Exclusive: Trio of projects going into production in 2017.
Creative England has announced the latest recipients of its Production Fund, which supports filmmaking in the English regions using lottery funds via the BFI.
The three films are:
White Riot (working title) - dirs: Rubika Shah and Ed GibbsDawn Of The Dark Fox - dirs: Michael Smith and Tom StubbsSnodgrass – writer: David Quantick
The debut features are going into production in 2017 and were supported in development through Creative England’s lottery funded emerging talent strand as part of the BFI Network. The films are looking to close finance following the Cannes market.
Films that recently received Creative England lottery production funding include the Bifa-winning Adult Life Skills, Sundance winner God’s Own Country and Notes On Blindness. Critical hit Lady Macbeth was backed by Creative England through its iFeatures scheme.
Caroline Norbury, CEO of Creative England said: “These films, alongside our recent iFeatures greenlight projects, represent a ringing...
Creative England has announced the latest recipients of its Production Fund, which supports filmmaking in the English regions using lottery funds via the BFI.
The three films are:
White Riot (working title) - dirs: Rubika Shah and Ed GibbsDawn Of The Dark Fox - dirs: Michael Smith and Tom StubbsSnodgrass – writer: David Quantick
The debut features are going into production in 2017 and were supported in development through Creative England’s lottery funded emerging talent strand as part of the BFI Network. The films are looking to close finance following the Cannes market.
Films that recently received Creative England lottery production funding include the Bifa-winning Adult Life Skills, Sundance winner God’s Own Country and Notes On Blindness. Critical hit Lady Macbeth was backed by Creative England through its iFeatures scheme.
Caroline Norbury, CEO of Creative England said: “These films, alongside our recent iFeatures greenlight projects, represent a ringing...
- 5/19/2017
- by orlando.parfitt@screendaily.com (Orlando Parfitt)
- ScreenDaily
A Complete Guide to Every Song Written By Paul McCartney and Elvis Costello During Their Partnership
Though his music can be heard in all corners of the globe, Paul McCartney’s songwriting process is impressively homegrown. When he teamed with Elvis Costello for sessions that would ultimately yield his 1989 album Flowers in the Dirt, the pair met at McCartney’s personal studio: a converted corn mill dubbed Hog Hill Mill, a short drive from his farm in rural southern England. Armed with nothing more high-tech than a pencil, paper and acoustic guitar, two of the world’s most influential composers climbed the steps to a small office tucked above the studio and pulled tunes out of thin air.
- 3/28/2017
- by Jordan Runtagh
- PEOPLE.com
An expanded reissue of Paul McCartney‘s 1989 album Flowers in the Dirt is due out March 24, but fans were treated to a sneak peek Wednesday with a previously unreleased acoustic demo.
“Twenty Fine Fingers”—a breakneck rockabilly tune that harkens back to rock pioneer Buddy Holly—features McCartney duetting with fellow Liverpudlian Elvis Costello, who served as cowriter on the project. Four of their collaborations, “My Brave Face,” “Don’t Be Careless Love,” “That Day Is Done” and “You Want Her Too,” appeared on the completed album, while “The Lovers That Never Were,” “So Like Candy” and “Playboy to a...
“Twenty Fine Fingers”—a breakneck rockabilly tune that harkens back to rock pioneer Buddy Holly—features McCartney duetting with fellow Liverpudlian Elvis Costello, who served as cowriter on the project. Four of their collaborations, “My Brave Face,” “Don’t Be Careless Love,” “That Day Is Done” and “You Want Her Too,” appeared on the completed album, while “The Lovers That Never Were,” “So Like Candy” and “Playboy to a...
- 2/1/2017
- by Jordan Runtagh
- PEOPLE.com
A total of 145 feature documentaries were submitted to the Academy of Motion Picture Arts and Sciences for consideration for the 89th Academy Awards.
Out of those films the members of the Academy’s documentary branch will select a shortlist of 15 features that will be announced in December, and the five nominations will be announced on January 24.
Read More: Documentary, Now: Three Rock Stars Who Run the Fast-Changing Non-Fiction World
Among the titles included in the list are Ava DuVernay’s “13th,” the Sundance Documentary Grand Jury Prize winner “Weiner” by Josh Kriegman and Elyse Steinberg, Raoul Peck’s Toronto Film Festival Audience Award winner “I Am Not Your Negro,” the visually stunning “Voyage of Time: The Imax Experience” by Terrence Malik and Otto Bell’s “The Eagle Huntress.”
Read More: Oscars 2017: 10 Documentary Shorts Vie for Nominations
This year Asif Kapadia and James Gay-Rees’ film “Amy” about British singer Amy Winehouse...
Out of those films the members of the Academy’s documentary branch will select a shortlist of 15 features that will be announced in December, and the five nominations will be announced on January 24.
Read More: Documentary, Now: Three Rock Stars Who Run the Fast-Changing Non-Fiction World
Among the titles included in the list are Ava DuVernay’s “13th,” the Sundance Documentary Grand Jury Prize winner “Weiner” by Josh Kriegman and Elyse Steinberg, Raoul Peck’s Toronto Film Festival Audience Award winner “I Am Not Your Negro,” the visually stunning “Voyage of Time: The Imax Experience” by Terrence Malik and Otto Bell’s “The Eagle Huntress.”
