This time on The Establishing Shot in all the the film news worth reading about - Independent Spotlight – Broken, A New Poster From The Look Of Love, Rio 2 Casting, Les Misérables Grosses Close To $75 Million Worldwide In First 3 Days Of Release, First Image From The Two Faces Of January! Holy Motors Comes To Dvd And Blu-ray, Network Acquires Home Entertainment Rights From The Studiocanal, Shooting Wraps On Mark Harris’ The Broken,metrodome Distribution Acquires Summer In February, Entertainment One Acquires Alliance Films, Bafta Nominated Director Tom Harper To Helm Hammer’s The Woman In Black: Angel Of Death, Working Title Films Sign James Corden For "school For Santas", Network Releasing Partner With Amnesty International For The Uk Release Of Oscar-nominated “no”, Award-winning Director Adam Wimpenny Shooting First Feature Film - Blackwood, British Crime Thriller From The Producer Of Kidulthood And Starring Gabriel Byrne And Rufus Sewell Opens February 2013, The Princess Bride 25th Anniversary Edition Blu-ray And Special Screening Programme, First Image From From Writer/director Richard Curtis's About Time, Featurette The Special Effects Of Rust And Bone, An Interview With Director Ron Fricke And Producer Mark Magidson For Their Samsara, Disney Transforms London Street Into 80’s Computer Game To Celebrate The Release Of Wreck-it Ralph, V/h/s Pop Up Video Rental Store Event Captured On Video! Sinister Vision Appears In Pancake! Atticus Ross' "broken City" Soundtrack Inspirations, Postcards From The Zoo To Be Released On Vod In 7 European Countries On February 25th, 2013, With Peccadillo Taking Uk Vod Distribution Rights, Hitchcock On The Space, Twitter Launches Twitter Oscars Index, Working Title Receives 12 Nominations At The Academy Awards, Sir Alan Parker Honoured With Bafta Fellowship, Tessa Ross Receives Bafta Award For Outstanding British Contribution To Cinema Berberian Sound Studio Picks Up Most Wins At 2012 British Independent Film Awards, London Film School Launches Independent Film Masters Programme With University Of Exeter Starting September 2013, Appoints Angus Finney As Course Leader, Bafta Nomination For London Film School Muriel D'ansembourg's Good Night & A Record Number Of Lfs Short Films Nominated In The London Short Film Festival, Samuel L. Jackson Gives Advice To Filmmakers Of The Future, Sundance London Short Film Competition Deadline Looms Thursday 28 February 2013, 2012 House Shorts Competition Winner Announcement At Soho House New York, Andy Serkis Discusses Jameson Cult Film Club Events In 2013, 5th Okinawa International Film Festival Welcomes Joel Schumacher As Juror, Steamy Thriller 247°f To Première At Grimmfest! Dfi Uk Cinema Showcase At The Mia, Barry Levinson's Eco-horror The Bay To Première At Glasgow Frightfest! Arab Filmmakers Say Drawing On Past Gives New Perspective To Current Realities, James Mcavoy To Play Macbeth In Jamie Lloyd’s Inaugural Production For Trafalgar Transformed, A Late Quartet Film Joins Digital Music Service Rdio To Promote Dvd Release & Original Playlists, Taschen Goes Digital, Filmcraft: Producing Released Early 2013, An Interview With Paul Lieberman For His Book La Noir: Tales From The Gangster Squad, Daniel Craig And Judi Dench Named Top Movie Stars Of 2012 - Skyfall Pair Voted Best Of The Year In Sky Movies Hd Poll, Introducing Sky Movies Disney – The Home Of New And Classic Disney Movies, Sky Movies Hd Invites You To Join Them For The 85th Annual Academy Awards® Live From Los Angeles, Shawshank Redeemed - The Shawshank Redemption Voted Nation’s Favourite Best Picture Oscar® Snub In Sky Movies HD Poll, Video: Christopher Nolan - Self-Taught Filmmaker, Video: William Friedkin on Buster Keaton's THE GENERAL, Video: Look Who's Talking: Interviewing on Screen with Mark Cousins, Keanu Reeves, Video: Malik Bendjelloul and Rodriguez on Searching for Sugarman, Video: Ben Affleck, Tony Mendez Interview on 'Argo': Director, Inspiration Discuss Film, Kickstart: Last Days Of Coney Island By Ralph Bakshi, Video: David Lynch at Work
The Establishing Shot: INDEPENDENT SPOTLIGHT – BROKEN
“From acclaimed director Rufus Norris comes BROKEN, a powerful, captivating and heartbreaking exploration of love in all its many forms: idealised, unrequited, and, ultimately, unconditional. With some light comic touches and a brilliant central performance from newcomer Eloise Laurence, this coming of age story deals with the tumultuousness of growing up in a world where the happy certainties of childhood give way to a fear-filled doubt, and where a complex, broken world fills the future.”
“Thoughtlessness and unnecessary cruelty always catch my mind, for some reason.” – Daniel Clay, author, Broken
|Broken film poster Tm Roth|
|Broken Eloise Laurence &Tim Roth|
Cillian Murphy, Rory Kinnear and Eloise Laurence
Broken opens in cinemas from 8th March 2013
A NEW POSTER FROM THE LOOK OF LOVE
From Steve Coogan and director Michael Winterbottom, the team behind 24 Hour Party People, Cock and Bull Story and The Trip, comes the fast, funny and outrageously true story of Paul Raymond, the controversial entrepreneur and property baron who established the Raymond Revue Bar and went on to become Britain’s richest man. With a screenplay by Matt Greenhalgh (Control), The Look of Love co-stars Anna Friel, Imogen Poots and Tamsin Egerton as the women in Raymond’s life, alongside a great roster of British comic talent including Chris Addison, David Walliams, Simon Bird and Matt Lucas.
|The Look of Love Poster|
Raymond's personal life was as colourful as his revue shows. His marriage to Jean, a nude dancer and choreographer, ended in a difficult divorce when he met Fiona - a glamour model who became the famous pin-up star of his magazines and shows. His daughter Debbie was the true love of his life, his business partner and heir to his empire - until her tragic and untimely death aged 36. Three weeks later Raymond was named Britain's richest man and his fortune put at 1.5billion.
The Look Of Love will be released in the UK on 26th April, 2013.
The starring voice cast of Twentieth Century Fox’s 2011 animated smash RIO is reuniting for the follow-up, RIO 2, and they are joined by a flock of top actors and musical talents new to the franchise, it was announced today by Vanessa Morrison, president of Twentieth Century Fox Animation.
The film is now in production at Blue Sky Studios. Twentieth Century Fox’s international rollout begins March 20, 2014, followed by its domestic release on April 11, 2014.
Returning to RIO 2, a world rich with grandeur, character, color and music are Anne Hathaway, Jesse Eisenberg, Jemaine Clement, will.i.am, Tracy Morgan, George Lopez, Leslie Mann, Rodrigo Santoro, Brazilian singer Bebel Gilberto, Jake T. Austin, and Jamie Foxx.
Carlos Saldanha, who was inspired to create RIO based upon his experiences growing up in that city, is back as director, as are producers John C. Donkin and Bruce Anderson.
In RIO 2 we find Blu, Jewel and their three kids living the perfect domesticated life in that magical city. When Jewel decides the kids need to learn to live like real birds, she insists the family venture into the Amazon. As Blu tries to fit in with his new neighbors, he worries he may lose Jewel and the kids to the call of the wild.
Joining the RIO 2 team are Oscar® nominee Andy Garcia, Grammy® winner Bruno Mars, Emmy®/Tony® winner Kristin Chenoweth, Oscar/Emmy®/Tony®/Grammy® winner Rita Moreno, “The Hunger Games’” Amandla Stenberg, singer/actress Rachel Crow, “Looper’s” Pierce Gagnon, and “Today” news anchor Natalie Morales.
Brazilian music legend and RIO executive music producer, Sergio Mendes returns along with composer John Powell. RIO 2 will feature new Brazilian artists and original music by Janelle Monáe and The Wondaland Arts Society, who also voices a role in the film. Soundtrack will be released on Atlantic Records.
Released worldwide in April 2011, RIO’s global box office tally is $486 million. It also was a huge hit on DVD and Blu-ray disc.
One of the world’s largest producers and distributors of motion pictures, 20th Century Fox Film produces, acquires and distributes motion pictures throughout the world. These motion pictures are produced or acquired by the following units of 20TH Century Fox Film: Twentieth Century Fox, Fox 2000 Pictures, Fox Searchlight Pictures, Fox International Productions, and Twentieth Century Fox Animation. opens in cinemas from 9th November 2012
WORKING TITLE FILMS’ LES MISÉRABLES GROSSES CLOSE TO $75 MILLION WORLDWIDE IN FIRST 3 DAYS OF RELEASE
Working Title Films’ musical extravaganza Les Misérables grossed $39.6 million domestically to take the number two slot at the box office and $32.2 million internationally in its first three days of release to gross $71.6M worldwide since it opened in Dec.
The film garnered up huge advance ticket sales in the US where it opened number 1 Christmas Day on 2,808 theatres making it the second highest Christmas day opening in history behind 2009’s Sherlock Holmes. ($24.6m).
Internationally, the film is playing in Australia, Hong Kong, Japan, Korea, Malaysia, Singapore and Spain, ranking no.1 in Japan amongst Hollywood films where it is dominating the box office with a 50% market share and $9.5M to date.
Australia opened Wednesday with $1.9M setting the record as the biggest opening day ever for a musical in the territory (45% higher than previous record holder, Universal’s Mamma Mia!). It was also the biggest opening day ever for a Russell Crowe film and a Working Title production. Its two day plus previews total is $4.5M to take the number 2 spot. Hungary opened Dec 27th with $38K placing it number 2.
FIRST IMAGE FROM THE TWO FACES OF JANUARY!
A new image of Daisy Bevan, daughter of Joely Richardson and granddaughter of Vanessa Redgrave, from international thriller The Two Faces of January has been released today. Cast before the producers even knew she was a member of the famous acting dynasty, Daisy takes on the role of Lauren, a young ingénue who falls into the clutches of a small-time conman.
|The Two faces of January Daisy Bevan & Oscar Isaac|
1962. A glamorous American couple, the charismatic CHESTER MACFARLAND (Mortensen) and his alluring younger wife COLETTE (Dunst), arrive in Athens by boat via the Corinthian Canal. While sightseeing at the Acropolis they encounter RYDAL (Isaac), a young, Greek-speaking American who is working as a tour guide, scamming tourists on the side. Drawn to Colette’s beauty and impressed by Chester's wealth and sophistication, Rydal gladly accepts their invitation to dinner.
However, all is not as it seems with the MacFarlands and Chester’s affable exterior hides darker secrets. When Rydal visits the couple at their exclusive hotel, Chester presses him to help move the body of a seemingly unconscious man who he claims attacked him. In the moment, Rydal agrees but as events take a more sinister turn he finds himself compromised and unable to pull himself free. His increasing infatuation with the vulnerable and responsive Colette gives rise to Chester’s jealousy and paranoia, leading to a tense and dangerous battle of wits between the two men. Their journey takes them from Greece to Turkey, and to a dramatic finale played out in the back alleys of Istanbul's Grand Bazaar.
|Holy Motors Poster|
NETWORK ACQUIRES HOME ENTERTAINMENT RIGHTS TO 450 FILMS FROM THE STUDIOCANAL ARCHIVES
Independent UK film and home entertainment label Network Distributing is affirming its commitment to classic British cinema by acquiring the rights to 450 British titles from STUDIOCANAL, one of Europe’s leading film distribution and production companies. These titles include some of the most significant works from studios including Associated Talking Pictures, Ealing, London Films, British Lion, Associated British Picture Corporation and EMI. The agreement covers home entertainment rights including DVD, Blu-ray, DTO and iTunes. Many of the films will benefit from new transfers. The UK label will start releasing titles from April 2013.
Many of the films under license have never been seen since they were first shown in British cinemas. The collection includes rarities alongside more popular titles from the Ealing collection plus work from directors including CAROL REED, LEWIS GILBERT, CY ENDFIELD, CHARLES CRICHTON AND MICHAEL WINNER. Network Distributing hopes to redress the balance of appreciation for British cinema as a whole. Presented in their original aspect ratios and transferred from the best available materials, the titles will also be competitively priced to appeal to both the film-lover and casual collector. Forthcoming titles next year will include:
The Ealing Rarities Collections. A series of films uniting movies from the legendary London studio. Titles will include Penny Paradise (Carol Reed), Midshipman Easy (Carol Reed), Escape (Basil Dean), The Impassive Footman (Basil Dean)
- The Man Who Haunted Himself (Basil Dearden)
- Edgar Wallace’s The Four Just Men (Walter Forde) and Flying 55 (Reginald Denham)
- Horrors of the Black Museum (Arthur Crabtree)
- Spanish Fly (Bob Kellett)
- Some People (Clive Donner)
- On the Fiddle (Sean Connery)
Commenting on the deal Tim Beddows, Network Distributing Managing Director said, “We are delighted to have concluded this deal with STUDIOCANAL. We are already the home to a large part of UK TV history and our deal with STUDIOCANAL means that we can now start saying the same about our cinema library, which brings our range of British feature films to 1000 titles.”
JohnRodden, General Manager for Home Entertainment at STUDIOCANAL said, “The Studiocanal Films British Collection is one of the great treasures of Cinema. We’re very happy to extend our partnership with Network to make the rest of this hugely important collection available to the Great British Public in Home Entertainment. This deal will also enable us to accelerate its availability for international distribution. ”
Video: Introducing Ealing Studios
What makes a film an 'Ealing' film? Why should we cry at 'Mandy'? What has 'The Man in the White Suit' got to do with the atomic bomb? And what might Ealing films teach us about the world today? In this short video find out why Ealing Studios are so important in the history of filmmaking with broadcaster Matthew Sweet and BFI curator Mark Duguid.
For more on the major BFI project 'Ealing: Light & Dark' see http://www.bfi.org.uk/ealing-light-dark
SHOOTING WRAPS ON MARK HARRIS’ THE BROKEN - PRINCIPAL PHOTOGRAPHY WAS COMPLETED ON 13TH JANUARY 2013
Roar Film Entertainment and Press on Features are happy to announce completion of filming on thriller The Broken on Sunday, 13th January, following a 6-week shoot in London and the USA.
