Young was director of the Nfts from 1971-92.
Colin Young, the founding director of the UK’s National Film and Television School (Nfts), has passed away aged 94.
According to a statement from the Nfts, Young died peacefully at home, surrounded by his family, on Saturday (November 27).
Young was born in Glasgow in 1927. He started off writing film and theatre reviews in Aberdeen, before heading to Los Angeles to study film at UCLA. After graduating, he worked as a technician at the university, and eventually made his way up through various departments to be put in charge of the Department of Theatre Arts,...
Colin Young, the founding director of the UK’s National Film and Television School (Nfts), has passed away aged 94.
According to a statement from the Nfts, Young died peacefully at home, surrounded by his family, on Saturday (November 27).
Young was born in Glasgow in 1927. He started off writing film and theatre reviews in Aberdeen, before heading to Los Angeles to study film at UCLA. After graduating, he worked as a technician at the university, and eventually made his way up through various departments to be put in charge of the Department of Theatre Arts,...
- 11/29/2021
- by Mona Tabbara
- ScreenDaily
Blacker Dread is credited with keeping youngsters out of jail
He has recorded with the biggest reggae artists of the past 50 years, performed for Nelson Mandela on his state visit to Britain, and for more than two decades ran a record store in Brixton that became a social hub and safe house for London’s Afro-Caribbean community. Yet the judge who sent him to prison in 2014 dismissed his life as a “failure”.
Blacker Dread, real name Steve Burnett-Martin, is now out and so, too, this week is a feature-length documentary about his life by Molly Dineen, a Bafta-award winning film-maker. Being Blacker, which Dineen filmed over a three-year period, is a close-up on Brixton’s Jamaican community and the man who unintentionally became its kingpin.
He has recorded with the biggest reggae artists of the past 50 years, performed for Nelson Mandela on his state visit to Britain, and for more than two decades ran a record store in Brixton that became a social hub and safe house for London’s Afro-Caribbean community. Yet the judge who sent him to prison in 2014 dismissed his life as a “failure”.
Blacker Dread, real name Steve Burnett-Martin, is now out and so, too, this week is a feature-length documentary about his life by Molly Dineen, a Bafta-award winning film-maker. Being Blacker, which Dineen filmed over a three-year period, is a close-up on Brixton’s Jamaican community and the man who unintentionally became its kingpin.
- 3/4/2018
- by Rob Walker
- The Guardian - Film News
Molly Dineen has made an inhouse film for crisis-hit firm Serco full of happy prisoners and grateful asylum-seekers. Why?
‘How do we make our people feel less like shit?” This was one of the most pressing questions for Rupert Soames when he took control of the crisis-ridden outsourcing firm Serco.
The £1.05bn organisation – which runs prisons, air-traffic control hubs, train lines and government defence contracts globally – was in the midst of a “full-blown corporate crisis, and as a company it was widely reviled”, says Soames, who became chief executive in May 2014. Staff morale was extremely low. “We seek to make the world a better place, and then we see all of these headlines: ‘evil’, ‘grasping’, ‘ripping off the taxpayer’,” he adds, suggesting that it was “a bit like if you were a member of a congregation and discovered that your priest had been doing crack cocaine”.
Continue reading...
‘How do we make our people feel less like shit?” This was one of the most pressing questions for Rupert Soames when he took control of the crisis-ridden outsourcing firm Serco.
The £1.05bn organisation – which runs prisons, air-traffic control hubs, train lines and government defence contracts globally – was in the midst of a “full-blown corporate crisis, and as a company it was widely reviled”, says Soames, who became chief executive in May 2014. Staff morale was extremely low. “We seek to make the world a better place, and then we see all of these headlines: ‘evil’, ‘grasping’, ‘ripping off the taxpayer’,” he adds, suggesting that it was “a bit like if you were a member of a congregation and discovered that your priest had been doing crack cocaine”.
Continue reading...
- 4/25/2016
- by Amelia Gentleman
- The Guardian - Film News
Molly Dineen has made an inhouse film for crisis-hit firm Serco full of happy prisoners and grateful asylum-seekers. Why?
‘How do we make our people feel less like shit?” This was one of the most pressing questions for Rupert Soames when he took control of the crisis-ridden outsourcing firm Serco.
The £1.05bn organisation – which runs prisons, air-traffic control hubs, train lines and government defence contracts globally – was in the midst of a “full-blown corporate crisis, and as a company it was widely reviled”, says Soames, who became chief executive in May 2014. Staff morale was extremely low. “We seek to make the world a better place, and then we see all of these headlines: ‘evil’, ‘grasping’, ‘ripping off the taxpayer’,” he adds, suggesting that it was “a bit like if you were a member of a congregation and discovered that your priest had been doing crack cocaine”.
