion for his directorial debut, Peter Mullan is back in the director’s chair, filming Neds in Glasgow. He talks to ScreenDaily about the 1973-set story and its influences
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FeaturesThe Swiss connection
The Zurich Film Festival’s MD and artistic director talks to Martin Blaney about his other role, as managing director of production outfit Millbrook Pictures, which made a splashy debut with a $4.3m investment in Oliver Stone’s W.
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FeaturesKeeping the edge
The Fortissimo Films chief — now steering the company alone after his partner Wouter Barendrecht died earlier this year — tells Liz Shackleton how he and his team are adjusting their strategy in a tough international sales market
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FeaturesOptimum prime
Ten years old in 2009, Optimum Releasing is now one of the UK’s leading independent distributors and a key part of StudioCanal’s European network.
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FeaturesThe top drawer
As Ponyo hits US theatres, Japanese animation legend Hayao Miyazaki arrived in Los Angeles for a rare promotional trip. He spoke to Mike Goodridge about the Miyazaki process and his passion for hand-drawn animation
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FeaturesThe ascent of Mount Olympus
Basil Iwanyk tells Matt Mueller how his Warner Bros-based Thunder Road Pictures arrived at its first studio tentpole Clash Of The Titans, which is shooting in the UK.
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FeaturesPerry gears up for fight
As the Irish government considers scrapping the Irish Film Board, Simon Perry tells Geoffrey Macnab why the board is vital to Irish film culture.