Early bird entries for Screen International’s Global Production Awards close tomorrow (February 23). The final deadline is March 8.
The Global Production Awards, in association with Kftv and Broadcast, celebrates outstanding and sustainable work from the world of film and TV production, locations and studios around the globe. The awards ceremony takes place at Cannes film festival.
Entries can be made here and for any enquiries please contact globalproductionawards@screendaily.com.
There are 15 categories to apply for including new editions in virtual production as well as separate sustainable production and outstanding use of locations awards for scripted and un-scripted productions.
Each...
The Global Production Awards, in association with Kftv and Broadcast, celebrates outstanding and sustainable work from the world of film and TV production, locations and studios around the globe. The awards ceremony takes place at Cannes film festival.
Entries can be made here and for any enquiries please contact globalproductionawards@screendaily.com.
There are 15 categories to apply for including new editions in virtual production as well as separate sustainable production and outstanding use of locations awards for scripted and un-scripted productions.
Each...
- 2/22/2024
- ScreenDaily
In association with sister brands Kftv and Broadcast, the awards ceremony will once again take place during the Cannes Film Festival.
Screen International’s Global Production Awards, which celebrate outstanding and sustainable work from the world of film and TV production, locations and studios around the globe, will return for 2024.
In association with sister brands Kftv and Broadcast, the awards ceremony will once again take place during the Cannes Film Festival.
The next edition will see the number of categories rise from 12 to 15. New categories include the virtual production award, plus separate sustainable production and outstanding use of locations awards for scripted and un-scripted productions.
Screen International’s Global Production Awards, which celebrate outstanding and sustainable work from the world of film and TV production, locations and studios around the globe, will return for 2024.
In association with sister brands Kftv and Broadcast, the awards ceremony will once again take place during the Cannes Film Festival.
The next edition will see the number of categories rise from 12 to 15. New categories include the virtual production award, plus separate sustainable production and outstanding use of locations awards for scripted and un-scripted productions.
- 12/13/2023
- by Screen staff
- ScreenDaily
“It is time to rethink, said Fund’s Sandra Den Hamer in response to report by Olsberg Spi.
The Netherlands Film Fund is reconsidering the way it finances films to put more money into fewer titles following the publication of a ‘Benchmark Study’ report by UK-based consulting firm Olsberg Spi that looked into why Dutch films are not performing to their fullest potential at the international box office.
The research was commissioned by former fund head Bero Beyer a year ago. The aim was to explore why Dutch films lagged behind those produced out of similarly-sized markets by Danish, Swedish,...
The Netherlands Film Fund is reconsidering the way it finances films to put more money into fewer titles following the publication of a ‘Benchmark Study’ report by UK-based consulting firm Olsberg Spi that looked into why Dutch films are not performing to their fullest potential at the international box office.
The research was commissioned by former fund head Bero Beyer a year ago. The aim was to explore why Dutch films lagged behind those produced out of similarly-sized markets by Danish, Swedish,...
- 9/29/2023
- by Geoffrey Macnab
- ScreenDaily
Fremantle, Warner Bros, Universal and Film i Väst are among the companies shortlisted.
Screen International can unveil the shortlist for the inaugural Global Production Awards which celebrates outstanding and sustainable work in the world of film and TV production, locations and studios.
The awards recognise organisations and companies working in the film and TV industry including studios, production companies, film commissions, location, suppliers and manufacturers and any services involved in film and TV production.
Among the companies shortlisted are Fremantle, Film i Väst, Warner Bros, Universal and See-Saw Films.
Scroll down for the full shortlist
The winners will be announced...
Screen International can unveil the shortlist for the inaugural Global Production Awards which celebrates outstanding and sustainable work in the world of film and TV production, locations and studios.
The awards recognise organisations and companies working in the film and TV industry including studios, production companies, film commissions, location, suppliers and manufacturers and any services involved in film and TV production.
Among the companies shortlisted are Fremantle, Film i Väst, Warner Bros, Universal and See-Saw Films.
Scroll down for the full shortlist
The winners will be announced...
- 4/12/2023
- by Screen staff
- ScreenDaily
The entry deadline closes on Monday March 27.
The entry deadline for Screen International’s inaugural Global Production Awards closes Today March 27.
Applications are open to all organisations and companies working in the film and TV industry including studios, production companies, film commissions, location, suppliers and manufacturers and any services involved in film and TV production.
Enter here
The winners will be announced at an awards ceremony at the Cannes film festival in May 2023.
For more information including the complete list of categories, please visit the Global Production Awards website.
Jay Roewe, senior vice president at HBO, has also joined the expert judging panel.
The entry deadline for Screen International’s inaugural Global Production Awards closes Today March 27.
Applications are open to all organisations and companies working in the film and TV industry including studios, production companies, film commissions, location, suppliers and manufacturers and any services involved in film and TV production.
Enter here
The winners will be announced at an awards ceremony at the Cannes film festival in May 2023.
For more information including the complete list of categories, please visit the Global Production Awards website.
Jay Roewe, senior vice president at HBO, has also joined the expert judging panel.
- 3/27/2023
- by Screen staff
- ScreenDaily
The awards aim to celebrate outstanding and sustainable work in the world of film and TV production, locations and studios.
Leading figures in the TV and film world have joined the judging panel for Screen International’s inaugural Global Production Awards taking place at the Cannes Film Festival in May this year.
Judges so far announced include Elvis producer Schuyler Weiss, president of production and development at Bazmark; Amazon Studios’ head of worldwide production and post-production, Tim Clawson; producer and former Sundance executive Bird Runningwater; and the Association of Film Commissioners International’s (Afci) executive director, Jaclyn Philpott.
Scroll down...
Leading figures in the TV and film world have joined the judging panel for Screen International’s inaugural Global Production Awards taking place at the Cannes Film Festival in May this year.
Judges so far announced include Elvis producer Schuyler Weiss, president of production and development at Bazmark; Amazon Studios’ head of worldwide production and post-production, Tim Clawson; producer and former Sundance executive Bird Runningwater; and the Association of Film Commissioners International’s (Afci) executive director, Jaclyn Philpott.
Scroll down...
- 3/8/2023
- by Screen staff
- ScreenDaily
The awards aim to celebrate outstanding work in the fields of film and TV production around the world.
Screen International is launching the Global Production Awards, which aims to celebrate outstanding and sustainable work in the world of film and TV production, locations and studios.
In association with sister brands Kftv and Broadcast, the Global Production Awards will spotlight the initiatives and projects that set the highest standards in sustainability and diversity in production.
Categories will also recognise the best locations around the world, the stand-out studios, outstanding creative crews, ideas, and executions, and what the very best locations and commissions bring to production teams.
Screen International is launching the Global Production Awards, which aims to celebrate outstanding and sustainable work in the world of film and TV production, locations and studios.
In association with sister brands Kftv and Broadcast, the Global Production Awards will spotlight the initiatives and projects that set the highest standards in sustainability and diversity in production.