Continue reading...
‘How do we make our people feel less like shit?” This was one of the most pressing questions for Rupert Soames when he took control of the crisis-ridden outsourcing firm Serco.
The £1.05bn organisation – which runs prisons, air-traffic control hubs, train lines and government defence contracts globally – was in the midst of a “full-blown corporate crisis, and as a company it was widely reviled”, says Soames, who became chief executive in May 2014. Staff morale was extremely low. “We seek to make the world a better place, and then we see all of these headlines: ‘evil’, ‘grasping’, ‘ripping off the taxpayer’,” he adds, suggesting that it was “a bit like if you were a member of a congregation and discovered that your priest had been doing crack cocaine”.
Continue reading...
- 4/25/2016
- by Amelia Gentleman
- The Guardian - Film News
Documentary filmmaker places a focus on the lives of women across the globe
Kim Longinotto has been named the 2015 recipient of the BBC Grierson Trustees’ Award.
The documentary filmmaker is known for titles including Sisters In Law, which won the Cicea award at Cannes in 2005, Pink Saris and latest release Dreamcatcher, which won the Directing Award at Sundance in January.
Announcing the award, a statement from The Grierson Trust described Longinotto as: “the creator of numerous groundbreaking films which focus on and explore the lives of women across the globe,. Throughout her career she has consistently given voice to those who have no voice living in some of the world’s most repressive and hostile societies.
Previous winners of the honour include John Battsek, Kevin Macdonald, Alex Graham, John Pilger, Penny Woolcock, Norma Percy, Paul Watson, Mike Salisbury, Nick Fraser, Jonathan Gili, Molly Dineen and Sir David Attenborough.
Grierson Trust chairman Lorraine Heggessey said: “Kim is a filmmaker...
Kim Longinotto has been named the 2015 recipient of the BBC Grierson Trustees’ Award.
The documentary filmmaker is known for titles including Sisters In Law, which won the Cicea award at Cannes in 2005, Pink Saris and latest release Dreamcatcher, which won the Directing Award at Sundance in January.
Announcing the award, a statement from The Grierson Trust described Longinotto as: “the creator of numerous groundbreaking films which focus on and explore the lives of women across the globe,. Throughout her career she has consistently given voice to those who have no voice living in some of the world’s most repressive and hostile societies.
Previous winners of the honour include John Battsek, Kevin Macdonald, Alex Graham, John Pilger, Penny Woolcock, Norma Percy, Paul Watson, Mike Salisbury, Nick Fraser, Jonathan Gili, Molly Dineen and Sir David Attenborough.
Grierson Trust chairman Lorraine Heggessey said: “Kim is a filmmaker...
- 10/13/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
British filmmakers and some of the UK’s highest-profile documentary-makers have put their names to a campaign backing the BBC.
Oscar-winners Tom Hooper, who directed The King’s Speech and Les Misérables, and James Marsh, who was behind Man On Wire and The Theory Of Everything, have endorsed the licence fee and the BBC’s contribution to the UK creative industries.
David Yates, the director of four Harry Potter films, has also signed Broadcast’s statement of qualified support, alongside My Week With Marilyn director Simon Curtis.
“The BBC inspires, informs, provokes and entertains, not for profit but to enrich and deepen our appreciation and understanding of the world. We should cherish and celebrate all that it stands for,” Yates said.
The board of Directors UK voted unanimously to support the campaign and chief executive Andrew Chowns said: “The BBC should be celebrated as a place that inspires our brightest television talent and empowers them to achieve...
Oscar-winners Tom Hooper, who directed The King’s Speech and Les Misérables, and James Marsh, who was behind Man On Wire and The Theory Of Everything, have endorsed the licence fee and the BBC’s contribution to the UK creative industries.
David Yates, the director of four Harry Potter films, has also signed Broadcast’s statement of qualified support, alongside My Week With Marilyn director Simon Curtis.
“The BBC inspires, informs, provokes and entertains, not for profit but to enrich and deepen our appreciation and understanding of the world. We should cherish and celebrate all that it stands for,” Yates said.
The board of Directors UK voted unanimously to support the campaign and chief executive Andrew Chowns said: “The BBC should be celebrated as a place that inspires our brightest television talent and empowers them to achieve...
- 6/4/2015
- ScreenDaily
From live blogs on 'Occupy' protests to footage of Syrian atrocities on YouTube, filmmakers now have access to a wealth of raw material – but can it all be trusted?
In a digital world with a whole host of different ways to communicate a factual message it is increasingly hard to judge the value of amateur eyewitness film shot on a mobile phone and posted on the internet against a considered, observational documentary broadcast on a traditional television channel.