Filming on location in Hollywood and LA, from the glitzy Sunset Boulevard to the back street slums of LA and then back to wrap in Lambeth, London, The Broken is a truly international project.
The Broken will be edited at London editing suite LipSync, responsible for post-production on Wild Bill, in Soho over the coming weeks.
The Broken stars a host of international acting talent including Mark Harris (Outside Bet, Offender), Felix Ryan (NCIS), Kyle Summercorn (Misfits), Rhea Bailey (The Mentalist) and Deji Laray (CSI: NY). The film is written by Marc Small and Davie Fairbanks and is based on an original story by Mark Harris. The feature will be directed by Simon Phillips (GBH).
After the loss of his beloved son and a traumatic term in prison, all Matt Hollis wants is to be reunited with his estranged wife, Alison and daughter Lara. Certain that a break is all that they need to get back on track, Matt scrapes together enough money to take the family to America.
In LA, the Hollis’ find themselves in a palatial holiday home that seems too good to be true. Everything is perfect until, one night Alison is savagely beaten and Lara taken from her bed.
Terrified that he is about to lose his family all over again, Matt is desperate to find his daughter and makes contact with his old friend Syan who suggests that Lara may be the victim of an illegal child adoption ring. With the police on their tail, the two men embark in pursuit of Lara’s kidnappers and uncover a prolific ring of traffickers who sell innocent children to the highest bidder, servicing even the highest echelons of society’s elite.
Already sold to a childless couple, Lara will soon be lost and Matt and Syan must reach her before she becomes another victim of the trafficking trade.
Video: Christopher Nolan - Self-Taught Filmmaker
Christopher Nolan (MEMENTO, THE DARK KNIGHT) talks about his early experimentation in film in this interview for FOLLOWING.
Out now on Blu-ray and DVD: http://www.criterion.com/films/28030-following
Roddy McDowall's home movies showing Don Cash applying his Cornelius make-up for original "Planet Of The Apes" (1968)
Video: William Friedkin on Buster Keaton's THE GENERAL
Director William Friedkin describes the train chase in THE GENERAL as awe-inspiring.
|The Princess Bride Blu Ray|
|The Princess Bride Westley The Dread Pirate Roberts - Cary Elwes & The Princess Bride Buttercup - Robin Wright|
|The Princess Bride Inigo Montoya - Mandy Patinkin, The Dread Pirate Roberts - Cary Elwes & Fezzik - Andre the Giant|
Video: Malik Bendjelloul and Rodriguez on Searching for Sugarman
Malik Bendjelloul discusses his film Searching for Sugar Man, about two South Africans trying to discover the fate of their musical hero, Rodriguez.
For more BFI event videos visit: http://www.bfi.org.uk/live
|About Time Mary - Rachel McAdams & Tim Lake - Domhnall Gleeson|
Following a theatrical opening to tremendous national and international acclaim, and a Best Film Award at the London Film Festival in October, Jacques Audiard, acclaimed director of A Prophet and The Beat That My Heart Skipped, returns with this powerful drama about two people from very different worlds, seeking redemption in each other.
Ali (Matthias Schoenaerts - Bullhead) dreams of becoming a professional boxer. When he is suddenly put in charge of his five year old son, he moves in with his sister for support. While at his new job as a nightclub bouncer, he meets the beautiful and confident orca trainer, Stephanie (Academy Award® winner Marion Cotillard - The Dark Knight Rises, La Vie en Rose).
He gives her his number, not expecting that she will ever call. However, after becoming the victim of a tragic and life changing accident, Stephanie surprisingly turns to Ali for support. These lost souls discover new meaning in life together when Ali enters the dangerous world of underground boxing.
Winner of several international awards, RUST AND BONE is one of the best and most talked about films of 2012.
RUST AND BONE received two BAFTA nominations, for Best Leading Actress (Marion Cotillard) and Best Film not in the English Language
Rust And Bone is out to own on DVD, BLU-RAY & EST FEBRUARY 25th
Video: Ben Affleck, Tony Mendez Interview on 'Argo': Director, Inspiration Discuss Film
Ben Affleck, former CIA Agent Tony Mendez talk about adapting the true "Argo" story for film.
Filmed over a four-year period in twenty-five countries across five continents, SAMSARA transports us via stunning Panavision Super 70 cinematography to the varied worlds of sacred grounds, disaster zones, industrial complexes, and natural wonders. By dispensing with dialogue and descriptive text, SAMSARA subverts our expectations of a traditional documentary. It encourages our own interpretations, inspired by breathtaking images that infuse the ancient with the modern and set against a mesmerizing musical score featuring the work of Lisa Gerrard, Michael Stearns and Marcello De Francisci.
Now 20 years after its original release Baraka has been widely hailed as a classic that even now continues to find new audiences. It has won numerous awards, including the FIPRESCI (International Critics) Award for Best Picture at its initial release at the Montreal Film Festival in 1992.
Had you always hoped to pick up where you left off with BARAKA?
Ron Fricke: Absolutely. It just took a while to get to the second film after Baraka.
Mark Magidson: It certainly wasn’t planned on. After I made Baraka I didn’t think, “oh I can’t wait to make the next one.” I felt both depleted but also complete. You have a sense that you’re never going to do something like that again and it takes time to recover. We went to 24 countries in three years— it was a crazy amount of travel. I made Chronos with Ron in 1985, and that was a 35-minute film that took us to 8 countries, which still took a tremendous effort. Doing these films really takes a big chunk of your life force, your life energy, and it takes a long time to be able to do that again—at least in my case. It’s very challenging to maintain any semblance of a normal life, or relationships. I have kids now. It’s challenging to undertake films like this that take that long, and making Samsara took even longer—almost 5 years. So it’s something that you have to make space for in your life. Everything in life is about choices, so it was one of those choices. I know Ron wanted to do it. I’d been through a lot from the time we made Baraka to when we started Samsara, and it was a time in my life when I could make the commitment to do it.
Ron Fricke: I came back to Mark and said it’s time to dust off your passport and get back out there. He was up for it. He was ready for another adventure out of the office.
What motivates you to make these unprecedentedly ambitious, technically and geographically complex, nonverbal widescreen epics?
Ron Fricke: I remember when I was a little kid I always looked at the theater as a temple. Looking at films in Cinerama, these big widescreen films, I hadn’t a clue what they were about but visually I was immensely moved by them. They gave me the sense that as viewers sit in the dark with their senses alert and defenses down, it’s a perfect opportunity to bypass their personalities and address their inner being. It all really happened with 2001: A Space Odyssey. When I was just a kid in college, it really whacked me in the head, and I guess I never got over it. The fact that you could take big screen, commercial cinema and do something so amazing without words. I’ve been drawn to that, and with Koyaanisqatsi  I realized I was drawn to what I think of as a kind of guided meditation. Focusing on the sacred or transcendent. Some people think of it as self-indulgent but I think if it’s done carefully it can be a moving experience that’s neither sentimental or condescending. Mark has been drawn to it too. He understands the whole process. He could have gone out and made commercial movies, but this is some kind of art that really inspired him. Something really deep inside of him wanted to do something unique and meaningful.
Mark Magidson: I love that the films speak past individual languages and nationalities in a universal way, with just images and music that doesn’t need translating. I guess that sounds corny or something but I think on some level we want to feel a deep connection to each other and the life experience beyond those barriers.
|Samsara Baraka Double Disc|
Ron Fricke: We did have a scenario for Samsara. It had a beginning, middle and end, and we knew we wanted to go to certain places. It was a guided meditation on the cycle of birth, death and rebirth. You could say that it’s sculpted by the power of flow—on a global level.
Mark Magidson: With Baraka we had a fairly elaborate written treatment, but we departed a lot from what was written. So having had that experience, there was some sense of confidence that we would be able to make a film that worked from the material. In this kind of filmmaking it’s the reality of the imagery that you bring back that you make the film with rather than whatever you’ve written, and some of the best visual connections you can make in the edit are things that are impossible to plan ahead, that’s the part of all this that is the most exciting and rewarding for me. That said, you have the theme of impermanence, it’s essentially what the title Samsara means. So there was that kind of imagery we were looking for, to find that out in the world. We started talking in early 2006, and started shooting in January of 2007.
Ron Fricke: We knew what we were up against and what it would be about. We were actually a lot more relaxed and open and easy about the doing of it. With Baraka we were just kind of in a state of fear. Like, are you crazy? We’re going to go out and make a nonverbal film with no real screenplay, just a scenario? And we’re going to release this? All that [anxiety] was gone for this film, and all that energy was directed toward finding the imagery.
Mark Magidson: A lot of the time you’re finding things that you didn’t plan on. You’re in the field, going to locations that have material you’re hoping to capture, and sometimes you bring that back and sometime you don’t. Portraits are really elusive, and those are some of the most powerful shots in the film, it’s something Ron has a real feeling for. It’s hard to just go out and say I’m going to shoot an amazing portrait today. It doesn’t work that way. Those moments happen by being immersed in these environments. You’re looking all of the time for that stuff. It doesn’t always happen, and sometimes it happens when you’re not expecting it. That’s the image gathering process.
You shot on large-format film again. Since most everything is shot on digital now, how did you arrive at that decision?
Ron Fricke: Mark and I investigated the possibility of going out with HD. But five years ago, when we started, the cameras just weren’t up to par.
Mark Magidson: When we began Samsara the industry standard for digital cinematography was 2K, which nobody would use now. Now there are the Red cameras, and there’s a new 8K Sony camera coming out. The digital world is constantly evolving. You don’t want to go out to all these locations that are very difficult to access and bring back material in a format that’s going to look outdated. That’s the problem with digital—there’s always a better iPhone or digital camera coming out. We needed to use a system that brings back imagery that’s really going to stand the test of time. We used a 70mm camera system that’s been around for 50 years and is still the highest quality way of capturing imagery. There’s a big price to pay getting film stock in and out of places and moving that equipment around, it’s harder now than ever. But shooting in this format is energizing too, it’s about going all out, being on a mission in the search for profound imagery in the ultimate format. Imagery like this delivers real emotional impact, that’s what this is about.
Ron Fricke: Since we’re not using main characters or a storyline, the image is the main character. So it’s important that it’s really high quality and shows a lot of detail. It’s such a cool thing to shoot on those cameras and film stock, to know that when you turn the camera on, even though it makes a lot of noise, that you’re getting this amazing texture that might be bygone soon but digital hasn’t caught up to yet.
How did you decide which images you wanted to pursue, and where you wanted to shoot?
Mark Magidson: You don’t want to go out and repeat what you did in a previous film. That’s challenging, to find locations that are visually of a level of interest and intrigue. People are very visually demanding, particularly in the Internet age with YouTube and everything, there’s a lot of amazing imagery available to everybody. You’re kind of up against that in making a nonverbal film, finding material that rises to that level. You’ve got to have a gut feeling about what’s going to be interesting enough to put on the screen. We as filmmakers are impacted by the times we live in. Samsara has a lot more footage, more locations and more cuts than Baraka had 20 years ago. A lot of that has to do with our own attention spans. When you feel like you’ve seen enough of something you want to move on to something else. You feel like you need to make the cuts faster, and you can’t linger as long. That causes you to burn through material in the edit really fast. So it’s hard to keep it coming for 96 minutes. That’s just on the visual level. Of course having it work as a whole is another subject altogether. When you just have music and image to tell a story, you need a lot of amazing imagery to pull it off.
Ron Fricke: You go to places and see things people just haven’t seen. The planet is loaded with it. And it kind of wakes you up a bit.
Mark Magidson: The imagery is broken down into categories. Like the organic images— shots of nature without humanity, such as the waterfall sequences or the sand dunes. Then there are the factory images, the food processing sequences, the images of people in prayer. Those are locations you can plan on, and you work with local people in each country to get the necessary access.
Unbelievably, you somehow managed to shoot in even more countries that you did for BARAKA.
Mark Magidson: We went to 25 countries. We didn’t know for sure we would go to 25 countries, but we knew it would be over 20: it might have been 28 or 22. You divide that into 95 minutes, and you come up with whatever it is—three and half minutes per country on average, with some having more and some less. And every shot of the film took a lot of work to get. There are some locations where we only used a few seconds. We hiked into a a Native American ruin called Betatakin in Arizona, twice, , that was a two-hour hike each way with equipment in 100 degrees, and that shot is on the screen for about 8 seconds. That’s it. A lot of the film was like that. You want to keep seeing new things.
Ron Fricke: When I get to a location, something just takes over and I know where to put the camera and what to do with it. I’m only looking for a shot or two. I’m not there to develop a documentary about the place, I’m there to get the real essence of it. Because I know it’s in a bigger tapestry with a bunch of other images. That’s kind of the approach. Once you get out there you’re like this lean mean photographic machine. You’re just seeing it when you get there. You just are the image. Because if you’re out there shooting blind you’re going to pick up a lot of stuff that’s just boring, that doesn’t work.
Mark Magidson: At the beginning we were just trying to gather material. But then about halfway through you go okay, we’ve got a lot of this but we need some of that. We need more performances, say. You get a sense of what’s missing. And of what opportunities there are. We happened to be in China about the time of the 60th anniversary of the communist party, so we got that big military parade. We planned that trip to make sure we were there for that, along with all the Chinese factories. You try to take in as much ground as you can with these trips.
Were certain locations more difficult to access and shoot than others?
Mark Magidson: There are the physically demanding locations and there are the access demanding locations. When you’re in a very developed part of the world like Tokyo it’s very tough to get access to film. There was this circular swimming pool that we shot in time-lapse—those kinds of shoots are very regulated and difficult. The parks do not want anything close-up, they don’t want any of the patrons recognizable, that kind of thing. So they’re with you, hanging out and looking into the lens, making sure that everything is okay. It wasn’t that bad, but it’s not just like “here’s a free pass and come and see us when you’re done.” And then there are the locations that are physically difficult, like when we went to Ladakh in India, where we filmed the monastery and the sand painting. It was at 12,000 feet, and it was very cold at that time of year—late November—and you’re huffing and puffing to get used to the altitude. But it’s hard to sit here and complain about how hard this production was. It was a privilege to be able to undertake something like this. You come away from these experiences feeling very lucky, seeing how many people in the world live.