Categories will also recognise the best locations around the world, the stand-out studios, outstanding creative crews, ideas, and executions, and what the very best locations and commissions bring to production teams.
- 1/26/2023
- by Screen staff
- ScreenDaily
The film tax relief alone generated £1.89bn in tax revenue
The UK’s screen sector tax reliefs generated £3.6bn in revenue to UK government coffers in 2019, the most recent year for which figures are available, according to the Screen Business 2021 report, commissioned by the British Film Institute (BFI) and published today (December 13).
The 2019 figures are a significant 27% increase on 2017 and encompass the year in which Marvel/Disney’s Black Widow and Eon’s No Time To Die shot in the UK. Additionally, there were 218,790 full-time equivalent jobs in the creative sector, up from 181,850 in 2017.
The report looks in detail at...
The UK’s screen sector tax reliefs generated £3.6bn in revenue to UK government coffers in 2019, the most recent year for which figures are available, according to the Screen Business 2021 report, commissioned by the British Film Institute (BFI) and published today (December 13).
The 2019 figures are a significant 27% increase on 2017 and encompass the year in which Marvel/Disney’s Black Widow and Eon’s No Time To Die shot in the UK. Additionally, there were 218,790 full-time equivalent jobs in the creative sector, up from 181,850 in 2017.
The report looks in detail at...
- 12/13/2021
- by Geoffrey Macnab
- ScreenDaily
My first experience (all of our first experience!) on this year’s hybrid version of Tallinn Black Nights Film Festival and Industry Events is daunting at first to figure out. As attending a new festival begins with utter confusion and a certain amount of anxiety about how to get around, where to go, what to see, navigating the digital domain might be more daunting. How do you log on, log in, use Eventail, or go directly to the festival and events?
After the initial sweating it all out, I found the presentation by my old friend Jonathan Olsberg. Jonathan and I go back to the ‘80s when he founded and ran a US distribution company called Spectrafilms and I bought ‘Sticky Fingers of Time’ from him for Lorimar Home Video.
The presentation was moderated by Edith Sepp, head of Estonia Film ... Continue reading on SydneysBuzz The Blog »...
After the initial sweating it all out, I found the presentation by my old friend Jonathan Olsberg. Jonathan and I go back to the ‘80s when he founded and ran a US distribution company called Spectrafilms and I bought ‘Sticky Fingers of Time’ from him for Lorimar Home Video.
The presentation was moderated by Edith Sepp, head of Estonia Film ... Continue reading on SydneysBuzz The Blog »...
- 11/25/2020
- by Sydney Levine
- Sydney's Buzz
(L-r) Matchbox Pictures’ Matt Vitins, Paul Muller, Jonathan Olsberg and Disney MD Kylie Watson-Wheeler release the report in Canberra.
The Australian screen sector has overcome digital disruption to post strong growth over five years, with overall economic output climbing by 13 per cent to $22.5 billion.
That’s according to a new report commissioned by the Australia New Zealand Screen Association (Anzsa), which tracked the sector in the five years to 2017/18.
“This growth is a strong example of the industry’s quick and efficient response to the digital disruption,” said Jonathan Olsberg, chairman of the report’s author Olsberg Spi.
“After a painful period of adjustment, the Australian screen industry is now well-positioned to take advantage of new opportunities on a global stage. It now has a more streamlined distribution model and greater ‘value add’ – and this has real economic benefits for consumers, who can now access more great Australian and international...
The Australian screen sector has overcome digital disruption to post strong growth over five years, with overall economic output climbing by 13 per cent to $22.5 billion.
That’s according to a new report commissioned by the Australia New Zealand Screen Association (Anzsa), which tracked the sector in the five years to 2017/18.
“This growth is a strong example of the industry’s quick and efficient response to the digital disruption,” said Jonathan Olsberg, chairman of the report’s author Olsberg Spi.
“After a painful period of adjustment, the Australian screen industry is now well-positioned to take advantage of new opportunities on a global stage. It now has a more streamlined distribution model and greater ‘value add’ – and this has real economic benefits for consumers, who can now access more great Australian and international...
- 2/12/2020
- by The IF Team
- IF.com.au
Forde to manage the firm’s London-based team.
Leon Forde has been promoted to managing director of London-based screen consultancy firm Olsberg Spi.
Forde will now manage the firm’s London-based team as well as parts of its global client list and business development strategy. He will report to Spi’s executive chair Jonathan Olsberg.
Previously an associate director at Spi, Forde joined the company in 2014 and has overseen several studies, most recently a report into best practice in the screen sector. He has also undertaken the development and re-engineering of film production incentives in various markets around the world.
Leon Forde has been promoted to managing director of London-based screen consultancy firm Olsberg Spi.
Forde will now manage the firm’s London-based team as well as parts of its global client list and business development strategy. He will report to Spi’s executive chair Jonathan Olsberg.
Previously an associate director at Spi, Forde joined the company in 2014 and has overseen several studies, most recently a report into best practice in the screen sector. He has also undertaken the development and re-engineering of film production incentives in various markets around the world.
- 11/22/2019
- by 1100453¦Michael Rosser¦9¦
- ScreenDaily
Jenji Kohan.
Jenji Kohan, the creator of Netflix’s most-watched original show, Orange is the New Black, will headline New Zealand’s Spada (Screen Production and Development Association of New Zealand) conference this year, which will also feature an international address from Lord David Puttnam.
Spada 2019 will be held at Auckland’s Aotea Centre across November 20-21 and will conclude to align with the 2019 Nz TV Awards.
Kohan is a coup for the Nz screen industry event which will focus strongly on the international development of local content and opportunities for global co-production.
“We’re thrilled to have such an exceptional line-up of international and domestic speakers at this year’s conference. Rather than narrow ourselves to one theme, we’ve developed sessions to drive conversation around key issues that affect us as an industry both now and in the future,” says Spada’s executive director Sandy Gildea tells If.
Jenji Kohan, the creator of Netflix’s most-watched original show, Orange is the New Black, will headline New Zealand’s Spada (Screen Production and Development Association of New Zealand) conference this year, which will also feature an international address from Lord David Puttnam.
Spada 2019 will be held at Auckland’s Aotea Centre across November 20-21 and will conclude to align with the 2019 Nz TV Awards.
Kohan is a coup for the Nz screen industry event which will focus strongly on the international development of local content and opportunities for global co-production.
“We’re thrilled to have such an exceptional line-up of international and domestic speakers at this year’s conference. Rather than narrow ourselves to one theme, we’ve developed sessions to drive conversation around key issues that affect us as an industry both now and in the future,” says Spada’s executive director Sandy Gildea tells If.
- 9/16/2019
- by jkeast
- IF.com.au
Uruguayan authorities have created a new Uruguay Audiovisual Fund that offers cash rebates for international productions shooting in Uruguay, as well as extra grants for Uruguayan productions.