From the Occupy New York City bloggers, such as Tim Pool who has broadcast hours and hours of live reports from Zucotti Park in the city, to YouTube videos of citizens under fire from government forces in Syria – these incidents and more are changing the landscape of documentary filmmaking. This has been made possible by the technology they use, the distribution platforms that are now available and the passion of ordinary men...
In a digital world with a whole host of different ways to communicate a factual message it is increasingly hard to judge the value of amateur eyewitness film shot on a mobile phone and posted on the internet against a considered, observational documentary broadcast on a traditional television channel.
From the Occupy New York City bloggers, such as Tim Pool who has broadcast hours and hours of live reports from Zucotti Park in the city, to YouTube videos of citizens under fire from government forces in Syria – these incidents and more are changing the landscape of documentary filmmaking. This has been made possible by the technology they use, the distribution platforms that are now available and the passion of ordinary men...
- 6/10/2012
- by Kate Bulkley
- The Guardian - Film News
She hasn't made a documentary for four years but the BFI's release of a collection of her documentaries is still an event
She hasn't made a documentary for four years but today's BFI release of a collection of Molly Dineen's documentaries is still an event. Since the BBC bought Home from the Hill, her film school documentary about an elderly British cavalry officer returning to the UK in the mid-1980s after a lifetime spent on the ebbing tide of empire, she has quietly watched the impact of change on individuals. At least that's what she would say she has done, but it only partly describes her work. Her most recent films, on the final days of the old House of Lords, and on the death of (and on) the small farm, belong in that category. But The Ark, about London Zoo as it all but fell apart, and...
She hasn't made a documentary for four years but today's BFI release of a collection of Molly Dineen's documentaries is still an event. Since the BBC bought Home from the Hill, her film school documentary about an elderly British cavalry officer returning to the UK in the mid-1980s after a lifetime spent on the ebbing tide of empire, she has quietly watched the impact of change on individuals. At least that's what she would say she has done, but it only partly describes her work. Her most recent films, on the final days of the old House of Lords, and on the death of (and on) the small farm, belong in that category. But The Ark, about London Zoo as it all but fell apart, and...
- 12/5/2011
- The Guardian - Film News
Right now, word is spreading that we are on the brink of “a golden age” of documentaries. Asif Kapadia’s “Senna” has demonstrated how innovative feature-documentaries can perform well at the box-office; in just one month it has earned £2,803,182. “Life in a Day” proves how access to technology can provide a global platform for otherwise ignored voices. The most notable development is that for the first time in 21 years, BAFTA awards have announced they will reintroduce the Documentary category. Something has shifted in the cinema landscape, and it’s looking good for the documentary.
One objection to including the Documentary category in the previous years awards was the lack of exceptional documentaries to warrant enough nominations. Either way, there have been more quality feature documentaries released in the last six months and the demand is there to justify wider releases beyond a one-off screening at your not-so-local art centre. Documentary...
One objection to including the Documentary category in the previous years awards was the lack of exceptional documentaries to warrant enough nominations. Either way, there have been more quality feature documentaries released in the last six months and the demand is there to justify wider releases beyond a one-off screening at your not-so-local art centre. Documentary...
- 7/19/2011
- by Guest
- HeyUGuys.co.uk
"No longer critically marginalized as of lesser importance than the fiction feature film, no longer automatically regarded as 'box-office poison,' and with many of its most notable works stimulating widespread debate throughout print and electronic media, the documentary today is enjoying an unprecedented outburst of creative vitality," write the editors of Cineaste in the new Summer 2011 issue. What's more, the rapid evolution of digital technology has made it possible for documentarians to move fast, to fashion raw material culled from ongoing events into cohesive narratives, arguments and/or essays. Case in point: Zero Silence (site; image above), an up-to-the-minute report on the generation that's brought on the Arab Spring, drawing on footage shot between November 2009 and — literally — just a few days ago.
Not only is Zero Silence screening at the Sheffield Doc/Fest (site), running through Sunday, but we're also teaming up with the festival to present it here,...
Not only is Zero Silence screening at the Sheffield Doc/Fest (site), running through Sunday, but we're also teaming up with the festival to present it here,...
- 6/12/2011
- MUBI
They win awards and critical acclaim – but are in-depth documentaries under threat? Mark Lawson talks to film-makers about risk-taking, total immersion and the cult of celebrity
Is this a good time for factual film-making? It depends on your definitions of fact and film. There are executives and directors who complain that there are too few documentaries on television these days; and yet programmes from Brian Cox's The Wonders of the Universe to My Big Fat Gypsy Wedding have large and enthusiastic audiences. The problem is that what traditionalists mean by documentary (Adam Curtis's new series) is quite different from the star vehicles and "constructed reality" shows (Made in Chelsea, The Only Way is Essex) that are currently popular.
