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
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
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
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