Announced last week in Montevideo, and part of a new roadmap for Uruguay’s create industries, news of the new Fund comes days after Matías Ganz’s “Los Indefensos,” an idiosyncratic genre blender, won Le Film Français prize, one of the major awards at Ventana Sur’s Primer Corte pix-in-post strand.
That sums up the current contradiction of Uruguay’s industry. Despite its small size, with a population of just 3.4 million, Uruguay punches above its weight in film terms. It boasts exceptional upscale directors – Federico Veiroj, Alvaro Brechner and Gustavo Hernández are just three – and has seen Uruguayan Fede Alvarez direct two U.S. chart toppers – 2013’s “Evil Dead” and 2016’s “Don’t Breath.”
But Uruguay’s movie industry also suffers from acute under-capitalization: Alvarez works in Hollywood,...
Announced last week in Montevideo, and part of a new roadmap for Uruguay’s create industries, news of the new Fund comes days after Matías Ganz’s “Los Indefensos,” an idiosyncratic genre blender, won Le Film Français prize, one of the major awards at Ventana Sur’s Primer Corte pix-in-post strand.
That sums up the current contradiction of Uruguay’s industry. Despite its small size, with a population of just 3.4 million, Uruguay punches above its weight in film terms. It boasts exceptional upscale directors – Federico Veiroj, Alvaro Brechner and Gustavo Hernández are just three – and has seen Uruguayan Fede Alvarez direct two U.S. chart toppers – 2013’s “Evil Dead” and 2016’s “Don’t Breath.”
But Uruguay’s movie industry also suffers from acute under-capitalization: Alvarez works in Hollywood,...
- 12/28/2018
- by John Hopewell
- Variety Film + TV
Buenos Aires — Oscar-winning Chilean producer Juan de Dios Larraín (“A Fantastic Woman”), Sebastián Freund, co-creator of Chile’s biggest ever B.O. hit, “Stefan vs. Kramer,” and Gabriela Sandoval, co-director of Sanfic, Chile’s biggest film event, Sanfic festival, are joining forces to haul Chile’s much vaunted cinema into the 21st century.
They will be joined by Sergio Gándara, Chile’s top TV producer, Macarena Cardone, from Invercine&Wood, and Gastón Chedufa, from Las Minas.
A hint of their roadmap looks likely to be heard Wednesday evening at Ventana Sur, when Freund and Sandoval deliver a short speech before a CinemaChile cocktail, traditionally a mid-market social milestone at Latin America’s biggest movie-tv market. If it ain’t broke….? Since a new generation of filmmakers, making up the so-called Newest Chilean Cinema – Sebastián Lelio, Alicia Scherson, Matías Bize – burst onto the scene at the 2005 Valdivia Festival, Chilean filmmakers have won...
They will be joined by Sergio Gándara, Chile’s top TV producer, Macarena Cardone, from Invercine&Wood, and Gastón Chedufa, from Las Minas.
A hint of their roadmap looks likely to be heard Wednesday evening at Ventana Sur, when Freund and Sandoval deliver a short speech before a CinemaChile cocktail, traditionally a mid-market social milestone at Latin America’s biggest movie-tv market. If it ain’t broke….? Since a new generation of filmmakers, making up the so-called Newest Chilean Cinema – Sebastián Lelio, Alicia Scherson, Matías Bize – burst onto the scene at the 2005 Valdivia Festival, Chilean filmmakers have won...
- 12/12/2018
- by John Hopewell
- Variety Film + TV
Buenos Aires — Jonathan Olsberg, who speaks at Ventana Sur, calls it a “production deluge.” According to Ampere Analysis’ Guy Bisson, talking in a podcast last week, in the third quarter of 2018 the number of unique Svod homes in 16 maturer markets around the world overtook the number of unique pay TV homes.
Also, fundamental changes are afoot in the power balance for content. In annual outlay on content, the combined spend of Netflix, Amazon and Hulu in 2018 was $17.5 billion, Bisson added. That already outranks Disney ($13.4 billion), NBC Universal ($13.2 billion) and Fox ($11.6 billion), he said.
The 10th edition of Buenos Aires’ Ventana Sur, the biggest Latin American film market, is the first to take place not only in the context of the launch of one or two U.S. Ott disruptors in Latin America – Netflix and Amazon Prime Video – but with the imminent launch of three new entrants, Comcast/Sky, Disney/Fox and At&T/Time Warner.
Also, fundamental changes are afoot in the power balance for content. In annual outlay on content, the combined spend of Netflix, Amazon and Hulu in 2018 was $17.5 billion, Bisson added. That already outranks Disney ($13.4 billion), NBC Universal ($13.2 billion) and Fox ($11.6 billion), he said.
The 10th edition of Buenos Aires’ Ventana Sur, the biggest Latin American film market, is the first to take place not only in the context of the launch of one or two U.S. Ott disruptors in Latin America – Netflix and Amazon Prime Video – but with the imminent launch of three new entrants, Comcast/Sky, Disney/Fox and At&T/Time Warner.
- 12/11/2018
- by John Hopewell
- Variety Film + TV
Continent must grow capacity in terms of talent, crew, studio, facilities, equipment and services, says Olsberg Spi.
The ongoing global film and TV production boom shows no sign of abating, but Europe must make sure it has the infrastructure and resource to continue to meet growing demand - that was the message from creative industries consultancy Olsberg Spi during a presentation at Tallinn Black Nights Film Festival this week.
“We refer to it as the coming global production deluge,” chairman Jonathan Olsberg told a packed audience in Tallinn’s Nordic Hotel. “There is a lot of production going on at the moment,...
The ongoing global film and TV production boom shows no sign of abating, but Europe must make sure it has the infrastructure and resource to continue to meet growing demand - that was the message from creative industries consultancy Olsberg Spi during a presentation at Tallinn Black Nights Film Festival this week.
“We refer to it as the coming global production deluge,” chairman Jonathan Olsberg told a packed audience in Tallinn’s Nordic Hotel. “There is a lot of production going on at the moment,...
- 12/1/2018
- by Tom Grater
- ScreenDaily
Incoming producitons would have a single point of entry to the region
Estonia, Finland and Latvia are considering offering a joint tax incentive to attract inward investment through international production into the three countries and give incoming producers a single point of entry.
Jonathan Olsberg, founder of London-based OlsbergSPI, revealed the three partners are looking to “harmonise” their fiscal incentives as part of the year-old ‘North Star Alliance’, through which the Estonian, Finnish and Latvian film industries work together. Olsberg Spi is poised to publish an independent analysis of the market possibilities in the region in early 2019.
Olsberg was talking...
Estonia, Finland and Latvia are considering offering a joint tax incentive to attract inward investment through international production into the three countries and give incoming producers a single point of entry.
Jonathan Olsberg, founder of London-based OlsbergSPI, revealed the three partners are looking to “harmonise” their fiscal incentives as part of the year-old ‘North Star Alliance’, through which the Estonian, Finnish and Latvian film industries work together. Olsberg Spi is poised to publish an independent analysis of the market possibilities in the region in early 2019.