The past decade has also seen a big increase in the number of documentaries made for cinema. The success of Michael Moore's Bowling for Columbine (2002) and Morgan Spurlock's...
Is this a good time for factual film-making? It depends on your definitions of fact and film. There are executives and directors who complain that there are too few documentaries on television these days; and yet programmes from Brian Cox's The Wonders of the Universe to My Big Fat Gypsy Wedding have large and enthusiastic audiences. The problem is that what traditionalists mean by documentary (Adam Curtis's new series) is quite different from the star vehicles and "constructed reality" shows (Made in Chelsea, The Only Way is Essex) that are currently popular.
The past decade has also seen a big increase in the number of documentaries made for cinema. The success of Michael Moore's Bowling for Columbine (2002) and Morgan Spurlock's...
- 5/26/2011
- by Mark Lawson
- The Guardian - Film News
Enter The Void
DVD, e-one
Confessions
DVD & Blu-ray, Third Window
Honestly, you wait ages for a film to arrive that pushes the limits of what cinema can achieve, and then two arrive at once.
Employing film-making tricks in interesting, unfamiliar and creative ways, both of these movies have the potential to infuriate and confuse as many viewers as they'll delight. First off is Gaspar Noé's Enter The Void, where the Tibetan book of the dead is first summarised by one character then played out by another as we follow the spirit of a dead drug dealer around Tokyo. Few things are as dull as watching or listening to someone's drug story so Noé makes the viewer feel like they are the one on mind-altering substances with the help of weird lenses, dizzying camera moves and CGI (the film also makes nods to Kubrick's 2001 and even Disney's Tron). Extras include...
DVD, e-one
Confessions
DVD & Blu-ray, Third Window
Honestly, you wait ages for a film to arrive that pushes the limits of what cinema can achieve, and then two arrive at once.
Employing film-making tricks in interesting, unfamiliar and creative ways, both of these movies have the potential to infuriate and confuse as many viewers as they'll delight. First off is Gaspar Noé's Enter The Void, where the Tibetan book of the dead is first summarised by one character then played out by another as we follow the spirit of a dead drug dealer around Tokyo. Few things are as dull as watching or listening to someone's drug story so Noé makes the viewer feel like they are the one on mind-altering substances with the help of weird lenses, dizzying camera moves and CGI (the film also makes nods to Kubrick's 2001 and even Disney's Tron). Extras include...
- 4/22/2011
- by Phelim O'Neill
- The Guardian - Film News
As an actor, curating a feast of factual film-making showed me the beauty of the subjective truth, says Diana Quick
Aldeburgh cinema in Suffolk is not all it seems. From the outside, it looks like a half-timbered shop at the end of the high street. Within, it's an independent picture house that's been screening films for nearly a century. It's a proper community staple: to save it from shutting in the 1960s, a group of locals, including Benjamin Britten, clubbed together to buy it and then run it themselves. Year after year I've gone there to see mainstream releases, international arthouse films and special treats – I still remember introducing a bunch of teenagers to White Christmas at the cinema, one wintry day. I think it's ambitiously programmed every day of the year, but especially so for the three days its annual documentary festival comes around.
Molly Dineen had the brainwave...
Aldeburgh cinema in Suffolk is not all it seems. From the outside, it looks like a half-timbered shop at the end of the high street. Within, it's an independent picture house that's been screening films for nearly a century. It's a proper community staple: to save it from shutting in the 1960s, a group of locals, including Benjamin Britten, clubbed together to buy it and then run it themselves. Year after year I've gone there to see mainstream releases, international arthouse films and special treats – I still remember introducing a bunch of teenagers to White Christmas at the cinema, one wintry day. I think it's ambitiously programmed every day of the year, but especially so for the three days its annual documentary festival comes around.
Molly Dineen had the brainwave...
- 11/23/2010
- by Diana Quick
- The Guardian - Film News
The Times BFI 53rd London Film Festival announced its winners at the high profile awards ceremony held at London’s Inner Temple this evening. Hosted by journalist and broadcaster, Paul Gambaccini, the six awards were presented by some of the most respected figures in the film world. Best Film In recognition of original, intelligent and distinctive filmmaking, the new award for Best Film was judged by an international jury chaired by Anjelica Huston and fellow jurors John Akomfrah, Jarvis Cocker, Mathieu Kassovitz, Charlotte Rampling and Iain Softley. The Star of London for Best Film was awarded to Jacques Audiard’s A Prophet and was presented by Anjelica Huston.. On behalf of the jury Anjelica Huston (Chair) said: “A masterpiece: Un Prophete has the ambition, purity of vision and clarity of purpose to make it an instant classic. With seamless and imaginative story-telling, superb performances and universal themes, Jacques Audiard has made a perfect film.
- 10/29/2009
- by Marianne
- SoundOnSight
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