Ron Fricke: All the locations were challenging. It was really hard working inside the pig factory in China. And we almost gassed ourselves in that sulfur mine in Indonesia. It’s all a lot of hard work. The process is just shlepping. Dragging cases through airports, knocking yourself out. We’re shooting a little bit of everything at the same time. That may be why it was a little rough at some of these locations. We’re trying to do time-lapse photography, we’re trying to do portraits, we’re doing slo-mo.
Mark Magidson: It’s exciting to go to remote places. Ladakh was just a wonderful place to visit. Namibia was fantastic. We just saw so much diversity there, desert, jungle, ocean, there’s all the tribal life, there was that desolate sand dune that we got amazing aerials over. That’s a country I’d love to go back to at some point.
Were there any locations you’d hoped to capture but weren’t able to, for whatever reason?
Mark Magidson: The big fish that got away was North Korea. I got to meet Gov. Bill Richardson and he wrote a great letter of introduction for us, and I was back and forth with the DPRK mission in NY as well as though China for 2 years but couldn’t get a go from them. They do these games, these mass performances at this big stadium in August, in which 100,000 people perform. It would have been great to land that but we couldn’t pull it off.
Ron Fricke: That would have knocked you out. This thing called arirang that they do, it’s like Busby Berkeley on steroids.
You get some pretty hard stares of out people.
Ron Fricke: The idea was that it was a takeoff of Tut’s mask. He’s staring at you from eternity. That it’s in all of us, we’re all interconnected in that way. I really liked the sequence with the Himba tribe, with the mother and her baby. Man, she gave me a stare. Sometimes it really works. She could have been from anywhere at anytime. Any culture.
You do some amazing things with time-lapse photography in SAMSARA, traversing physical space as well as time. How has your approach to time-lapse changed over the years and across these projects?
Mark Magidson: Bringing motion control to time-lapse photography is something we started with Chronos, and then really brought further with Baraka. With Samsara it’s not all that different, but we did have some improvements. We previously had pan, tilt, dolly and zoom capability in time-lapse, but for this film Ron came up with a way to lift the camera on a lightweight portable jib arm. We had to be very careful, because you can’t do that in any kind of windy environment because the camera is blowing around. But for interiors it was good, it brought another dimension to it. But all this technology is there to serve the purpose of heightening the emotional impact of the imagery. It’s a tool for that purpose, not an end in itself. You’re viscerally feeling something you haven’t before. Like when you see still photography, there’s a certain inner essence of the subject matter, and we’re just trying to reveal that.
Ron Fricke: Time-lapse is so great. It unleashes on ordinary images unordinary views. We’re all looking to see that. I’ve been doing it for so long that now I have a little more control over it, and understand it better. It’s not just flowers blooming and clouds rolling around—which are beautiful—it’s trying to make a sequence out of it, so that you see this flow. It’s very difficult to do. It takes a day, or an evening to just get off one shot. And then to connect it to another one to make it look like the same place and feeling, is a lot more work than shooting shots. It’s a lot of work to walk away with nothing—sometimes that can happen.
How did you approach organizing all of that material, from all of those locations, into a 95-minute film?
Mark Magidson: It took a year and half to edit, to find that flow, that structure within the material we brought back. It’s as much about finding the way that the images and sequences work best together, as it is creating it. We worked on different parts, with two editing set-ups—I worked on certain parts and Ron worked on other parts. You’re guided by what feels like it’s working, by what’s working profoundly on a human level—in your own heart and mind. If you can’t make it work for yourself you’re not going to make it work for anybody. It’s about discovering that core as much as creating it from whole cloth. It sounds a little out there, but that’s really the process, being true to that.
Ron Fricke: I think that when you’re editing the film, it begins to emerge from all the images have that you’ve collected. You go with the flow of the image. You don’t try to put them together in a certain way, but it’s not easy to do. When you’re in there editing with only images, they need to say something when you connect them and sometimes they begin to say things that you don’t want them to. You just want them to appear, give up their essence, and move on to the next one. You get the meaning out of the feeling you get from it – that’s the meditative part.
Mark Magidson: The building blocks are the shots, and then you have these 2-3 minute sequences—the food processing, the chicken factory, the organic images. How do those sequences go together to make the whole? There’s a lot of ways that can work. There are options there. There was a structure element with the sand painting, which we thought about ahead of time, and within that structure we tried having different kinds of sequences in different orders, and obviously what we ended up with we ended up with. You see imagery at the beginning of Samsara that you see again at the end, but it’s more developed. Those are story points, or structural elements, that are common to all films. It’s not exactly like that, but you have to have a sense that the film is taking you on a journey, and at the end you want to feel that the journey is concluding. It really comes down to making the film with the imagery that you have, and the sequences that you have. It’s not something that’s easily scripted. Imagery can connect in ways in which there’s no way you could have possibly have written. For example, there’s a portrait of a Himba woman in a remote part of Africa, and it cuts to this aerial of the L.A. freeway from her eyes. I love how that cut makes her feel so contemporary. There’s just no way you can storyboard a cut like that. That has to come at the end, after you’ve assembled the film and have it working.
When did the music come into it—during or after the editing process? On BARAKA, you assembled the film with Michael Stearns’s music in mind. Was it the same for SAMSARA with Michael and Lisa Gerrard?
Mark Magidson: This was a distinction from the way we did Baraka, where we edited images to finished music. For Samsara, Michael, Lisa, and Marcello came in after the film was completely edited. We edited the film completely in silence. They saw some of the cuts early on, but weren’t involved in composing any music, or even sketches for music, until after the edit was completed. It’s kind of a severe way of putting a film together, because when you’re doing it silent you’re probably tougher on what’s working, visually, than when you have music. Music kind of softens things and makes everything work better. But we felt that if we can make it work silent it’s going to work really well when we have music. And in general I think that’s what happened. It took some time for the composers to find the musical voice for this, and there’s a bit of the chicken and egg syndrome finding an arc to the music from the opening to the ending plus having it work sequence to sequence, there’s some magic that happened with that.
Ron Fricke: I just wanted to go totally zen with it. Let the images move it along and in the beginning not worry about the music or the sound. I think it was a great way to do a film like this -- to cut it and then build in music.
Mark Magidson: The way the music works with the image, and the way we choose the music—going for a kind of spacious feeling—it’s meant to allow room for the viewer to bring something to what they’re seeing, and not be told how to feel about something. The overarching hope is that people who see this feel connection to the phenomenon of what’s going on in the world around them. Connecting to our own humanity. And you don’t want to do that by suggesting a point of view. When you’re using synch sound with image, you’re in the reality world, and when you’re using music with image you’re in that other inner place. That’s where we’re trying to be for the most part.
Was there a political intent behind any of the footage that you captured? I was struck by the sequences shot inside food manufacturing plants, landfills, urban wastelands.
Mark Magidson: It’s not political themes that you’re going after. It’s visually impressive to see the visual development of how people are consuming. It’s not a value judgment. Like some of the food processing factories—it’s happening in a way that’s highly automated, highly mechanized and structured. It’s not about what’s right or wrong, it’s about how it is now. It’s a snapshot of the current state of how things are done. I don’t feel for us that we need to make a political statement. If that’s what you want you don’t have to look very far to find it. When you do that you take the viewer to an intellectual rather than feeling place, it’s not our approach with this kind of filmmaking. It was to provide something that’s different than that.
Ron, earlier you used the phrase “guided meditation” to describe what you’re after with a film like SAMSARA. Do you yourself meditate?
Ron Fricke: I do meditate, yeah. That inner dialogue, all that stuff about what if it doesn’t work, what if they don’t like it—it’s nice to just quiet your brain down. That’s what meditation is all about, I think. You can just get a sense of being alive. The brain’s job is just like your heart: your heart’s job is to pump blood and your brain’s job is to think thoughts, and it’s going to think them 24 hours a day whether you like them or not. And if you’re not onto it, it’s going to think a bunch of lovely ones and a bunch of detrimental ones. You better know how to choose. So meditation’s good, it clues you in on that.
Where does the “guided” part come in? What effect do you hope for SAMSARA to have on the viewer?
Ron Fricke: I think that the substance of what I’m trying to say is really said in a nonverbal form. It’s kind of a spiritual quest. You could say we were all privileged invited guests to this mudball spinning in space. Life is the host. Life invited everyone here, and it didn’t ask anyone to approve of the guest list. And I would love to get that point of view across somehow. I’ve only made 2 or 3 films here. They are what they are. They inspire some people and other people are really put off by it. It’s that way with anything. I don’t know that I’m a great storyteller, I think I just sense that this guided meditation, this nonverbal format, that there’s something strong there. And it can say something powerful that you just can’t say with words. Like when you go to an art gallery, and you’re walking around and looking at great paintings or photography, you can have these epiphanies. You can be really moved.
Considering how many years it took to make SAMSARA, did it even feel like making a movie? Or did it feel like something more holistic?
Ron Fricke: You just have to be a complete lunatic. You’re not going to have a relationship, a family. It took five years of our lives to do it. Mark is lucky enough that he could bring his family to some of the locations and figure it all out—he really put the effort out. But it’s rough on your relationships. You just have to become this lean mean photographic machine to pull it off.
Mark Magidson: When you say you want to spend this much of your life doing something like this, I sit here and sometimes go—this thing’s over in an hour and half and it took four and half years to make. You sometimes wonder if it was the right thing to spend that kind of time on. When we’re out making the film, you’re not quite honestly feeling all that enlightened. You’re out there getting up early, maybe 4:30 in the morning, trying to catch a sunrise, and it’s really more about being on a mission to bring back the footage. What’s the subject? Where can you put the camera? The goal is to bring back the exposed film that you want. You want to provide a profound experience for people that is an expression of your own life experience. You hope that it touches people in a way that gets them beyond their day-to-day issues, and lets them feel a part of the phenomenon of life. Almost as a snapshot of life around the world. What feels good for me is to try to express my own sense of what it means to be alive at this time. The privilege of being here now, as difficult as life is at times. You hope people feel that. You’re trying to leave something behind that’s lasting.
Could you imagine doing it again?
Mark Magidson: For me, no, not like this. But I said that after Baraka too. Between these three films we’ve been to 57 countries . It’s enough, in a lot of ways. I’m curious to see how Ron would answer that question.
Ron Fricke: I would for sure. In fact not just one but a couple more. I’ve even got another one that springboards off this one. I’ve always been making non-verbal films and will continue to do so. I just hope there’s not as big of an expanse of time between the two.
SAMSARA │ BARAKA - DVD & Blu-ray Boxset - out 14 January 2013
The Establishing Shot: LONDON FILM NEWS
|Pixelated Taxi 8 Bit Lane Wreck-it Ralph London|
|Pixelated Dog 8 Bit Lane Wreck-it Ralph London|
|Sinister pancake Bagul|
Composer Atticus Ross is sharing his musical inspiration behind the soundtrack for “Broken City.” Best known for his and Trent Reznor’s Oscar-winning score for “The Social Network” and his masterful work on “The Girl with the Dragon Tattoo” and “The Book of Eli,” Ross has curated a music playlist exclusively for Rdio. Please consider sharing this with your readers and help bring attention to the ominous, heart-pounding soundtrack that draws inspiration from ‘80s glam rock, industrial new wave, and other beloved scores.
Broken City, follows a disgraced ex-cop turned private detective (Mark Walhberg) who uncovers a much grander scandal when he’s double-crossed by the mayor of New York (Russell Crowe). Ross takes us along this action-packed journey with music that builds an equally compelling sound narrative, bookending the playlist with David Bowie tracks and sprinkling his own signature haunting sound from the film in between.
2.Tangerine Dream - Love on a Real Train (Risky Business)
3. Atticus Ross, Claudia Sarne & Leopold Ross - Broken City
4. Steve Reich - Music for 18 Musicians - Pulses
5. Nina Simone - Wild is the Wind (original Version)
6. Giorgio Moroder - Love's theme (Midnight Express)
7. Burial - Night Bus
8. Atticus Ross, Claudia Sarne & Leopold Ross - Broken Men
9. Mogwai - I Know You Are, But What Am I ?
10. Brian Eno and David Byrne -Regiment
11. Atticus Ross, Claudia Sarne & Leopold Ross - Bleeding Heart
12. Nine Inch Nails - A warm Place
13.The Cure - Plainsong
14. Angelo Badalamenti - Laura Palmer's theme
15. Atticus Ross, Claudia Sarne & Leopold Ross - Chasing Shadows
16. Kraftwerk - The Man Machine (1978 version)
17 .David Bowie - Warszawa
“Broken City” soundtrack: http://rd.io/x/QF5RPmYc5A
POSTCARDS FROM THE ZOO TO BE RELEASED ON VOD IN 7 EUROPEAN COUNTRIES ON FEBRUARY 25TH, 2013, WITH PECCADILLO TAKING UK VOD DISTRIBUTION RIGHTS.
Postcards From The Zoo will be the first film to receive a synchronized Video on Demand (VoD) release in seven European countries as part of The Match Factory’s initiative Distribution 2.0.
The release will take place on February 25th as the result of a co-operation of The Match Factory and EuroVoD platforms in France, Ireland, Switzerland, Spain, Peccadillo Pictures in the United Kingdom and Eye Film Institute in the Belgium and The Netherlands.
|Postcards from the Zoo Poster|
Marketing activities for the film’s release will be coordinated by The Match Factory across the territories. Director Edwin and the producers, babibutafilm, Pallas Films and Lorna Tee will engage in the social media campaign towards the release. The aim is to achieve a consistent international campaign, which relies mainly on online communication.
The film will be released on the platforms belonging to EuroVoD (UniversCiné – France/ Belgium/ Switzerland, Volta – Ireland, Filmin – Spain) and on various platforms in the UK through Peccadillo Pictures.
Edwin was born in Surabaya, Indonesia. He was the first Indonesian filmmaker to have a short film (Kara, Daughter of a Tree) showing at the Cannes at Director’s Fortnight, and the first Indonesian filmmaker to be invited to competition at the 62nd Berlinale with Postcards from the Zoo. His first feature film, Blind Pig Who Wants to Fly was in competition in numerous film festivals and won the FIPRESCI Award in Rotterdam IFF. He now lives in Amsterdam and is working on his third feature film exploring the history of Indonesia and the Netherlands.