Olsberg was talking...
- 12/1/2018
- by Geoffrey Macnab
- ScreenDaily
Incoming producitons would have a single point of entry to the region
Estonia, Finland and Latvia are considering offering a joint tax incentive to attract inward investment through international production into the three countries and give incoming producers a single point of entry.
Jonathan Olsberg, founder of London-based OlsbergSPI, revealed the three partners are looking to “harmonise” their fiscal incentives as part of the year-old ‘North Star Alliance’, through which the Estonian, Finnish and Latvian film industries work together. Olsberg Spi is poised to publish an independent analysis of the market possibilities in the region in early 2019.
Olsberg was talking...
Estonia, Finland and Latvia are considering offering a joint tax incentive to attract inward investment through international production into the three countries and give incoming producers a single point of entry.
Jonathan Olsberg, founder of London-based OlsbergSPI, revealed the three partners are looking to “harmonise” their fiscal incentives as part of the year-old ‘North Star Alliance’, through which the Estonian, Finnish and Latvian film industries work together. Olsberg Spi is poised to publish an independent analysis of the market possibilities in the region in early 2019.
Olsberg was talking...
- 12/1/2018
- by Geoffrey Macnab
- ScreenDaily
Film, TV and games industries generated an estimated £7.9 billion for UK econoomy in 2016.
Production spend across the UK’s film, high-end TV, video games, animation and children’s TV sector generated an economic contribution to the UK economy of £7.9 billion ($10.3bn) in 2016, the most recent year for which full figures are available, according to a new report commissioned by the BFI.
‘Screen Business: how tax incentives help power economic growth across the UK’ attributed the UK tax reliefs with powering the extraordinary level of growth across the screen sectors.
In his foreword to the report, UK chancellor Philip Hammond noted...
Production spend across the UK’s film, high-end TV, video games, animation and children’s TV sector generated an economic contribution to the UK economy of £7.9 billion ($10.3bn) in 2016, the most recent year for which full figures are available, according to a new report commissioned by the BFI.
‘Screen Business: how tax incentives help power economic growth across the UK’ attributed the UK tax reliefs with powering the extraordinary level of growth across the screen sectors.
In his foreword to the report, UK chancellor Philip Hammond noted...
- 10/9/2018
- by Geoffrey Macnab
- ScreenDaily
BFI-commissioned report analysed the impact of tax relief across the UK screen sectors.
Production spend across the UK’s film, high-end TV, video games, animation and children’s TV sector generated an economic contribution to the UK economy of £7.9 billion ($10.3bn) in 2016, the most recent year for which full figures are available, according to a new report commissioned by the BFI.
‘Screen Business: how tax incentives help power economic growth across the UK’ attributed the UK tax reliefs with powering the extraordinary level of growth across the screen sectors.
In his foreword to the report, UK chancellor Philip Hammond...
Production spend across the UK’s film, high-end TV, video games, animation and children’s TV sector generated an economic contribution to the UK economy of £7.9 billion ($10.3bn) in 2016, the most recent year for which full figures are available, according to a new report commissioned by the BFI.
‘Screen Business: how tax incentives help power economic growth across the UK’ attributed the UK tax reliefs with powering the extraordinary level of growth across the screen sectors.
In his foreword to the report, UK chancellor Philip Hammond...
- 10/9/2018
- by Geoffrey Macnab
- ScreenDaily
The Olsberg-spi chair was presenting new research on the economic benefits of the film industry.
Presenting on the first day of this year’s Tiff industry conference, Jonathan Olsberg, chairman of London-based creative industries strategy consultancy Olsberg-spi, has claimed that “film and TV dramas punch above every other creative industry” in terms of delivering economic benefits.
“There is substantial increased awareness of how the creative industries as a whole are delivering strong, rapid economic growth and contributing to productivity gains,” Olsberg suggested, adding that “the core economic benefits delivered by the [film] sector have really come to the fore.”
Presenting a new piece of research, Olsberg noted that one of the major findings was that “up to $1 for every $2 spent [on film and TV projects] impacts other creative industries”. He referred to this as the “trickle across effect”, saying that money spent on nurturing talent, screen tourism, building infrastructure and other investments was having a positive impact across the creative industries.
Olsberg also pointed...
Presenting on the first day of this year’s Tiff industry conference, Jonathan Olsberg, chairman of London-based creative industries strategy consultancy Olsberg-spi, has claimed that “film and TV dramas punch above every other creative industry” in terms of delivering economic benefits.
“There is substantial increased awareness of how the creative industries as a whole are delivering strong, rapid economic growth and contributing to productivity gains,” Olsberg suggested, adding that “the core economic benefits delivered by the [film] sector have really come to the fore.”
Presenting a new piece of research, Olsberg noted that one of the major findings was that “up to $1 for every $2 spent [on film and TV projects] impacts other creative industries”. He referred to this as the “trickle across effect”, saying that money spent on nurturing talent, screen tourism, building infrastructure and other investments was having a positive impact across the creative industries.
Olsberg also pointed...
- 9/10/2016
- by tom.grater@screendaily.com (Tom Grater)
- ScreenDaily
Tiff audiences will get the chance to see the first three episodes of the new season of Jill Soloway’s acclaimed Emmy-winning Amazon Studios series Transparent.
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18 and the Tiff Industry Conference runs from September 9-15.
Primetime...
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18 and the Tiff Industry Conference runs from September 9-15.
Primetime...
- 8/18/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Tiff audiences will get the chance to see the first three episodes of the new season of Jill Soloway’s acclaimed Emmy-winning Amazon Studios series Transparent.
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18 and the Tiff Industry Conference runs from September 9-15.
Primetime...
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18 and the Tiff Industry Conference runs from September 9-15.
Primetime...
- 8/18/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Tiff audiences will get the chance to see the first three episodes of the new season of Jill Soloway’s acclaimed Emmy-winning Amazon Studios series Transparent.
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18.
Primetime
“This peak era for television has ushered in a gold...
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18.
Primetime
“This peak era for television has ushered in a gold...
- 8/18/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Audiences will get the chance to see the first three episodes of the new season of Jill Soloway’s acclaimed Emmy-winning Amazon Studios series Transparent.
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18.
Primetime
“This peak era for television has ushered in a gold...
The return for the second year of the Primetime television roster includes new episodes from Charlie Brooker’s unsettling anthology series Black Mirror, a look at Kenyan procedural Tuko Macho, mystery series Wasteland from the Czech Republic and the previously announced nirvanna the band the show from Canada.
Highlights at the seven-day Tiff Industry Conference are expected to include Mogul sessions with Academy president Cheryl Boone Isaacs and The Weinstein Company president and COO David Glasser.
Doug Liman will give a Master Class address on Vr, while panel discussions will cover the potential impact of Brexit on the UK film industry, East-West alliances, gender, and conversations with Jonathan Demme and Steve James.
The 41st Toronto International Film Festival runs from September 8 to 18.
Primetime
“This peak era for television has ushered in a gold...
- 8/18/2016
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Cheryl Boone Isaacs, president of the Academy of Motion Picture Arts and Sciences, is set to bring her push to improve diversity and inclusion in Hollywood to the Toronto International Film Festival. Boone Isaacs is headed to Toronto as the Academy continues to work to create more opportunities for minorities in the film industry. Her appearance as part of the festival's Moguls section, alongside onstage conversations by The Weinstein Company president and COO David Glasser and Olsberg-spi chair Jonathan Olsberg, comes as Tiff on Thursday filled out the lineup for its industry conference next month. Fest organizers also announced
read more...
read more...
- 8/18/2016
- by Etan Vlessing
- The Hollywood Reporter - Movie News
Award-winning director and producer to join execs from BBC Films, StudioCanal, See-Saw Films, eOne and more at annual summit.
Asif Kapadia, director of documentaries Amy and Senna, and Working Title co-founder Tim Bevan have joined the line-up of this year’s Screen Film Summit, which will be held at London’s Picturehouse Central on Dec 10.
Click here to Book Now
Kapadia, the BAFTA-winning director behind The Warrior, Far North, Senna and the most successful documentary of the year, Amy, will be the subject of a Director in Focus session to give a unique insight into his process and discuss the creation of a sustainable film industry for new filmmakers.
Bevan, co-founder of Working Title with Eric Fellner, will be the subject of a Producer in Focus session and will discuss the genesis and growth of his company as well as the challenges it faces in the current climate.
The company, now owned by...
Asif Kapadia, director of documentaries Amy and Senna, and Working Title co-founder Tim Bevan have joined the line-up of this year’s Screen Film Summit, which will be held at London’s Picturehouse Central on Dec 10.
Click here to Book Now
Kapadia, the BAFTA-winning director behind The Warrior, Far North, Senna and the most successful documentary of the year, Amy, will be the subject of a Director in Focus session to give a unique insight into his process and discuss the creation of a sustainable film industry for new filmmakers.
Bevan, co-founder of Working Title with Eric Fellner, will be the subject of a Producer in Focus session and will discuss the genesis and growth of his company as well as the challenges it faces in the current climate.
The company, now owned by...
- 11/17/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
The Screen Awards has unveiled its 2015 winners, recognising excellence in UK marketing, distribution and exhibition.Scroll down for full list of winnersBrowse the Screen Awards book Heregallery: Click here for pictures from the nightVIDEO: Screen Awards 2015
The awards were handed out at a glamorous ceremony at The Brewery in London last night (Oct 22), before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the fourth year.
Universal Pictures UK took home the hotly contested studio distributor of the year award, having broken the record for the biggest annual box office of all time with releases including Fast & Furious 7, Jurassic World and Fifty Shades of Grey.
Curzon Artificial Eye was highly commended in the category after an “exceptional year” that included the release of Still Alice, its highest grossing title to date at £2.6m, and growing audiences through innovative approaches to releases.
Amy Winehouse documentary, Amy, won a hat-trick of awards for poster design of the year...
The awards were handed out at a glamorous ceremony at The Brewery in London last night (Oct 22), before 500 assembled guests. Broadcaster Edith Bowman hosted the event for the fourth year.
Universal Pictures UK took home the hotly contested studio distributor of the year award, having broken the record for the biggest annual box office of all time with releases including Fast & Furious 7, Jurassic World and Fifty Shades of Grey.
Curzon Artificial Eye was highly commended in the category after an “exceptional year” that included the release of Still Alice, its highest grossing title to date at £2.6m, and growing audiences through innovative approaches to releases.
Amy Winehouse documentary, Amy, won a hat-trick of awards for poster design of the year...
- 10/23/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Germany’s Commerzbank is prepared to serve as a financier of more international co-productions going forward as it increased its annual financing volume for film and TV production to $340m (€300m) in 2014.
Originally, Commerzbank had forecast at the beginning of 2013 that it was aiming to increase its commitment to the financing of film and TV production from 2012’s $170m to $340m (€150m to €300m) and double its market share in this segment to 30% by the end of 2016.
However, Germany’s second largest bank announced this week that it had already reached these targets by the end of 2014.
The number of productions financed by Commerzbank tripled from 2012’s total of 35 to 105 projects last year.
The 35 feature films handled by the Commerzbank included four-time Oscar winner The Grand Budapest Hotel, animation feature film Der kleine Drache Kokosnuss, and comedy Vaterfreuden.
The 70 commissioned TV productions on the bank’s books ranged from 24h Jerusalem to the $9m (€8m) TV disaster...
Originally, Commerzbank had forecast at the beginning of 2013 that it was aiming to increase its commitment to the financing of film and TV production from 2012’s $170m to $340m (€150m to €300m) and double its market share in this segment to 30% by the end of 2016.
However, Germany’s second largest bank announced this week that it had already reached these targets by the end of 2014.
The number of productions financed by Commerzbank tripled from 2012’s total of 35 to 105 projects last year.
The 35 feature films handled by the Commerzbank included four-time Oscar winner The Grand Budapest Hotel, animation feature film Der kleine Drache Kokosnuss, and comedy Vaterfreuden.
The 70 commissioned TV productions on the bank’s books ranged from 24h Jerusalem to the $9m (€8m) TV disaster...
- 2/26/2015
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
The Ingenious v Hmrc tribunal kicks off today in London.
Ingenious v Hmrc, the case which begins at the Competition Tribunal in Bloomsbury Place London today, marks the culmination of almost a decade of wrangling between the blue chip British media investment company and the Revenue.
Newspapers have been intrigued by the case because of the celebrity investors involved. David Beckham, Gary Lineker, Jeremy Paxman, Wayne Rooney, David Gower and politician Andrew Mitchell are among the names linked to either Ingenious funds Inside Track or Ingenious Film Partners.
The case is expected to last well into December. It will then take months for a decision to be handed down and whichever side loses is likely to appeal. According to the “Agreed Hearing Timetable” issued in advance of the trial, those being called will include Ingenious founder and CEO Patrick McKenna [pictured] and Ingenious Director Duncan Reid as well as such “expert witnesses” as Jonathan Olsberg and Angus Finney.
In...
Ingenious v Hmrc, the case which begins at the Competition Tribunal in Bloomsbury Place London today, marks the culmination of almost a decade of wrangling between the blue chip British media investment company and the Revenue.
Newspapers have been intrigued by the case because of the celebrity investors involved. David Beckham, Gary Lineker, Jeremy Paxman, Wayne Rooney, David Gower and politician Andrew Mitchell are among the names linked to either Ingenious funds Inside Track or Ingenious Film Partners.
The case is expected to last well into December. It will then take months for a decision to be handed down and whichever side loses is likely to appeal. According to the “Agreed Hearing Timetable” issued in advance of the trial, those being called will include Ingenious founder and CEO Patrick McKenna [pictured] and Ingenious Director Duncan Reid as well as such “expert witnesses” as Jonathan Olsberg and Angus Finney.