As a co-production between Indonesia, Germany and Hong Kong, Postcards from the Zoo is Edwin’s second movie. It premiered in Competition at the Berlin IFF 2012 and has been supported by Torino Film Lab, Hubert Bals Fund, Gothenburg International Film Festival Fund, Sundance Institute, Cinemart, Asian Project Market and L’Atelier Cinefondation.
Hitchcock starring Anthony Hopkins and Helen Mirren is currently in cinemas, so it’s the perfect time to dip into The Space, the on-demand digital arts service developed by Arts Council England in partnership with the BBC, to enjoy a set of specially commissioned short films from the BFI giving context to the Master of Suspense and his early work. They're a must for anyone who loves Hitchcock and his films and who might have missed them when they were first published on The Space.
The set of short films include:
1. Alfred Hitchcock from the archive
Hitchcock gives a fascinating insight into the workings of Hollywood, talking candidly about stars’ salaries and the difficulty of working with well-known actors.
2. Hitchcock at the Picture Palace
Historians Henry K Miller and Matthew Sweet whisk you back to 1920s Britain – the era of the picture palace that saw the young Hitchcock establish himself as an innovative and ambitious filmmaker.
3. Seeds of genius the Pleasure Gardens
In this short film, the film historian Charles Barr and the BFI’s silent film curator Bryony Dixon explore the genesis of Hitchcock’s unique style of visual storytelling during these early years.
4. Restoring The Pleasure Garden
With the help of the restoration team from the BFI National Archive this video tells the unique story of how Hitchcock’s first film has been restored to its former glory, almost a century after it was made.
5. Scoring The Pleasure Garden
This short film follows composer Daniel Patrick Cohen journey to create a new score for the BFI’s recent restoration of The Pleasure Garden (1925).
Head over to: http://thespace.org/items/s0000xsw to see more.
The Establishing Shot: FILM AWARDS NEWS
TWITTER LAUNCHES TWITTER OSCARS INDEX
Twitter has launched oscars.twitter.com, a tool that allows you to track and measure the Twitter conversation about six Oscar categories.
The Twitter Oscars Index reflects the ebb and flow of the movie-related conversations throughout the awards season, showing how positively fans are commenting on nominees relative to each other on Twitter.
Keep an eye on the Twitter Oscars Index, using it as a journalistic tool to see how sentiment about the nominees changes in to the run up to the ceremony.
WORKING TITLE RECEIVES 12 NOMINATIONS AT THE ACADEMY AWARDS
Working Title Films has scooped 12 nominations at the Academy Awards. LES MISÉRABLES received 8 nominations including Best Picture, HughJackman for Actor in a Leading Role, Anne Hathaway for Actress in a Supporting Role, Costume Design, Makeup and Hairstyling, Music (Original Song), Production Design and Sound Mixing.
ANNA KARENINA received 4 nominations including Cinematography, Costume Design, Music (Original Song), and Production Design.
Eric Fellner and Tim Bevan, co-chairman of Working Title Films said: “We are really proud that Les Misérables and Anna Karenina have received recognition from the Academy with eight and fournominations respectively. These nominations are not just for Anne andHugh but for all the talented people who worked incredibly hard on these films. We are proud of all the films we've worked on this past year and are happy to be making movies in the UK working with such great talent. Les Misérables is about to cross the $200 million at the global box-office so it's a great start to the year for Working Title.”
Working Title has already garnered 15 BAFTA nominations, 4 Golden Globes nominations and a nomination for the Darryl F. Zanuck Award for Outstanding Producer of Theatrical Motion Pictures at the PGAs amongst many others. The film has been breaking box-office records around the world and has already grossed close to $200 million worldwide ahead of its UK release on 11th January. It was the fastest musical ever to cross $100 million worldwide at the box office in a record 13 days and was the biggest opening day ever for a musical in the US with $18 million in box office. The film grossed $32.2 million internationally in its first three days of release and after huge advance ticket sales in the US, the film was the US number 1 on Christmas Day on 2,808 theatres. Directed by Tom Hooper (The King's Speech), starring Hugh Jackman, Russell Crowe and Anne Hathaway;produced by Tim Bevan and Eric Fellner with Sir Cameron Mackintosh, the film is earning rave reviews globally.
Anna Karenina is Joe Wright's epic love story starring Keira Knightley and adapted from Leo Tolstoy's classic novel by Academy Award winner Tom Stoppard.
Later this month, Bevan and Fellner will be the first British producers to be honoured with the Producers Guild of America's David O. Selznick Achievement Award in Theatrical Motion Pictures, the PGA's highesthonour for motion picture producers. The duo will receive the award January 26 at the Beverly Hilton Hotel in Los Angeles.
SIR ALAN PARKER HONOURED WITH BAFTA FELLOWSHIP
On Sunday 10 February, the British Academy of Film and Television Arts (BAFTA) presented Sir Alan Parker with the Academy Fellowship at the EE British Academy Film Awards ceremony at the Royal Opera House, London.
Awarded annually by BAFTA, the Fellowship is the highest accolade bestowed upon an individual in recognition of an outstanding and exceptional contribution to film. Previously honouredFellows include Charlie Chaplin, Alfred Hitchcock, Steven Spielberg, Sean Connery, Elizabeth Taylor, Stanley Kubrick, Anthony Hopkins, Laurence Olivier, Judi Dench, Vanessa Redgrave and Christopher Lee. Martin Scorsese received the Fellowship at the Film Awards last February.
John Willis, Chairman of the Academy, said: “Sir Alan Parker is a hugely distinctive filmmaker, and a man of uncompromising vision and personality. He has made an immense contribution to the British film industry, receiving a wide range of critical and public acclaim for his writing, producing and directing across almost 40 years of filmmaking. It’s almost impossible to highlight any one moment of his career, but the incredible 19 BAFTAs his films have won indicate the esteem in which he is held by his peers, as well as the outstanding nature of his work. I’m delighted that the Academy has taken this opportunity to recognise Sir Alan with the Fellowship this year.”
Sir Alan Parker added: “When you make your first film, you’re sure it will be your last. And then you squeeze your eyes together and suddenly, forty years later, you’re at BAFTA getting an award like this. I’m of course enormously flattered and honoured.”
Knighted in 2002 for services to the British film industry, Sir Alan’s career as a writer, director and producer has been much garlanded: his films have won nineteen BAFTAs, ten Golden Globes and ten Oscars. His first feature film as writer and director was Bugsy Malone in 1975: Sir Alan was BAFTA-nominated for Direction and Screenplay, and won the Screenplay award. 1977’s controversial Midnight Express won him the BAFTA for Direction and John Hurt the award for Supporting Actor. Otherworks include The Commitments, Shoot The Moon, Pink Floyd The Wall, Mississippi Burning and, more recently, Evita, starring Madonna, Angela’s Ashes, and The Life of David Gale, starring Kevin Spacey and Kate Winslet.
Sir Alan served as Chairman of the Board of Governors of the British Film Institute, was the founding chairman of the UK Film Council in 1999 and was a founding member of the Directors Guild of Great Britain, which has since honoured him with its Lifetime Achievement Award. Sir Alan has also been awarded Lifetime Achievement awards in Chicago, Munich, Prague and Warsaw, along with the Lumiere Medal from the Royal Photographic Society and was presented with the prestigious BAFTA Award for Outstanding British Contribution to Cinema, given in honour of Michael Balcon, in 1985.
ARGO IS THE UK REGIONAL CRITICS’ FILM OF THE YEAR - TWO AWARDS FOR SKYFALL, ONE FOR SIGHTSEERS
The thriller Argo, directed by and starring Ben Affleck, has been voted Film of the Year by the UK’s regional critics. The prestigious accolade is the first UK award given to Argo, which has recently garnered a succession of awards in the US and has seven nominations at both the BAFTAs and Academy Awards, which will be presented later this month.
Ben Affleck expressed his delight: “We thank the UK regional film critics on behalf of all the cast and production team for voting Argo Film of the Year in the Richard Attenborough critics’ awards.”
The 23rd James Bond film, Skyfall, now the UK’s all-time box-office champion with more than £102 million in cinema ticket sales, picked up two regional critics’ awards – for Sam Mendes (Director of the Year) and Ben Whishaw (Rising Star) – further boosting Skyfall’s international tally in this awards season.
The regional critics’ prize for Screenplay of the Year went to Amy Jump, Alice Lowe and Steve Oram for Sightseers, the original British comedy directed by Ben Wheatley.
The fifth and final award, for British Performance of the Year, was uniquely decided by a public vote run in conjunction with the film website moviepreviewnetwork.com. The winner was Robert Pattinson for The Twilight Saga: Breaking Dawn Part 2, the concluding and highest-grossing entry in the blockbuster series.
Established in 2006, the UK Regional Critics’ Film Awards are dedicated to Richard (Lord) Attenborough CBE, actor, filmmaker and champion of British cinema. Known in full as The Richard Attenborough UK Regional Critics’ Film Awards (RAFAs), they celebrate excellence and achievement in filmmaking. The winners are voted for by film journalists and bloggers who write or broadcast for local media throughout the UK. In recognition of their accomplishments, each winner receives a plinth-mounted RAFA award engraved with Richard Attenborough’s signature.
Regional film journalists continue to play a significant role in identifying and championing new films and filmmaking talents. Three-quarters of UK cinema admissions take place outside the London TV region. In 2012, 107.8 million cinema visits were made in England and Wales (excluding London), 15.9 million in Scotland and 5.9 million in Northern Ireland. The overall UK total (including London) was 172.5 million cinema visits, which generated box-office receipts of £1.1 billion, a new record.
Steve Oram, one of the Sightseers screenwriters, said: “Thank you, it’s a real honour. And thank you too to everyone in the regional media who have supported Sightseers, it’s made a huge difference and won’t be forgotten.”
TESSA ROSS RECEIVES BAFTA AWARD FOR OUTSTANDING BRITISH CONTRIBUTION TO CINEMA
The British Academy of Film and Television Arts (BAFTA) is delighted to announce that Tessa Ross will receive the Outstanding British Contribution to Cinema Award at the EE British Academy Film Awards ceremony at London’s Royal Opera House on Sunday 10 February.
The Outstanding British Contribution to Cinema Award is presented annually in honour of Michael Balcon. Previous recipients include Mike Leigh, Kenneth Branagh, Derek Jarman, Mary Selway, Ridley and Tony Scott, Working Title Films, Lewis Gilbert, and the Harry Potter series of films. Last year’s recipient was John Hurt.
John Willis, Chairman of BAFTA, said: “Tessa Ross has made an immense contribution to British cinema during her time at Channel 4. Tessa’s impeccable taste, and her passion for great writing and directing has shone through every film she has been involved with; she is an extremely worthy recipient of this important Award.”
Tessa Ross says: “It’s a surprise and a great honour to have been given this award by BAFTA. I owe it of course to the wonderful film makers I’ve had the privilege of working with – and to my team at Film4, with whom I share it. We’re very lucky to be so supported by Channel 4 and by David Abraham who continues tochampion our work. There are incredibly talented people working within our industry, as well as outside it – and 30 years ago Film4 was built to find these people, nurture them and help contribute to our British film culture. It’s a privilege to try to keep this idea alive.”
Tessa is the controller of Film and Drama at Channel 4, heading up feature film division Film4, which celebrated its 30th anniversary in November last year. Tessa and Film4 have built a reputation for developing and financing some of the most innovative and acclaimed British films which between them have amassed a large number of prestigious awards.
Tessa is a champion of the British film industry. She nurtures filmmakers in their first feature films such as Stephen Daldry’s Billy Elliot, Chris Morris’ Four Lions, Steve McQueen’s Hunger, Paddy Considine’s Tyrannosaur, Martin McDonagh’s In Bruges, Joe Cornish’s Attack the Block, Sam Taylor-Wood’s Nowhere Boy and Richard Ayoade’s Submarine, amongst many others. She also has developed longstanding working relationships with established British filmmakers such as Danny Boyle, Shane Meadows, Mike Leigh, Michael Winterbottom, Roger Michell and Kevin Macdonald. Together they have worked on some of the most critically-acclaimed and award-winning films of the last decade including Slumdog Millionaire, The Last King of Scotland, This Is England and Happy-Go-Lucky.
Forthcoming releases see her working with Danny Boyle on Trance, Richard Ayoade on The Double, Michael Winterbottom on The Look of Love, Steve McQueen on Twelve Years a Slave, Kevin Macdonald on How I Live Now, Jonathan Glazer on Under the Skin, Lenny Abrahamson on Frank, Clio Barnard on The Selfish Giant, Shane Meadows on his Stone Roses documentary, and Anton Corbijn on A Most Wanted Man. Recent Film4 films Seven Psychopaths, The Imposter and The Curse are nominated this year in the Outstanding British Film, Outstanding Debut, Documentary and Short Film categories respectively.
BERBERIAN SOUND STUDIO PICKS UP MOST WINS AT 2012 BRITISH INDEPENDENT FILM AWARDS
Peter Strickland’s Berberian Sound Studio picked up the most wins at the 2012 British Independent Film Awards last night Sunday 9th December.
The film won four Moët British Independent Film Awards in the following categories:
Best Director - Peter Strickland (Berberian Sound Studio) - WINNER
Best Actor - Toby Jones (Berberian Sound Studio) - WINNER
Best Achievement in Production - Berberian Sound Studio - WINNER
Best Technical Achievement - Joakim Sundström, Stevie Haywood AMPS IPS - Sound Design (Berberian Sound Studio) - WINNER
|Berberian Sound Studio Poster|
Winner of the Best Film, Best Director and Best Actor awards at the 2012 Film 4 Frightfest, Peter Strickland’s disturbing, eerie chiller is a must-see for fans of the work of Dario Argento, Roman Polanski and David Lynch and features a revelatory central performance by Toby Jones and a superb soundtrack by British indie electronic band, Broadcast.
The soundtrack to Berberian Sound Studio, composed by renowned Warp-signed band Broadcast (aka Trish Keenan and James Cargill) is released a week later, on Jan 7th 2013. Time Out said of the film that the “stylistically ambitious, morally radical, thematically complex work…deserves the highest praise”. This turns out to also be an apt description of the film’s sublime soundtrack.
Initially conceived as the soundtrack to The Equestrian Vortex, the film-within-a-film (watch opening credits here: http://youtu.be/H7zIfUwwoQ0) around which Berberian Sound Studio unfolds, it would eventually spill outwards to encapsulate the entire world Strickland had created and populated with eccentric, magnetic characters. On it’s own, the music sets a sinister and atmospheric tone that still exists well within Broadcast’s sonic universe.
Berberian Sound Studio is release on DVD & Blu-Ray and VOD 31 Dec 2012 and is available now on Curzon on Demand.
The Establishing Shot: FILM SCHOOL NEWS
LONDON FILM SCHOOL LAUNCHES INDEPENDENT FILM MASTERS PROGRAMME WITH UNIVERSITY OF EXETER STARTING SEPTEMBER 2013, APPOINTS ANGUS FINNEY AS COURSE LEADER.
The London Film School announced in Berlin that it is open for applications for its new one-year Masters programme in Independent Film Business, a degree awarded by University of Exeter and taught in London and Exeter. Angus Finney former director of Renaissance Films, project manager of the Film London Production Finance Market, and author of The International Film Business: A Market Guide Beyond Hollywood, and a further four books on production, distribution and financing, has been appointed lead tutor on the programme alongside course co-ordinator Will Higbee of the University of Exeter.
The MA degree aims to equip students with a complete grounding in distribution history and structures, the entertainment value chain and international film markets. In addition, business tools for a career in independent film will be delivered by the Exeter Business School, incorporating visits to a major film festival, personal mentors and a final project in production or distribution built around LFS graduation work and independent film companies in London.
The producer Scott Meek will chair an Advisory Panel for Production studies at the London Film School, which will support teaching and mentorship on the MA Independent Film Business.
"This is a new kind of producers degree which also works for distributors, programmers, sales agents and business affairs executives" said LFS Director Ben Gibson, "It starts from the realisation that the producer's job is as much about markets and business as it is about material and shooting."
"The LFS and Exeter are offering a compelling, focussed and highly relevant course for future practitioners dedicated to a career in the independent film business," said Angus Finney. "Our ambition is to consistently populate the sector with some of the brightest and most informed players who grasp both current market demands and capture future value."
"The Masters programme aims to combine teaching expertise from world-class researchers in film and business studies at the University of Exeter, with the LFS's detailed knowledge of, and direct relationship to, the industry,” said Will Higbee. “Our students will benefit from a series of historical, theoretical and practical perspectives that will equip them with the right skills to succeed as the next generation of independent producers. We are proud and excited to be collaborating with the LFS on such a genuinely innovative Masters programme."
The LFS will be presenting the second edition of its pan-European workshop Making Waves during the Berlinale. Participants are from LFS, La Fémis, Paris, dffb Berlin, ESCAC Barcelona, the Theatre and Film Academy, Bucharest, the Wajda School, Warsaw and the Columbia University School of the Arts New York. It is funded by the EU Media Programme. Angus Finney will be presenting on a Making Waves session on current distribution and exhibition of film on the internet on the morning of Tuesday 12th February, together with Tom Dercourt of La Septième Salle and Defacto Films and Lucie Kalmar of Festivalscope and Mômerade.
BAFTA NOMINATION FOR LONDON FILM SCHOOL MURIEL D'ANSEMBOURG'S GOOD NIGHT & A RECORD NUMBER OF LFS SHORT FILMS NOMINATED IN THE LONDON SHORT FILM FESTIVAL
2011 LFS MA Filmmaking graduate Muriel d’Ansembourg has been nominated for a BAFTA Award for her graduation short Good Night. The film was produced by Eva Sigurdardottir
Good Night won the Jury Award at the Palm Springs International Short Film Festival 2012 and Best Student Film at the California Independent Film Festival 2012 and has been selected for numerous other festivals including the CFC Worldwide Short Film Festival 2012, the International Short Film Festival Leuven 2012, the Santa Fe Independent Film Festival 2012, Prague International Short Film Festival 2013 and the London Short Film Festival 2013
This is the second year in a row that a London Film School graduation film has received a BAFTA nomination. Arash Ashtiani’s Only Sound Remains was shortlisted in 2012.
London Film School films have been hugely successful on the festival circuit in recent months. Ten films are currently playing at the London Short Film Festival – a record number. As well as Good Night, these are Early Birds (Jereon Bogaert),The Eternal Not (Joe Spray). Glitter and Storm (Rebecca E. Marshall), Skin (Janina Vilsmaier), Outland (Adina Istrate), Dinner and A Movie (Ben Aston), Waking at Dawn (Onyinye Egenti), Saturday (David Anderson) and Step Right Up (Benjamin Bee), following numerous international festival outings. Early Birds has been shortlisted for the British Council Award for Best UK Short Film at the festival, following official selections at Palm Springs, San Sebastian, San Franciso and the BFI London Film Festival.
Over the next months Clara Kraft Isono’s graduation film Achele will be playing in competition in Clermont-Ferrand, 2011 graduate Aygul Bakanova is participating in the Cannes Residence Programme and many graduates are involved in key roles in upcoming feature films, including Film London Microwave project Borrowed Time, directed by Jules Bishop, produced by Olivier Kaempfer and shot by David Rom, all LFS MA Filmmaking graduates.
Ben Gibson said, "It's wonderful to see this recognition of talent coming through LFS – a BAFTA nomination and ten films selected for this year's London Short Film Festival shows the depth of the talent pool. LFS is a far-reaching, international community of graduates – and we are big in the UK too. These are exciting new names forging careers from London”.
The Establishing Shot: FILMMAKING
SAMUEL L. JACKSON GIVES ADVICE TO FILMMAKERS OF THE FUTURE
We missed this on release back in January but it is still worth watching - here is some advice for Samuel L. Jackson for budding filmmakers.
Just before the deadline of the fifth annual Jameson Empire Done in 60 Seconds short film competition, Jameson got to sit down with Hollywood legend, Samuel L. Jackson to get his advice for people entering the short film competition.
As well as discussing details of his own break into the industry and why he thinks it’s important to support emerging filmmaking talent, Jackson says the short film format teaches you to work quickly within a timeframe and a budget, and if you can do that then you’ll go far! As far as his own film repertoire goes, Jackson suggests The Red Violin would be the one he would pick to re-work in the 60 second format. As well as sharing a few pearls of wisdom for prospective contestants, Samuel L. Jackson also discusses Joss Whedon’s intricate knowledge of the comic book world.
For more information on Jameson Empire Done in 60 Seconds or to enter the competition, go to http://www.jamesonempirediss.com/
SUNDANCE LONDON SHORT FILM COMPETITION DEADLINE LOOMS THURSDAY 28 FEBRUARY 2013
Based around the concept of time, in reference to the Festival's Greenwich location, the home of Greenwich Mean Time, we're inviting UK filmmakers to submit their interpretation of The Time Is Now; a story that is about being immediate and in the moment in any way they choose.
The films are to be between 3 and 5 minutes in length and can be a documentary, animation, live action, comedy, drama or any other preferred format or genre.
Entries close midnight (GMT) Thursday 28 February 2013.
For more information and to enter visit: http://competition.sundance-london.com/
2012 HOUSE SHORTS COMPETITION WINNER ANNOUNCEMENT AT SOHO HOUSE NEW YORK
Last November Soho House announced the winner of the House Shorts film competition, a platform committed to discovering the next generation of film makers from across the UK, USA and Germany. James Kibbey was crowned the winner at a screening and announcement ceremony at Soho House New York, attended by the nine finalists, as well as Hollywood actress Jessica Chastain – who was part of the judging panel for the competition.
Jessica Chastain who announced James as the House Shorts 2012 winner with his submission "House Cocktail" said: "I picked House Cocktail because of the playfulness, creativity and relationships established in the short."
|Jessica Chastain James Kibbey House Shorts|
|Jessica Chastain House Shorts Soho House|
Guests were treated to Bombay Sapphire Cocktails at the newly refurbished private members’ club and bedrooms in Manhattan’s Meatpacking District. The house covers six floors and is built over 45,000 square feet of a converted warehouse building in Manhattan’s vibrant Chelsea area. The club offers extensive amenities including; the Restaurant, Club Bar, Drawing Room, Pantry Bar, a 44-seater cinema, Cowshed Spa and a heated rooftop pool. In addition, Soho House New York has 26 spacious bespoke designed rooms.
As a result of winning House Shorts 2012, James will now receive a series of ‘money can’t buy’ private mentoring sessions with each of the esteemed judging panel, providing guidance that will help shape his career, as well as full international Soho House membership. James will also benefit from international exposure, as his film will be screened across all Soho House cinemas and screening rooms worldwide, plus receive support from the House Shorts Industry partners; BAFTA (particularly with promotion through guru.bafta.org), The Hollywood Reporter and Bombay Sapphire.
The Establishing Shot: FILM FESTIVAL
ANDY SERKIS DISCUSSES JAMESON CULT FILM CLUB EVENTS IN 2013
In the short video below Jameson Cult Film Club curator Andy Serkis cryptically discusses some thoughts on the next films to be screened by the film Jameson Cult Film Club.
The Jameson Cult Film Club have subsequently revealed the films titles but can you guess what they are without looking?
27 February 2013 - Reservoir Dogs - Camp & Furnace, Liverpool
28 February 2013 - Reservoir Dogs - Gibb Street Warehouse,Birmingham
10th April 2013 - The Silence Of The Lambs - London
For tickets head over to: https://www.facebook.com/jamesoncultfilmclub
5TH OKINAWA INTERNATIONAL FILM FESTIVAL WELCOMES JOEL SCHUMACHER AS JURY
Yoshimoto Kogyo today announced the programs of the 5th Okinawa International Movie Festival (OIMF) through a press conference held at its Tokyo office. With Takashi Fujii and Ayako Kisa hosting the conference, total of 19 comedians, actor/actress and model, along with Yoshimoto Kogyo CEO Hiroshi Osaki and OIMF category leaders, joined to represent the festival held from Saturday March 23 to Saturday 30 at Okinawa Convention Center as the main venue.
Joel Schumacher, director of “Batman Forever (1995)” and “The Phantom of the Opera (2004),” will perform as the president of jury for the movie festival. Other juries for the Laugh/Peace Category are actress Kaori Momoi, artist Demon Kakka and Canadian director Claude Gagnon.
Osaki started off the hour long conference, “Our employees are taking this as a miracle that we have come to announce the 5th event. New categories have become productive. All in all, we are delighted that people in Okinawa care this event. We hope to send out variety of information from Okinawa to all over Asia”.
Under the concept of “Laugh & Peace”, Osaki have pointed on deepening the ties with many people in Okinawa as one of the themes in celebrating the 5th event. The main competition category, along with the annual Laugh/Peace Category, has newly created “Creator’s Factory” to find new creator and talent and “Nibichi Movie Festival” to honor the best wedding videos from Okinawa. The other keyword would be Asia as Okinawa Contents Bazaar aims to be the “Asian Entertainment Gateway” through business meetings that entertainment-related companies such as CAA (USA) and SMG (Shanghai) will be joining.
LIST OF FILMS ANNOUNCED
Jury - Korea, 2012
The Complex - Japan, 2013
Jack The Giant Slayer - USA, 2013
Geinin The Movie - Japan, 2013
Genge - Japan, 2013
Saranair Osekai - Thailand, 2012
Bitch - Japan, 2013
Flicker - Sweden, 2012
Cha Cha for Twins - Taiwan, 2013
Mental - Australia, 2012
Architecture101 - Korea, 2012
Jellyfish - Japan, 2013
Jyokyo Monogatari - Japan, 2012
The Death Match : Fighting Fist Of Samurai Joe - Japan, 2013
The Happy Life Of Debbie - Taiwan, 2012
Naitara Akande Tsutenkaku - Japan, 2013
Beasts Of The Southern Wild - USA, 2012
Barfi! - India, 2012
I Am The King! - Korea, 2013
7 days Report - Japan, 2013
For more information, please check the official website of the 5th OIMF: http://www.oimf.jp/en/entry/
STEAMY THRILLER 247°F TO PREMIÈRE AT GRIMMFEST!
The hottest high concept thriller of 2013, the brilliantly suspenseful ‘247°F’ is set to première at one of the greatest UK horror festivals around - ‘Grimmfest’ -alongside the Elijah Wood-starring remake of ‘Maniac’ on Thursday 7th March, before it's release on DVD & Blu-ray on 18th March through Anchor Bay UK!
Based on true events, this sweltering suspenser follows a trio of trim, toned twenty-somethings that become trapped in a sauna. With the temperature rising and no sign of escape, a wild, hot and steamy weekend of “bare babes and brews” soon turns into a primal fight for survival! At 190°F, their skin will sear. At 200°F, their lungs will burn. At 212°F, their blood will boil. At Grimmfest, the temperature is headed for 247°F!
For further details on the Grimmfest première head to: http://grimmfest.com/grimmupnorth/2013/01/maniac-247f/
DFI UK CINEMA SHOWCASE AT THE MIA
In partnership with the British Council and Qatar Museums Authority to celebrate Qatar UK 2013
Doha Film Institute’s (DFI) year round film series launches an exciting programme of public screenings that will open with the Qatar Premiere of the British classic The Red Shoes (1948; dir. Powell & Pressburger) at the Museum of Islamic Art (MIA), on Thursday, February 28th in celebration of Qatar-UK 2013.
In partnership with the British Council and the Qatar Museums Authority to celebrate Qatar UK 2013, Doha Film Institute presents the DFI UK Cinema Showcase at the MIA Auditorium - a series of monthly screenings throughout 2013 celebrating the power of classic and contemporary films from the British canon. Throughout the year certain screenings within the showcase will be attended by British filmmaking talent, and since Qatar-UK 2013 is a reciprocal initiative, DFI will also create a series of opportunities to bring Arab and more specifically, Qatari filmmaking talent to the UK. This celebration of UK film culture will culminate in a special section of programming at the 2013 Doha Tribeca FilmFestival.
Academy Award winner, The Red Shoes, is the classic tale of a young ballerina torn between her art and her romance with a young composer. Created by Michael Powell and Emeric Pressburger, it is the quintessential backstage drama and dance film, as well as one of the most glorious Technicolor feasts ever created. The beloved classic has been restored for new generations to experience and lives on as an enthralling tribute to the life of the artist and a milestone work of British cinema.