In...
- 11/3/2014
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
Co-Production Development Fund launched between Germany and Italy; growing concern about future of German incentive Dfff
Germany and Italy have established a Co-Production Development Fund to support the joint development of German-Italian co-productions from 2015.
The Germany Federal Film Board (Ffa) and Italy’s Ministry for Culture and Tourism (MiBACT) are each providing $63,350 (€50,000) for the Fund’s annual budget, and funding of up to $38,000 (€30,000) each will be awarded to ¨projects which are interesting for the German and Italian cinema audiences, but also for the global film market.¨
Apart from encouraging more collaboration by producers on joint projects, the initiative also aims to foster the creation of networks between film-makers from bost countries.
This is the fifth co-development fund to be launched by German funders with opposite numbers elsewhere in Europe over the past 10 years.
In 2005, Medienboard Berlin-Brandenburg (Mbb) and Leipzig-based Mdm joined forces with the Polish Film Institute to establish the German-Polish Co-Development Fund, and this was...
Germany and Italy have established a Co-Production Development Fund to support the joint development of German-Italian co-productions from 2015.
The Germany Federal Film Board (Ffa) and Italy’s Ministry for Culture and Tourism (MiBACT) are each providing $63,350 (€50,000) for the Fund’s annual budget, and funding of up to $38,000 (€30,000) each will be awarded to ¨projects which are interesting for the German and Italian cinema audiences, but also for the global film market.¨
Apart from encouraging more collaboration by producers on joint projects, the initiative also aims to foster the creation of networks between film-makers from bost countries.
This is the fifth co-development fund to be launched by German funders with opposite numbers elsewhere in Europe over the past 10 years.
In 2005, Medienboard Berlin-Brandenburg (Mbb) and Leipzig-based Mdm joined forces with the Polish Film Institute to establish the German-Polish Co-Development Fund, and this was...
- 10/28/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
New research will look at what models of audiovisual incentive schemes in Europe are the most effective.
The European Audiovisual Observatory has commissioned a major economic study looking at the impact of film and TV incentives in Europe.
The new research will look at what models of audiovisual incentive schemes in Europe are the most effective.
Consultancy Olsberg Spi will undertake the analysis and lead the team for the report, including the UK’s Landman Economics.
The report will evaluate how fiscal incentives attract foreign investment, from Europe and the rest of the world, as well as looking at impact on state budgets, local production , employment, and wider economic and cultureal policy.
The project has extra funding from the Finnish Ministry of Education and Culture.
The Observatory, part of the Council of Europe, has 40 member countries.
The study will be published in late 2014.
With this assessment the European Audiovisual Observatory is aiming to deepen the understanding across...
The European Audiovisual Observatory has commissioned a major economic study looking at the impact of film and TV incentives in Europe.
The new research will look at what models of audiovisual incentive schemes in Europe are the most effective.
Consultancy Olsberg Spi will undertake the analysis and lead the team for the report, including the UK’s Landman Economics.
The report will evaluate how fiscal incentives attract foreign investment, from Europe and the rest of the world, as well as looking at impact on state budgets, local production , employment, and wider economic and cultureal policy.
The project has extra funding from the Finnish Ministry of Education and Culture.
The Observatory, part of the Council of Europe, has 40 member countries.
The study will be published in late 2014.
With this assessment the European Audiovisual Observatory is aiming to deepen the understanding across...
- 2/6/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
New research will look at what models of audiovisual incentive schemes in Europe are the most effective.
The European Audiovisual Observatory has commissioned a major economic study looking at the impact of film and TV incentives in Europe.
The new research will look at what models of audiovisual incentive schemes in Europe are the most effective.
Consultancy Olsberg Spi will undertake the analysis and lead the team for the report, including the UK’s Landman Economics.
The report will evaluate how fiscal incentives attract foreign investment, from Europe and the rest of the world, as well as looking at impact on state budgets, local production , employment, and wider economic and cultureal policy.
The project has extra funding from the Finnish Ministry of Education and Culture.
The Observatory, part of the Council of Europe, has 40 member countries.
The study will be published in late 2014.
With this assessment the European Audiovisual Observatory is aiming to deepen the understanding across...
The European Audiovisual Observatory has commissioned a major economic study looking at the impact of film and TV incentives in Europe.
The new research will look at what models of audiovisual incentive schemes in Europe are the most effective.
Consultancy Olsberg Spi will undertake the analysis and lead the team for the report, including the UK’s Landman Economics.
The report will evaluate how fiscal incentives attract foreign investment, from Europe and the rest of the world, as well as looking at impact on state budgets, local production , employment, and wider economic and cultureal policy.
The project has extra funding from the Finnish Ministry of Education and Culture.
The Observatory, part of the Council of Europe, has 40 member countries.
The study will be published in late 2014.
With this assessment the European Audiovisual Observatory is aiming to deepen the understanding across...
- 2/6/2014
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Full Summit programme confirmed; delegate passes still available.
Ian Lewis, director of Sky Movies and Acquisitions, will deliver the keynote at the Screen International Film Summit on Monday.
He will discuss the changing face of movie consumption, Sky’s move into production of and investment in British film, the company’s studio partnerships, and more.
The Summit, to be held at BFI Southbank, is being organised in association with the British Film Institute (BFI) with support from Creative Skillset.
To register to attend, please visit screenfilmsummit.com
Screen has now confirmed the full programme for the Summit:
Welcome
Wendy Mitchell, Editor, Screen International
Ben Roberts, Director, BFI Film Fund
Opening presentations
David Steele, acting head of Resarch and Statistics, BFI
Dan Simmons, head of Film, Creative Skillset
Keynote
Ian Lewis, director of Sky Movies and Acquisitions
Panel: Where’s The Money
Ben Roberts, Director, BFI Film Fund
Nik Bower, Director, Ingenious Investments...
Ian Lewis, director of Sky Movies and Acquisitions, will deliver the keynote at the Screen International Film Summit on Monday.
He will discuss the changing face of movie consumption, Sky’s move into production of and investment in British film, the company’s studio partnerships, and more.
The Summit, to be held at BFI Southbank, is being organised in association with the British Film Institute (BFI) with support from Creative Skillset.
To register to attend, please visit screenfilmsummit.com
Screen has now confirmed the full programme for the Summit:
Welcome
Wendy Mitchell, Editor, Screen International
Ben Roberts, Director, BFI Film Fund
Opening presentations
David Steele, acting head of Resarch and Statistics, BFI
Dan Simmons, head of Film, Creative Skillset
Keynote
Ian Lewis, director of Sky Movies and Acquisitions
Panel: Where’s The Money
Ben Roberts, Director, BFI Film Fund
Nik Bower, Director, Ingenious Investments...
- 11/27/2013
- ScreenDaily
Full Summit programme confirmed; delegate passes still available.