A true classic in every sense, The Red Shoes takes you behind the scenes of the entrancing art of ballet in its golden age. The incredible performances, magical music and choreography, and mesmerising cinematography exceptionally demonstrate the well-earned Academy Awards® for Best Art Direction and BestMusic. As well as the many nominations and awards bestowed upon the film, The Red Shoes is rated in the top 100 list of British films by the British FilmInstitute. Martin Scorsese also famously introduced a restored version of the film when he served as honorary president of the Cannes Classics section at the film festival in 2009.
Mr Abdulaziz Al-Khater, Chief Executive Officer, Doha Film Institute, said: “The Qatar-UK initiative is an exciting opportunity for us to celebrate the breadth and quality of British filmmaking with local audiences. There is clearly a demand for great films that showcase the best in international cinema and enhance film appreciation here in Doha.”
Martin Hope, Director of the British Council, said: “We are delighted to be involved in developing the programme and to have some of our most celebrated films shown and appreciated by the people of Qatar. In addition, this reciprocal initiative will see films from the Arab world and Qatar screened in the UK,providing new insights into regional filmmaking for UK audiences. We look forward to working with DFI and to promoting mutual awareness between our two nations.”
Commenting on the importance of the programme Miguel Blanco, Director of Strategic Cultural Relations, Qatar Museums Authority, said: “Qatar UK 2013 aims to celebrate our two nations through theshared love of arts and culture. The showcase of British filmmaking at the Museum of Islamic Art is an excellent example of the exiting world-class events that will take place in Qatar and across the UK during the year.”
There will be three screenings of The Red Shoes at the MIA Auditorium. The opening night will take place from 6:00pm on Thursday, February 28th with the screening at 7:30pm. The other screenings will take place on Friday, March 1st at 4:00pm and at 7:00pm. Tickets are now on sale at www.dohafilminstitute.com and starting Saturday, February 23rd at the MIA DFI Ticket Outlet (see below for opening hours and location). Tickets are priced at QAR 35 for general public and a special discounted rate of QAR 25 for students.
The DFI UK Cinema Showcase will run monthly until Fall 2013 as part of Qatar-UK 2013 and will also be featuring screenings of Shallow Grave (1994; dir. Danny Boyle), Kes (1969; dir. Ken Loach) and The Bridge on the River Kwai (1957; dir. David Lean). This programme builds on last year’s showcase of Japan’s rich and diverse cinematic traditions as part of Qatar-Japan 2012, celebrating of 40 years of diplomatic relations between the two countries.
For more information, please visit www.dohafilminstitute.com and look out for the next instalment of screenings for the coming months.
BARRY LEVINSON'S ECO-HORROR THE BAY TO PREMIÈRE AT GLASGOW FRIGHTFEST!
From Academy Award-winning director Barry Levinson comes a brutal and harrowing creature feature for the 21st century which graphically chronicles the descent of a small town into absolute terror. Focusing on the quaint coastal town of Claridge, Maryland that thrives on the safe, tranquil and abundant waters of Chesapeake Bay, a gruesome plague is unleashed during their annual Independence Day celebrations, quickly infecting the residents and turning them against each other. Gross, disturbing, creepy and chilling, yet punctuated by a dark sense of humour, ‘The Bay’ is true issue-raising nightmare horror!
|The Bay Film Poster|
For further details on the Glasgow FrightFest screening head to: http://www.frightfest.co.uk/Films/2013Glasgow/glasgowfrightfeg.html
ARAB FILMMAKERS SAY DRAWING ON PAST GIVES NEW PERSPECTIVE TO CURRENT REALITIES
Panel discussion of four directors in Arab Film Competition of DTFF highlights their perseverance and passion for cinema
While several Arab filmmakers today draw on the past for inspiration, they say that the painful settings used as subject material is not about tapping into nostalgia but about interacting with the present and making new discoveries of the society they live in.
The filmmakers, addressing a panel discussion with the media at the fourth Doha Tribeca Film Festival (DTFF), the annual cultural event of Doha Film Institute (DFI), also shared a unified approach to filmmaking marked by painstaking research, a steadfast zeal to undertake their projects and a passion for cinema.
Directors Joana Hadjithomas and Khalil Joreige, whose documentary The Lebanese Rocket Society is screening in the Arab Film Competition at DTFF, undertook a 12-year-long research for the project about Lebanon launching the first rocket in the Middle East in the 1960s.
“The project was inspired by a postage stamp, and over the course of research we came across several people who were involved with the event,” said Joana. However, for the filmmakers, the challenge was to re-enact the settings for which they had to negotiate with the concerned authorities for over nine months. “There was no nostalgia. We were reenacting the events in the present,” added Khalil.
For Tamara Stepanyan, the director of Embers, the journey was more personal, as she traced back her own lost childhood through the memories of her grandmother unveiled in conversations with her elderly friends in her hometown in Armenia. The filmmaker had left Armenia when she was 11 years old, and through the film she was also re-discovering the country, in addition to the notions of “generations, loss and missing.”
“Ultimately, the documentary evolved as a dialogue between generations, and in the process I discovered a part of my life that I had lost. I believe that every documentary is a fight – internal and external – as a well as a dialogue or even a monologue,” she said.
Maggie M Morgan, the director of the Egyptian feature narrative Asham: A Man Called Hope, said that her film is a spontaneous take on society around her, unveiled through the lives of six couples. She said her film is not political and does not condemn or condone the events that were happening, during the period of restlessness in the lead up to the 25 January Revolution. Through collective stories, the film brings diverse perspectives of how people responded to the confusing realities around them.
Mahmoud Ben Mahmoud, the Tunisian director of Professor, which examines the state of human rights in the country during the 1970s, said the film was conceptualized before the revolution, adding that he received support from the Ministry of Culture even though a script screening committee was delaying the go-ahead. He said finding funding for the film was the biggest challenge, which also delayed its making.
JAMES McAVOY TO PLAY MACBETH IN JAMIE LLOYD’S INAUGURAL PRODUCTION FOR TRAFALGAR TRANSFORMED
BAFTA winning and Golden Globe nominated actor James McAvoy (The Last King of Scotland, Atonement, X-Men) will star in Shakespeare’s Macbeth, Jamie Lloyd’s (Donmar’s Passion, Broadway’s Cyrano de Bergerac, the Old Vic's The Duchess of Malfi, Royal Court’s The Pride) inaugural production in a season of work for Trafalgar Transformed. Macbeth will be staged at Trafalgar Studios from 9 February until 27 April, with press night on 19 February 2013. Design for Jamie Lloyd’s season is by Soutra Gilmour, who won the 2012 Evening Standard Award for Best Design for Inadmissible Evidence at the Donmar Warehouse, directed by Lloyd, and Antigone at the National Theatre. Further casting will be announced shortly.
Jamie Lloyd’s production will see Shakespeare’s darkest tale play out in a dystopian Scotland brutalised by war. Under a toxic fog, Macbeth begins his tormented struggle for power fuelled by ambition and paranoia.
All tickets will be £15 on Mondays. Half of these will be made available through a special outreach scheme led by Ambassador Theatre Group Creative Learning Department, targeted towards schools and first-time theatregoers. The other half will be released monthly to the public on the first day of each month, starting on 1 February 2013, and will be available online or at Trafalgar Studios box office. Additionally, day seats will be available at £10 for all performances, Tuesday through Saturday.
|James McAvoy (Macbeth) & Kevin Guthrie (Lennox) in Macbeth, Trafalgar Studios, Photo Johan Persson|
|James McAvoy (Macbeth) & Claire Foy (Lady Macbeth) in Macbeth, Trafalgar Studios, Photo Johan Persson|
Performances: Monday – Saturday at 7.30pm Thursday & Saturday at 2.30pm
Ticket prices: £10 - £54.50
A LATE QUARTET FILM JOINS DIGITAL MUSIC SERVICE RDIO TO PROMOTE DVD RELEASE & ORIGINAL PLAYLISTS
To coincide with the DVD release of A Late Quartet, for the first time, a movie studio has created an account in digital music - on the hot music streaming service Rdio - to promote a film and the music. Fox has created an Rdio account for the film A Late Quartet, which features the soundtrack as well as playlists from the director, a member of the cast and the Brentano String Quartet, as well as a classical music playlist for jogging. Please see the information and playlist embed codes below and let me know if you can cover. Thank you!
In A Late Quartet, Director/Writer/Producer Yaron Zilberman brings to the screen the story of a world-renowned New York based string quartet whose members struggle to stay together on the eve of their 25th anniversary season. The film stars Philip Seymour Hoffman, Christopher Walken, Catherine Keener, Mark Ivanir, Imogen Poots, and Nina Lee, the cellist of the Brentano Quartet who was casted as to play the student of Walken’s character. Zilberman collaborated with Director of Photography Fred Elmes (Blue Velvet, Ice Storm, Broken Flowers), Composer Angelo Badalamenti (Mullholland Drive), Editor Yuval Shar (Watermarks), and the dynamic Brentano String Quartet to achieve the artistic vision he aspired for in A Late Quartet.
From the Emerson String Quartet to Leonard Bernstein, Zilberman shares his classical music recommendations in a playlist exclusively on Rdio.
Brentano String Quartet cello player Nina Lee shares her iPod playlist on Rdio representing L’Archibudelli, Busch Quartet and Roberta Flack to name a few.
A Late Quartet follows Zilberman’s first film, the award-winning feature length documentary Watermarks, co-produced by HBO and ARTE, which had successful North American and international theatrical releases. The film centers around the champion women swimmers of the legendary Jewish sports club Hakoah Vienna, who reunite in their 80′s to swim together one more time in the city they were forced to escape 65 years earlier when the Nazis marched into Austria. Watermarks won numerous international awards, including at the Palm Springs International Film Festival, Viennale, Jerusalem, and Paris Cinema Film Festivals.
TASCHEN GOES DIGITAL
You love your gadgets, and we love them too. Now you can experience TASCHEN on your iPad and iPhone! Introducing our brand new iPad app, with our latest magazine featuring our newest highlights and up-to-date information about bestsellers, new titles, and upcoming titles. Just click here! and it’s yours.
But that’s not all! We also are proud to announce two spanking new eBooks for both iPad and iPhone:
The Fairy Tales of the Brothers Grimm. For adults and children alike, this eBook rekindles the eternal magic of the Grimms’ 9 most beloved tales. All fairy tales can be read aloud and we’ve also included 16 animated illustrations and more by famous artists from Europe in a unique format pairing one tale with one artist. Click here! to get your free sample.
The New York Times, 36 Hours: 150 Weekends in the USA & Canada including interactive Google Maps to help you find addresses instantly—the perfect pocket travel guide! Special eBook features include the ability to save phone numbers to your contacts on your iPad or call on your iPhone, as well as links take you to websites directly.
Click here! to get your free sample.
FILMCRAFT: PRODUCING RELEASED EARLY 2013
Responsible for hiring all members of cast and crew from the director onwards, the producer’s role is central to the making of any film and responsibilities can include everything from script development to securing financing to masterminding a film’s marketing campaign. While few film producers are household names, they wield a degree of control that only the biggest-name directors can aspire to. As with all of the FilmCraft titles, this book is based on new indepth interviews and features such greats as Tim Bevan, Marin Karmitz, Jeremy Thomas, Jon Kilik, Lauren Shuler Donner, Jan Chapman, and Peter Aalbæk Jensen.
|Filmcraft: Producing Tim Bevan|
The producer’s role is not one that can be fully learnt in an academic context, through extensive interviews and arresting visual material this book will give readers insight into the many qualities needed to become a great producer – from great showmanship to a keen instinct for marketing – and shares the unexpected career paths of the greats, including TV camera operator (Lauren Shuler Donner) to rock music roadie (Peter Aalbaek Jensen).
A must for all students, practitioners and cinephiles Producing features such masters as Ted Hope, Tim Bevan, Eric Fellner, Jon Landau, Jan Chapman, Ed Pressman and Bill Kong.
-Illustrated with sumptuous film stills, as well as visual material from the contributors’ personal archives.
-Includes supplementary legacies of some of the greatest producers of the 20th century – Michael Balcon, David O. Selznick, Dino De Laurentiis, Erich Pommer and Alexander Korda.
-Covers international differences in producing roles – from huge studio productions to American independent cinema, through to the craft of the United Kingdom, Europe, and Hong Kong.
For more info: http://www.ilex-press.com/books/filmcraft-producing/ or Amazon
|LA Noir: Tales From The Gangster Squad|
Based on his hugely popular Los Angeles Times column 'LA NOIR: TALES FROM THE GANGSTER SQUAD', this is the true story of a brutal secret police team operating in 1950s Los Angeles. It has inspired the major new Warner Brothers film of the same name, starring Ryan Gosling and Emma Stone.
Using hundreds of interviews with everyone from anonymous LAPD foot soldiers to the families and associates of those they pursued, Lieberman stitches together the story of Jack O'Mara, his dangerous colleague Jerry Wooters and their anything-goes war with arch-criminal Mickey Cohen and his budding rival Jack 'The Enforcer' Whalen.
Stake-outs, shoot-outs and even the famous Black Dahlia murder case, this is ice-cool narrative non-fiction at its best - and the basis for a huge and Warner Brothers film of the same name.
GANGSTER SQUAD: COVERT COPS, THE MOB, AND THE BATTLE FOR LOS ANGELES QUESTION-AND-ANSWER SESSION WITH AUTHOR PAUL LIEBERMAN
Q: Anyone who sees the trailer for Warner Bros.’ movie version of “Gangster Squad” might think this is a classic cops-v.-robbers tale with lots of shootouts. But the book is much more, isn’t it?
Yes, absolutely. On the surface, sure, it is the tale of two Los Angeles police veterans who become obsessed with the showboating mobster Mickey Cohen as he causes havoc in the city in the years after World War II. Then another rising gangster tries to move in on the rackets, Jack “the Enforcer” Whalen, a powerful Irishman who prided himself on being so tough he didn’t need a gun…
…and dreamed of making it in Hollywood, as an actor, right?
Correct—the feared “Enforcer” yearned to be a cowboy in Westerns. He might have realized his dream had he not stormed into the restaurant that served as Mickey’s hangout in the closing days of the ‘50s. That’s when a bullet between the eyes upended the lives of all the main characters and, I argue, ended an era in Los Angeles. That’s the basic story. But the bigger picture involves the worldview that dominated L.A. as it grew into a giant, modern city that supposedly embodied the American Dream.
That broad theme centers on the city’s own self-image, right?
For decades, city fathers had a paranoid obsession with gangsters invading from elsewhere to despoil their sun-washed paradise. L.A. was the city of eternal sunshine and self-invention, the City of Angels. Gangsters belonged in the cesspool cities back east. You heard this notion in L.A. going back to the 1800s and it was the impetus for forming the Gangster Squad in 1946. One crime report actually had a section titled “The Invasion of Undesirables.” In sum: evil came from without, not within.
And that same delusion applies to your main characters, the cops, as individuals.
Yes. This was the period when a popular TV show “Dragnet” was glorifying the LAPD – the hero, Sgt. Joe Friday, lived with his mother! But the real cops were complicated men, not so pure. The main one, Sgt. Jack O’Mara, was his church’s head usher on Sundays but other days was not so godly while he tried to combat hoods such as Cohen and Jack Dragna, the Sicilian who headed the local branch of the Mafia…
O’Mara took such characters up into the hills, putting guns in their ears…
…and squad members were always breaking into their homes to plant listening devices, all without warrants. They even helped Jack Webb, the producer and star of “Dragnet,” bug his estranged wife.
One bug was planted right inside Mickey’s TV – it was amazing how O’Mara pulled that off…
The same with how others bugged the bed of Dragna’s mistress. They couldn’t get the Mafia boss for ordering murders so they got him for deviant sex acts, actually stuff regularly depicted in movies today.
Is it true that Los Angeles was never able to get a conviction in a mob hit for more than half a century?
People raised in the post-“Godfather” era have no idea how little America knew about the mob then. The country’s top lawman, J. Edgar Hoover, head of the FBI, for ages refused to acknowledge there was a national crime network. He set his agents after bank-robbing desperados like Pretty Boy Floyd and John Dillinger, but not the Mafia. That spurred great tension between Hoover and Los Angeles police – the LAPD formed its Gangster Squad a full decade before he was forced to acknowledge the threat of organized crime after hoods from around the country were discovered meeting on a ranch in upstate New York.
What’s more, the Mafia still was ruled by an unwavering code of silence, omerta. The first insider to spill its secrets, Joe Valachi, did not surface until the 1960s. The code of silence was a prime reason the city was unable to get a conviction in a mob rubout. The first real one does not come until the killing that culminates “Gangster Squad,” of Jack Whalen. And then nothing is as it seems. “Noir” takes over.
How do you put it? “Truth is not found in the sunlight…”
…and justice is not obtained in a marble courthouse.
And so justice finally catches up with Mickey Cohen…
They’ll have to read the book.
That involves a fascinating figure we’ve never heard of before, Jack Whalen’s father, a pool shark and conman known as “Freddie the Thief,” a colorful character right out of the movie “The Sting.” His trek from the Midwest to Los Angeles in 1922 kicks off your story. Obviously there are all sorts of records to document the life of a Mickey Cohen but how did you learn so much about this clever conman?
I had three researchers helping over the years and we found details of Freddie Whalen’s schemes stashed in various court archives. More importantly, his daughter was still alive up in Oregon, nearing 90, and she was proud of having helped in his most clever con, in which he would go to hospitals posing as a doctor who liked to bet on horse races, the start of a scam that victimized bookies around the country.
But you caution us several times that family lore is not always reliable.
It’s not—that’s why you get thousands of pages of records. The second main cop, Sgt. Jerry Wooters, supposedly had been shot down over the Pacific during World War II and left floating in a raft. But you better believe I got his complete military file just to make sure that happened. It did.
You also seem to have been obsessed with finding witnesses to the shooting that’s the climax to the book, after Jack “the Enforcer” marches into Rondelli’s to confront Mickey and his men.
That killing was a grossly underreported moment in Los Angeles history. It barely got a mention in accounts of Mickey Cohen’s life. So I tracked down everyone I could – from the two cops sitting in a police car outside, to the striptease dancer who had a date to meet Mickey’s crew, to two of the associates at his table that night, one of whom now insists that Mickey himself…well, you’ll have to read it. But most significantly, the night is the payoff for the trap that my main cop, O’Mara, set a decade before when he secretly marked all of Mickey’s guns in case they someday showed up at a murder.
Why do you call that killing the end of as era?
For starters, Los Angeles finally gets a conviction in a mob rubout, even if it’s not all it seems. And court decisions begin to spell an end to anything-goes policing, which is why O’Mara quits the force. “It just got to be no fun anymore,” is how he put it. The inner city is about to erupt in riots – the days of White Men Rule are coming to a close. All the cultural changes of the ‘60s are around the corner too. Even the onset of color television is worth pondering – no more seeing the world in black-and-white.
Is it true that one of the old cops, the original bug man, refused to talk to you for a decade?
Yes, Con Keeler. He never said why he finally decided to talk and share his secrets. I never asked, either.
The book’s cover says the true tale “inspired” Warner Bros.’ upcoming movie of “Gangster Squad.” Is that an acknowledgement that a lot of license was taken in the film in the name of cinematic drama?
Short answer, yes. The characters are there: O’Mara is played by Josh Brolin, Wooters by Ryan Gosling and Mickey by Sean Penn. But it’s a Warner Bros. gangster film. That studio was behind the old classics of the genre staring James Cagney, Humphrey Bogart and the like. So the film also is a riff on the genre, meaning there’s a lot more violence than in real life. O’Mara did sleep with a Tommy gun under his bed but the squad didn’t have the wild shootouts you’ll see in the film. One of O’Mara’s daughters is unsettled by the violence but his other daughter attended a lot of the shoot and was fine with it. “It’s a movie,” she noted.
The movie is set in 1949, the year Warner Bros. released one of its greatest gangster films, “White Heat,” in which Cagney plays a deranged hood a bit too close to his mother. The famous last scene has him high atop an oil refinery, where he shouts as it blows up, “Made it Ma! Top of the world!” That too was cinematic invention, not real life. I think audiences understand the difference.
But real-life violence did force the studio to postpone release of the film.
A major scene had the bad guys lurking behind a movie screen showing a John Wayne film, then blasting away at the Gangster Squad with their own Tommy guns. Then came the real tragedy in Colorado this past summer in which a deranged graduate student killed 12 people at a showing of the new “Batman” film. Warner Bros. wisely decided to scrap the film’s theater scene and reshoot a whole new ambush, now set in Los Angeles’ Chinatown. That meant a four month delay in the release, until January.
Any good gossip from the set?
The book’s Afterword deals with the filming, mostly the interaction between the real cops’ families and the Hollywood spectacle. But Ryan Gosling does tell a good story on Sean Penn while Sean was getting into character playing Mickey Cohen. The ingénue Emma Stone figures in the story too. Check it out.
You suggest that Mickey Cohen was a modern figure ahead of his time, a publicity hound.
Indeed. He invited “Life” magazine to his home to take pictures of his fancy suits, his wife’s mirrored boudoir and the little bed used by their dog, Tuffy. He also went on television to insult Los Angeles’ police chief and the head of the Gangster Squad, calling them crooked degenerates. Taunting the cops was very stupid, to say the least. But today he’d have his own reality TV show, guaranteed.
The film version of GANGSTER SQUAD is at cinemas from January 11th 2013. Starring Sean Penn, Ryan Gosling and Emma Stone
The Establishing Shot: KICKSTART THIS
KICKSTART: LAST DAYS OF CONEY ISLAND BY RALPH BAKSHI
Groundbreaking Director Ralph Bakshi Returns with New Animation, New Characters, and New Stories in "Last Days of Coney Island Part One"! Hi. My name is Ralph Bakshi - the writer and director of such films as Fritz the Cat, Coonskin, Hey Good Lookin', Heavy Traffic, Wizards, American Pop, Cool World, Fire and Ice, and Lord of the Rings.
**UPDATE** Actor Matthew Modine Has Joined 'Coney Best known as "Pvt. Joker" in Stanley Kubrick's FULL METAL JACKET, Modine recently played "Deputy Commissioner Peter Foley" in Christopher Nolan's THE DARK KNIGHT RISES and can next be seen as John Sculley in jOBS, the Steve Jobs biopic starring Ashton Kutcher. Modine is no stranger to indie animation; having lent his voice to the Academy Award-nominated A CAT IN PARIS, MIA AND THE MIGOO, and two short films (SANTA, THE FASCIST YEARS and THE FLYING HOUSE) by Oscar-nominated animator Bill Plympton.
Head over to: http://www.kickstarter.com/projects/ralphbakshi/last-days-of-coney-island-0
The Establishing Shot: TV NEWS
DANIEL CRAIG AND JUDI DENCH NAMED TOP MOVIE STARS OF 2012 - SKYFALL PAIR VOTED BEST OF THE YEAR IN SKY MOVIES HD POLL
Bond stars Daniel Craig and Judi Dench have been named the nation’s favourite movie stars of 2012 in a new poll from Sky Movies HD.
The research, commissioned to celebrate the launch of the Sky Movies HD Christmas movie line up, asked over 1000 members of the UK public to choose their favourite actors and actresses from 2012. The results reflect those who have made the biggest impact with film fans over the past 12 months, highlighting another great year for film.
Daniel Craig, who has enjoyed record breaking success with the latest Bond film Skyfall, as well as a cameo appearance in this summer’s Olympic Games Opening Ceremony, won 26% of the votes for the male movie star of 2012. His co-star Judi Dench, who also starred in comedy The Best Exotic Marigold Hotel earlier in the year, garnered 27%, topping the female list of most popular actresses for the year.
After five films together, including this year’s Dark Shadows, it’s no surprise to see Johnny Depp and Helena Bonham-Carter together in second place with 11.5% and 10% respectively, proving Tim Burton is certainly on to a winner!
Answering the ultimate question, who would win out of Batman, Iron Man and the Men in Black, are the remaining entrants in the men’s top five with Will Smith in third (11.4%), Christian Bale in fourth (7%) and Robert Downey Jnr. following in fifth after his appearance in this summer’s highly successful Avengers Assemble.
2012 has been another great year for funny women, with Cameron Diaz (What To Expect When You’re Expecting) and Mila Kunis (Ted) coming joint third (both 6%), whilst Anne Hathaway completed the top five after a year of superheroes and singing with her recent roles in The Dark Knight Rises and the upcoming Les Misérables (5.7%).
The Woman In Black’s Daniel Radcliffe and The Hunger Games’ Jennifer Lawrence both narrowly missed out on top five positions despite having blockbuster hits. However they can still be seen, along with all of this year’s most popular stars, on Sky Movies HD this Christmas.
Whether it’s the latest blockbusters, family favourites or timeless classics, Sky Movies customers can enjoy the best line-up of movies this Christmas on the set-top box, on Sky’s comprehensive TV On Demand service and on Sky Go, the award-winning multiplatform TV service.
Ian Lewis, Director of Sky Movies, comments: “It’s been another bumper year for film and for Bond in particular – between the record-breaking successes of Skyfall and the appetite and appreciation for the complete Bond back catalogue on our dedicated channel Sky Movies 007 HD, we know Britain loves Bond and clearly the talents of Daniel Craig and Dame Judi Dench have no small part to play in this. We’re delighted to provide customers with a spectacular range of quality titles featuring all of the nation’s favourite stars all available to enjoy at a time that suits them this Christmas.”
For more information visit: www.skymovies.com
SHAWSHANK REDEEMED - THE SHAWSHANK REDEMPTION VOTED NATION’S FAVOURITE BEST PICTURE OSCAR® SNUB IN SKY MOVIES HD POLL -
Director Frank Darabont's uplifting 1994 prison drama The Shawshank Redemption starring Tim Robbins and Morgan Freeman has been named the best Oscar nominee to miss out on the prestigious Best Picture award according to new research carried out to launch the dedicated Sky Movies Oscars® / HD channel.
Sky Movies HD asked over 1,000 film fans across the UK & Ireland to vote on the 'Best Picture' Academy Award nominees that never won the Oscar to mark the launch of the channel, which will show Oscar winners 24 hours a day from Monday 11th February through to the channel's exclusive live UK broadcast of the 85th Academy Awards® on Sunday 24th February.
The Shawshank Redemption beat the same director's 1999 adaptation of The Green Mile starring Oscar favourite Tom Hanks, pulling in 13.1% compared with the second place 10.6%. Both dramas were adapted from original material from author Stephen King.
Despite being the biggest grossing film of all time, James Cameron's 2009 3D science fiction film Avatar failed to take away the 'Best Picture' award on the night. The film was however named in third place with voters with 6.5%, followed by Steven Spielberg's 1998 acclaimed graphic World War II drama Saving Private Ryan, fourth with 5.4%.
Spielberg's globally loved 1982 film E.T. the Extra-Terrestrial was voted in fifth position (4.9%), edging ahead of George Lucas' original 1977 game-changer Star Wars (sixth place with 4.5%), which would go on to begin the phenomenal franchise of sequels and prequels.
The 1964 London based Disney classic Mary Poppins starring Julie Andrews and Dick Van Dyke was highly commended by the UK public who voted the film in seventh place in the list (3.7%).
The remainder of the top ten list of ‘Best Picture’ Oscar Snubs tied in eighth place were Brit director David Lean's 1965 epic romance Doctor Zhivago, Quentin Tarantino's 1994 cult mobster film Pulp Fiction and Robert Mulligan’s classic 1962 adaptation of To Kill a Mockingbird, all bringing in 2.9% of the votes.