Ian Lewis, director of Sky Movies and Acquisitions, will deliver the keynote at the Screen International Film Summit on Monday.
He will discuss the changing face of movie consumption, Sky’s move into production of and investment in British film, the company’s studio partnerships, and more.
The Summit, to be held at BFI Southbank, is being organised in association with the British Film Institute (BFI) with support from Creative Skillset.
To register to attend, please visit screenfilmsummit.com
Screen has now confirmed the full programme for the Summit:
Welcome
Wendy Mitchell, Editor, Screen International
Ben Roberts, Director, BFI Film Fund
Opening presentations
David Steele, acting head of Resarch and Statistics, BFI
Dan Simmons, head of Film, Creative Skillset
Keynote
Ian Lewis, director of Sky Movies and Acquisitions
Panel: Where’s The Money
Ben Roberts, Director, BFI Film Fund
Nik Bower, Director, Ingenious Investments...
Ian Lewis, director of Sky Movies and Acquisitions, will deliver the keynote at the Screen International Film Summit on Monday.
He will discuss the changing face of movie consumption, Sky’s move into production of and investment in British film, the company’s studio partnerships, and more.
The Summit, to be held at BFI Southbank, is being organised in association with the British Film Institute (BFI) with support from Creative Skillset.
To register to attend, please visit screenfilmsummit.com
Screen has now confirmed the full programme for the Summit:
Welcome
Wendy Mitchell, Editor, Screen International
Ben Roberts, Director, BFI Film Fund
Opening presentations
David Steele, acting head of Resarch and Statistics, BFI
Dan Simmons, head of Film, Creative Skillset
Keynote
Ian Lewis, director of Sky Movies and Acquisitions
Panel: Where’s The Money
Ben Roberts, Director, BFI Film Fund
Nik Bower, Director, Ingenious Investments...
- 11/27/2013
- ScreenDaily
Screen Australia will allocate $2.7 million to support four production companies and four film producers as part of its enterprise funding program.
The enterprise program, which began in 2009 with $9 million allocated across 12 production companies, is aimed at building a sustainable screen industry.
The latest companies to receive funding are: Bearcage Pty Ltd (Michael Tear, Serge Ou); Joined Up Films Pty Ltd (Daniel Brown, Jacqueline Willinge, Anne Brown, Anthony Willinge); Jungleboys (Jason Burrows, Trent O.Donnell, Phil Lloyd); and Wtfn Holdings (Daryl Talbot, Steve Oemcke, Frank Dunphy, Andrew Logie-Smith). The four successful feature film producers are: Jessica Brentnall (Magic Films Pty Ltd); Angie Fielder (Aquarius Films); Nicole O.Donohue (Wildflower Films); and Nelson Woss (Woss Group Film Productions Pty Ltd).
.The eight recipients approved in the latest rounds of Screen Australia.s enterprise program will enable the companies and individuals chosen to step up to the next stage of their development and...
The enterprise program, which began in 2009 with $9 million allocated across 12 production companies, is aimed at building a sustainable screen industry.
The latest companies to receive funding are: Bearcage Pty Ltd (Michael Tear, Serge Ou); Joined Up Films Pty Ltd (Daniel Brown, Jacqueline Willinge, Anne Brown, Anthony Willinge); Jungleboys (Jason Burrows, Trent O.Donnell, Phil Lloyd); and Wtfn Holdings (Daryl Talbot, Steve Oemcke, Frank Dunphy, Andrew Logie-Smith). The four successful feature film producers are: Jessica Brentnall (Magic Films Pty Ltd); Angie Fielder (Aquarius Films); Nicole O.Donohue (Wildflower Films); and Nelson Woss (Woss Group Film Productions Pty Ltd).
.The eight recipients approved in the latest rounds of Screen Australia.s enterprise program will enable the companies and individuals chosen to step up to the next stage of their development and...
- 11/12/2012
- by Staff Reporter
- IF.com.au
Screen Australia will allocate almost one-third of its next enterprise funding round to feature film producers.
The national screen agency will provide up to $150,000 over two years to new feature film producers who have had recent commercial or critical success through its "Feature Enterprise" strand. The Enterprise Program scheme, which is aimed at building local production companies, will provide up to $500,000 in total in 2012-13.
.Feature Enterprise is an initiative which rewards success in a very light touch manner,. Screen Australia.s chief executive Ruth Harley said in a statement. .Recipients can use these significant funds for such things as hiring writers and developers, funding infrastructure, option purchases and travel support.. Applications for the Feature Enterprise strand close on September 17.
The Enterprise Program began in 2009 with $9 million in funding allocated across 12 production companies. Many of those companies have found success although much of their screen output has received further direct funding from Screen Australia.
The national screen agency will provide up to $150,000 over two years to new feature film producers who have had recent commercial or critical success through its "Feature Enterprise" strand. The Enterprise Program scheme, which is aimed at building local production companies, will provide up to $500,000 in total in 2012-13.
.Feature Enterprise is an initiative which rewards success in a very light touch manner,. Screen Australia.s chief executive Ruth Harley said in a statement. .Recipients can use these significant funds for such things as hiring writers and developers, funding infrastructure, option purchases and travel support.. Applications for the Feature Enterprise strand close on September 17.
The Enterprise Program began in 2009 with $9 million in funding allocated across 12 production companies. Many of those companies have found success although much of their screen output has received further direct funding from Screen Australia.
- 8/1/2012
- by Brendan Swift
- IF.com.au
LONDON -- Moonstone International, the Scottish-based script and filmmaking workshop modeled on Robert Redford's Sundance Institute, named Fiona Kinsella as managing director Wednesday. Kinsella succeeds Tara Halloran, who had the job for four years but has left the organization. Kinsella has 10 years experience in Irish and European films, most recently as a project advisor at the Irish national film training body FAS Screen Training Ireland. "An important focus for her will be to continue the further development of the organization in the newly expanded Europe," said Jonathan Olsberg, Moonstone International chairman in a statement. Moonstone operates two residential workshops across Europe for scriptwriters and a separate course for filmmakers.
- 10/7/2004
- The Hollywood Reporter - Movie News
Fate is the hunter in this romantic drama, covering the tumultuous '30s and early '40s in Europe, which wants to mix character study with historical context but winds up with unconvincing melodrama. As an infamous playgirl winning and breaking hearts with reckless abandon, newly crowned Oscar winner Charlize Theron delivers an eye-catching performance, while Penelope Cruz contents herself with an offbeat supporting role with homoerotic overtones. Evoking Hemingway's fiction and movies ranging from Casablanca to The English Patient, John Duigan's Head in the Clouds, for all its attentive period details, glamour and music, is a hollow exercise.
The film should appeal to older adults, who fondly recall old Hollywood tales of clandestine activities and affairs set in the crumbling social mores of a world at war. Dollops of nudity and kinky sex spice up what otherwise might pass for a Warner Bros. patriotic programr, circa 1942, about World War II and the heroic underground Resistance.