The Best 'Best Picture' Oscar Snub, as voted by the UK & Irish public for Sky Movies HD are:
1. The Shawshank Redemption (lost out to Forrest Gump in 1995) – 13.1%
2. The Green Mile (lost out to American Beauty in 2000) – 10.6%
3. Avatar (lost out to The Hurt Locker in 2010) – 6.5%
4. Saving Private Ryan (lost out to Shakespeare in Love in 1999) – 5.4%
5. E.T. the Extra Terrestrial (lost out to Gandhi in 1983) – 4.9%
6. Star Wars (lost out to Annie Hall in 1978) – 4.5%
7. Mary Poppins (lost out to My Fair Lady in 1965) – 3.7%
8. = Doctor Zhivago (lost out to The Sound of Music in 1966) – 2.9%
= Pulp Fiction (lost out to Forrest Gump in 1995) – 2.9%
= To Kill a Mockingbird (lost out to Lawrence of Arabia in 1963) – 2.9%
Director of Sky Movies Ian Lewis said, “Arguably the most prestigious accolade in the film industry, competition is fierce when it comes to the Academy Award® for Best Picture and as we’ve found even some of the nation’s best-loved movies of all time were pipped to the post in this category.
This year’s Oscars® promises yet another close race in this category and once again Sky Movies is thrilled to be bringing the ceremony exclusively to its customers live on the night. We’re also very excited that our customers can enjoy a fantastic selection of the Academy®’s most decorated movies all in one place in the lead up to the big night itself on Sky Movies Oscars® / HD, On Demand and on the move with Sky Go and Sky Go Extra.”
The Sky Movies Oscars®/HD channel line-up boasts 10 of last year’s 12 Oscar-winning feature films - including the 5-time Oscar-winning silent film sensation The Artist – as well as a vast array of previous winners including Forrest Gump, Girl, Interrupted, Philadelphia, Kramer vs. Kramer, Pulp Fiction, Boys Don’t Cry and The King’s Speech. The season will also be available On Demand and on the move with Sky Go and with the recently launched Sky Go Extra, which allows customers to download TV from Sky to watch offline, wherever they are.
The Oscars 2013: Red Carpet Live will air from 1130-0130 on Sky Living / HD and Sky Movies Oscars / HD and The 85th Annual Academy Awards will air live exclusively on Sky Movies Oscars / HD from 0130 until 0400 across Sunday 24th and into Monday 25th February.
SKY MOVIES HD INVITES YOU TO JOIN THEM FOR THE 85TH ANNUAL ACADEMY AWARDS® LIVE FROM LOS ANGELES
Sky Movies is delighted to announce that it will be broadcasting the 85th Academy Awards® live from Los Angeles on Sunday 24th February. The Awards ceremony will air live, exclusively in the UK on the new dedicated channel Sky Movies Oscars® / HD, which launches 11th February.
Sky Movies presenter Alex Zane will be joined in Sky’s London studio by a panel of celebrity guests and film experts on hand to share their predictions and reactions during the film world’s most exciting night of the year. Sky News correspondent Lucy Cotter will be reporting live from the red carpet, bringing Hollywood glamour and exclusive chats directly to Sky viewers’ living rooms for Oscars 2013: Red Carpet Live.
Televised live from the Dolby Theatre in LA, this year’s ceremony will be hosted by Ted and Family Guy star Seth MacFarlane, with British singing sensation Adele confirmed to perform her Academy Award-nominated song Skyfall alongside a wider 50th Anniversary Bond tribute. The ceremony will also feature a live performance from two-time Academy Award winner and three-time nominee Barbra Streisand, who last sang at the Oscars in 1977.
Whilst Sky Movies has been the home of the Academy Awards in the UK for nine consecutive years, 2013 is the first time it will have a dedicated channel. From 11th February, Sky Movies Showcase / HD will become SkyMovies Oscars / HD, showing award winning films 24 hours a day until the Oscar® ceremony itself on 24th February.
The Sky Movies Oscars / HD channel line-up boasts 10 of last year’s 12 Oscar-winning feature films - including the 5 time Oscar-winning silent film sensation The Artist – as well as a vast array of previous winners including Forrest Gump, Girl, Interrupted, Philadelphia, Kramer vs. Kramer, Pulp Fiction, Boys Don’t Cry and The King’s Speech. The season will also be available On Demand and on the move with Sky Go and with the recently launched Sky Go Extra, which allows customers to download TV from Sky to watch offline, wherever they are.
Director of Sky Movies Ian Lewis said, “Sky Movies is thrilled once more to give our customers an exclusive front row seat to the 2013 Oscars, as well as the chance to enjoy a fantastic selection of the Academy’s most celebrated movies all in one place on Sky Movies Oscars / HD.”
The Oscars 2013: Red Carpet Live will air from 1130-0130 on Sky Living / HD and Sky Movies Oscars / HD and The 85th Annual Academy Awards will air live exclusively on Sky Movies Oscars / HD from 0130 until 0400.
INTRODUCING SKY MOVIES DISNEY – THE HOME OF NEW AND CLASSIC DISNEY MOVIES
Sky and Disney are working together to create a brand new television channel, Sky Movies Disney. The new channel will be the home of new and classic Disney and Disney/Pixar movies in the UK and Ireland, and marks the first time that Disney has been involved in a co-branded linear movie channel anywhere in the world. It is also the first time that viewers in the UK and Ireland will be able to watch all new blockbuster Disney-branded movies, as well as classics from the past, on one single channel.
The launch of Sky Movies Disney builds on Sky and Disney’s 24-year relationship in the UK and forms part of a new wide-ranging agreement between the two companies, covering further movies, and Disney Channels, across multiple platforms and devices.
Launching in time for the Easter holidays on 28th March 2013, Sky Movies Disney will show recent hits including Brave, Tinker Bell: Secret of the Wings and Wreck-It Ralph in their first pay TV window. Future releases that will be available include Oz: The Great and Powerful, Monsters University and The Lone Ranger. The new movies will be available on Sky Movies Disney from around six months after they have ended their run in cinemas and will be exclusive to Sky Movies for at least a year.
Alongside new releases, Sky Movies Disney will also offer an extensive library of classic Disney films, including Bambi and Pinocchio, as well as Disney/Pixar animated favourites such as Finding Nemo, Cars and A Bug’s Life. Live action titles such as Pirates of the Caribbean: Dead Man’s Chest and National Treasure will also be available.
In addition to broadcasting in standard and high definition on the Sky Movies Disney channel, all of the new and classic movies will be available to view on demand and on the go. Sky TV customers will be able to watch movies on the move with Sky Go, on their smartphone, tablet, laptop or MacBook. NOW TV, Sky’s new internet TV service, will also offer easy and flexible access to the Disney titles to customers who buy the Sky Movies monthly pass. Disney films available in 3D will be shown on the Sky 3D channel.
In addition to the launch of the new channel, the agreement gives Sky Movies the first subscription pay TV movie rights in the UK and Ireland to other titles distributed by Disney, including new movies from Lucasfilm, and also Marvel Studios features such as Iron Man 3 and Avengers Assemble, which will be broadcast across the Sky Movies portfolio of channels.
In addition to movies, the agreement covers Disney’s TV channels - Disney Channel, Disney XDand Disney Junior - which will continue to be made available to Sky customers, alongside a new HD version of Disney Junior, launching in April. All Disney-branded channels will also continue to be available on Sky Go across a range of internet-connected devices. Additionally, Sky will launch a dedicated Disney section on its popular On Demand service, offering hundreds more hours of catch-up and library shows.
Video: David Lynch at Work via: @emmafgreen
|Craig is a retired superhero, an obsessive hobbyist, comics fan, gadget lover & flâneur who knows an unhealthy amount about Ian Fleming's James Bond.|
When not watching or making films he takes pictures, eats, drinks, dives, tries to connect to nature whilst mentally storyboarding the greatest film ever made. He also & sometimes utilises owl-themed gadgets to fight crime.
A list of his 132 favourite films can be found here! If you would still like to contact Craig please use any of the buttons below:
The Establishing Shot: INDEPENDENT SPOTLIGHT – BROKEN, A NEW POSTER FROM THE LOOK OF LOVE, RIO 2 CASTING, LES MISÉRABLES GROSSES CLOSE TO $75 MILLION WORLDWIDE IN FIRST 3 DAYS OF RELEASE, FIRST IMAGE FROM THE TWO FACES OF JANUARY! HOLY MOTORS COMES TO DVD AND BLU-RAY, NETWORK ACQUIRES HOME ENTERTAINMENT RIGHTS FROM THE STUDIOCANAL, SHOOTING WRAPS ON MARK HARRIS’ THE BROKEN,METRODOME DISTRIBUTION ACQUIRES SUMMER IN FEBRUARY, ENTERTAINMENT ONE ACQUIRES ALLIANCE FILMS, BAFTA NOMINATED DIRECTOR TOM HARPER TO HELM HAMMER’S THE WOMAN IN BLACK: ANGEL OF DEATH, WORKING TITLE FILMS SIGN JAMES CORDEN FOR "SCHOOL FOR SANTAS", NETWORK RELEASING PARTNER WITH AMNESTY INTERNATIONAL FOR THE UK RELEASE OF OSCAR-NOMINATED “NO”, AWARD-WINNING DIRECTOR ADAM WIMPENNY SHOOTING FIRST FEATURE FILM - BLACKWOOD, BRITISH CRIME THRILLER FROM THE PRODUCER OF KIDULTHOOD AND STARRING GABRIEL BYRNE AND RUFUS SEWELL OPENS FEBRUARY 2013, THE PRINCESS BRIDE 25th ANNIVERSARY EDITION BLU-RAY AND SPECIAL SCREENING PROGRAMME, FIRST IMAGE FROM FROM WRITER/DIRECTOR RICHARD CURTIS'S ABOUT TIME, FEATURETTE THE SPECIAL EFFECTS OF RUST AND BONE, AN INTERVIEW WITH DIRECTOR RON FRICKE AND PRODUCER MARK MAGIDSON FOR THEIR SAMSARA, DISNEY TRANSFORMS LONDON STREET INTO 80’S COMPUTER GAME TO CELEBRATE THE RELEASE OF WRECK-IT RALPH, V/H/S POP UP VIDEO RENTAL STORE EVENT CAPTURED ON VIDEO! SINISTER VISION APPEARS IN PANCAKE! ATTICUS ROSS' "BROKEN CITY" SOUNDTRACK INSPIRATIONS, POSTCARDS FROM THE ZOO TO BE RELEASED ON VOD IN 7 EUROPEAN COUNTRIES ON FEBRUARY 25TH, 2013, WITH PECCADILLO TAKING UK VOD DISTRIBUTION RIGHTS, HITCHCOCK ON THE SPACE, TWITTER LAUNCHES TWITTER OSCARS INDEX, WORKING TITLE RECEIVES 12 NOMINATIONS AT THE ACADEMY AWARDS, SIR ALAN PARKER HONOURED WITH BAFTA FELLOWSHIP, TESSA ROSS RECEIVES BAFTA AWARD FOR OUTSTANDING BRITISH CONTRIBUTION TO CINEMA, BERBERIAN SOUND STUDIO PICKS UP MOST WINS AT 2012 BRITISH INDEPENDENT FILM AWARDS, LONDON FILM SCHOOL LAUNCHES INDEPENDENT FILM MASTERS PROGRAMME WITH UNIVERSITY OF EXETER STARTING SEPTEMBER 2013, APPOINTS ANGUS FINNEY AS COURSE LEADER, BAFTA NOMINATION FOR LONDON FILM SCHOOL MURIEL D'ANSEMBOURG'S GOOD NIGHT & A RECORD NUMBER OF LFS SHORT FILMS NOMINATED IN THE LONDON SHORT FILM FESTIVAL, SAMUEL L. JACKSON GIVES ADVICE TO FILMMAKERS OF THE FUTURE, SUNDANCE LONDON SHORT FILM COMPETITION DEADLINE LOOMS THURSDAY 28 FEBRUARY 2013, 2012 HOUSE SHORTS COMPETITION WINNER ANNOUNCEMENT AT SOHO HOUSE NEW YORK, ANDY SERKIS DISCUSSES JAMESON CULT FILM CLUB EVENTS IN 2013, 5TH OKINAWA INTERNATIONAL FILM FESTIVAL WELCOMES JOEL SCHUMACHER AS JUROR, STEAMY THRILLER 247°F TO PREMIÈRE AT GRIMMFEST! DFI UK CINEMA SHOWCASE AT THE MIA, BARRY LEVINSON'S ECO-HORROR THE BAY TO PREMIÈRE AT GLASGOW FRIGHTFEST! ARAB FILMMAKERS SAY DRAWING ON PAST GIVES NEW PERSPECTIVE TO CURRENT REALITIES, JAMES McAVOY TO PLAY MACBETH IN JAMIE LLOYD’S INAUGURAL PRODUCTION FOR TRAFALGAR TRANSFORMED, A LATE QUARTET FILM JOINS DIGITAL MUSIC SERVICE RDIO TO PROMOTE DVD RELEASE & ORIGINAL PLAYLISTS, TASCHEN GOES DIGITAL, FILMCRAFT: PRODUCING RELEASED EARLY 2013, AN INTERVIEW WITH PAUL LIEBERMAN FOR HIS BOOK LA NOIR: TALES FROM THE GANGSTER SQUAD, DANIEL CRAIG AND JUDI DENCH NAMED TOP MOVIE STARS OF 2012 - SKYFALL PAIR VOTED BEST OF THE YEAR IN SKY MOVIES HD POLL, INTRODUCING SKY MOVIES DISNEY – THE HOME OF NEW AND CLASSIC DISNEY MOVIES, SKY MOVIES HD INVITES YOU TO JOIN THEM FOR THE 85TH ANNUAL ACADEMY AWARDS® LIVE FROM LOS ANGELES, SHAWSHANK REDEEMED - THE SHAWSHANK REDEMPTION VOTED NATION’S FAVOURITE BEST PICTURE OSCAR® SNUB IN SKY MOVIES HD POLL, VIDEO: CHRISTOPHER NOLAN - SELF-TAUGHT FILMMAKER, VIDEO: WILLIAM FRIEDKIN ON BUSTER KEATON'S THE GENERAL, VIDEO: LOOK WHO'S TALKING: INTERVIEWING ON SCREEN WITH MARK COUSINS, KEANU REEVES, VIDEO: MALIK BENDJELLOUL AND RODRIGUEZ ON SEARCHING FOR SUGARMAN, VIDEO: BEN AFFLECK, TONY MENDEZ INTERVIEW ON 'ARGO': DIRECTOR, INSPIRATION DISCUSS FILM, KICKSTART: LAST DAYS OF CONEY ISLAND BY RALPH BAKSHI, VIDEO: DAVID LYNCH AT WORK