What perhaps distinguishes Duigan's version from those films is how the movie, its plot and characters pivot around the notion of fate. In the opening scene, a palm reader refuses to tell a young girl her fortune because I saw your 34th year. This ambiguous fate not only causes that girl, Gilda Besse (Theron), to lead a hedonistic life devoted to mind-numbing pleasure and multiple sex partners, but also seems to bring people together and thereafter intricately intertwine their destinies.
One night, fate directs Gilda, a French-American heiress already notorious for her affairs, into the quarters of Guy (Stuart Townsend), an Irish-born student at Cambridge. There she hides out until morning to avoid compromising her lover, a university don. For his chivalry, Guy gets invited to a party with the decadent aristocratic set, where he falls further in love with the madcap heiress.
Three years later, she pops up again in Paris and in a fit of nostalgia summons Guy to her studio/apartment. Here she lives with the beautiful but lame Spanish refugee and model-cum-striptease artist Mia (Cruz) and dabbles in avant-garde circles as a neorealist photographer. Soon all three live together, forming an interesting menage that passes for normal in Paris between the wars.
Unlike Gilda, though, Guy and Mia possess social consciences, so the Spanish Civil War beckons them both to the Republican cause. Gilda feels betrayed since she believes in living for the moment. There will always be wars, she pouts.
A brief interlude sums up Guy and Mia's civil war experiences, in which fate allows their paths to cross only for fate to snuff out Mia's life. Guy then returns to Paris, only Gilda coldly rejects him. Six years later, he parachutes into occupied France as an Allied spy. A pretty bad one, apparently, for he cannot resist returning to his old haunts, where everyone knows him, to confront Gilda, who has taken up with a Nazi officer (Thomas Kretschmann). One more surprise awaits us before Gilda faces her fateful 34th year.
In truth, there are no real surprises. Things follow the predictable course of most World War II movies. Unlike, say, Casablanca, where personal and historical destinies are masterfully intertwined, the two seem on parallel tracks in Head in the Clouds: Shallow lives superficially examined and brief snippets of 20th century history interrupt one another, with neither illuminating the other. The only real surprise is how little chemistry there is between Theron and Townsend.
Theron does suggest what might have been a fascinatingly complex and ambiguous heroine had Duigan chosen to focus his movie on her.
But Guy is the focus and, frankly, he is the least interesting person in the movie, more narrator than actor. Even Steven Berkoff as Gilda's father and several of her lovers come across with more elan.
Period music and decor are excellent, demonstrating what can be done on a modest budget.
HEAD IN THE CLOUDS
Sony Pictures Classics
Movision
Credits:
Writer-director: John Duigan
Producers: Michael Cowan, Bertil Ohlsson, Jonathan Olsberg, Jason Piette, Andrew Rouleau, Maxime Remillard
Executive producers: Julia Palau, Matthew Payne
Director of photography: Paul Sarossy
Production designer: Jonathan Lee
Music: Terry Frewer
Costume designer: Mario Davignon
Editor: Dominique Fortin
Cast:
Gilda: Charlize Theron
Mia: Penelope Cruz
Guy: Stuart Townsend
Maj. Bietrich: Thomas Kretschmann
Charle Besse: Steven Berkoff
Lucien: David La Haye
Lisette: Karine Vanasse
MPAA rating: R
Running time -- 120 minutes...
The film should appeal to older adults, who fondly recall old Hollywood tales of clandestine activities and affairs set in the crumbling social mores of a world at war. Dollops of nudity and kinky sex spice up what otherwise might pass for a Warner Bros. patriotic programr, circa 1942, about World War II and the heroic underground Resistance.
What perhaps distinguishes Duigan's version from those films is how the movie, its plot and characters pivot around the notion of fate. In the opening scene, a palm reader refuses to tell a young girl her fortune because I saw your 34th year. This ambiguous fate not only causes that girl, Gilda Besse (Theron), to lead a hedonistic life devoted to mind-numbing pleasure and multiple sex partners, but also seems to bring people together and thereafter intricately intertwine their destinies.
One night, fate directs Gilda, a French-American heiress already notorious for her affairs, into the quarters of Guy (Stuart Townsend), an Irish-born student at Cambridge. There she hides out until morning to avoid compromising her lover, a university don. For his chivalry, Guy gets invited to a party with the decadent aristocratic set, where he falls further in love with the madcap heiress.
Three years later, she pops up again in Paris and in a fit of nostalgia summons Guy to her studio/apartment. Here she lives with the beautiful but lame Spanish refugee and model-cum-striptease artist Mia (Cruz) and dabbles in avant-garde circles as a neorealist photographer. Soon all three live together, forming an interesting menage that passes for normal in Paris between the wars.
Unlike Gilda, though, Guy and Mia possess social consciences, so the Spanish Civil War beckons them both to the Republican cause. Gilda feels betrayed since she believes in living for the moment. There will always be wars, she pouts.
A brief interlude sums up Guy and Mia's civil war experiences, in which fate allows their paths to cross only for fate to snuff out Mia's life. Guy then returns to Paris, only Gilda coldly rejects him. Six years later, he parachutes into occupied France as an Allied spy. A pretty bad one, apparently, for he cannot resist returning to his old haunts, where everyone knows him, to confront Gilda, who has taken up with a Nazi officer (Thomas Kretschmann). One more surprise awaits us before Gilda faces her fateful 34th year.
In truth, there are no real surprises. Things follow the predictable course of most World War II movies. Unlike, say, Casablanca, where personal and historical destinies are masterfully intertwined, the two seem on parallel tracks in Head in the Clouds: Shallow lives superficially examined and brief snippets of 20th century history interrupt one another, with neither illuminating the other. The only real surprise is how little chemistry there is between Theron and Townsend.
Theron does suggest what might have been a fascinatingly complex and ambiguous heroine had Duigan chosen to focus his movie on her.
But Guy is the focus and, frankly, he is the least interesting person in the movie, more narrator than actor. Even Steven Berkoff as Gilda's father and several of her lovers come across with more elan.
Period music and decor are excellent, demonstrating what can be done on a modest budget.
HEAD IN THE CLOUDS
Sony Pictures Classics
Movision
Credits:
Writer-director: John Duigan
Producers: Michael Cowan, Bertil Ohlsson, Jonathan Olsberg, Jason Piette, Andrew Rouleau, Maxime Remillard
Executive producers: Julia Palau, Matthew Payne
Director of photography: Paul Sarossy
Production designer: Jonathan Lee
Music: Terry Frewer
Costume designer: Mario Davignon
Editor: Dominique Fortin
Cast:
Gilda: Charlize Theron
Mia: Penelope Cruz
Guy: Stuart Townsend
Maj. Bietrich: Thomas Kretschmann
Charle Besse: Steven Berkoff
Lucien: David La Haye
Lisette: Karine Vanasse
MPAA rating: R
Running time -- 120 minutes...
- 9/24/2004
- The Hollywood Reporter - Movie News
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