Read More: Oscars 2017: 10 Documentary Shorts Vie for Nominations
This year Asif Kapadia and James Gay-Rees’ film “Amy” about British singer Amy Winehouse...
- 10/29/2016
- by Liz Calvario
- Indiewire
Rather than take the high-end prime specialty route with initial New York/Los Angeles dates, this week’s top two releases—Mira Nair’s well-reviewed “Queen of Katwe” (Disney) and Jocelyn Moorhouse’s less welcomed “The Dressmaker” (Broad Green)—both jumped to multiple top cities.
Two of the leading Sundance 2016 films – “The Lovers and the Despot” (Magnolia) and “Goat” (The Film Arcade”) took the national bookings with day-and-date Video on Demand strategy. A third, documentary “Audrie & Daisy,” debuted on Netflix along with some minimal unreported theatrical dates (to get it reviewed in the movie section and Oscar qualified).
None of these popped with particularly impressive grosses. No doubt some of the big titles ahead will go the more conventional route and score big results. But the lay of the land gets more complicated for art houses as both their exclusivity and theatrical-only patterns are at risk.
Opening
“Queen of Katwe...
Two of the leading Sundance 2016 films – “The Lovers and the Despot” (Magnolia) and “Goat” (The Film Arcade”) took the national bookings with day-and-date Video on Demand strategy. A third, documentary “Audrie & Daisy,” debuted on Netflix along with some minimal unreported theatrical dates (to get it reviewed in the movie section and Oscar qualified).
None of these popped with particularly impressive grosses. No doubt some of the big titles ahead will go the more conventional route and score big results. But the lay of the land gets more complicated for art houses as both their exclusivity and theatrical-only patterns are at risk.
Opening
“Queen of Katwe...
- 9/25/2016
- by Tom Brueggemann
- Indiewire
While the summer had a number of gems, our sights are now set on the majorly promising fall slate as we’ve highlighted 75 to keep on your radar. For a more specific breakdown, we now have our monthly rundown, which includes some Tiff and Venice films, and much more. It should also be noted that Michelangelo Antonioni‘s restored masterpiece La Notte will get a theatrical run starting on September 16 at NYC’s Film Forum, and will expand from there. Check out our recommendations below and let us know what you’re looking forward to.
Matinees to See: White Girl (9/2), Max Rose (9/2), The Academy of Muses (9/2), Zoom (9/2), Other People (9/9). Kicks (9/9), Dancer (9/9), London Road (9/9), Come What May (9/9), The Beatles: Eight Days a Week – The Touring Years (9/16), My Blind Brother (9/23), Girl Asleep (9/23), Goat (9/23), The Lovers and the Despot (9/23), The Magnificent Seven (9/23), Chronic (9/23), Sand Storm (9/28), Do Not Resist (9/30), Deepwater Horizon (9/30), Miss Peregrine’s...
Matinees to See: White Girl (9/2), Max Rose (9/2), The Academy of Muses (9/2), Zoom (9/2), Other People (9/9). Kicks (9/9), Dancer (9/9), London Road (9/9), Come What May (9/9), The Beatles: Eight Days a Week – The Touring Years (9/16), My Blind Brother (9/23), Girl Asleep (9/23), Goat (9/23), The Lovers and the Despot (9/23), The Magnificent Seven (9/23), Chronic (9/23), Sand Storm (9/28), Do Not Resist (9/30), Deepwater Horizon (9/30), Miss Peregrine’s...
- 9/1/2016
- by Jordan Raup
- The Film Stage
Live and Let Die
Written by Tom Mankiewicz
Directed by Guy Hamilton
UK, 1973
1973’s Live and Let Die unleashed a new kind of Bond upon the world, a Bond whose bland propriety and vacuous quips would dominate the screen for another twelve years. Roger Moore, taking over for Sean Connery, the third different Bond in three films, had enjoyed popular success as a television star on mystery series “The Saint.” He had originally tested for the role prior to inaugural series entry Dr. No, but was deemed “too pretty” by Bond producers Harry Salzman and Albert “Cubby” Broccoli. Sean Connery had only grudgingly agreed to return for 1971’s Diamonds Are Forever, and had no interest in continuing further due to tension with the producers. Salzman was not a fan of the choice of Moore, but was overruled by Broccoli, who saw in the TV star the opportunity to create an...
Written by Tom Mankiewicz
Directed by Guy Hamilton
UK, 1973
1973’s Live and Let Die unleashed a new kind of Bond upon the world, a Bond whose bland propriety and vacuous quips would dominate the screen for another twelve years. Roger Moore, taking over for Sean Connery, the third different Bond in three films, had enjoyed popular success as a television star on mystery series “The Saint.” He had originally tested for the role prior to inaugural series entry Dr. No, but was deemed “too pretty” by Bond producers Harry Salzman and Albert “Cubby” Broccoli. Sean Connery had only grudgingly agreed to return for 1971’s Diamonds Are Forever, and had no interest in continuing further due to tension with the producers. Salzman was not a fan of the choice of Moore, but was overruled by Broccoli, who saw in the TV star the opportunity to create an...
- 11/3/2015
- by Gabriel Bucsko
- SoundOnSight
Live and Let Die
Written by Tom Mankiewicz
Directed by Guy Hamilton
UK, 1973
1973′s Live and Let Die unleashed a new kind of Bond upon the world, a Bond whose bland propriety and vacuous quips would dominate the screen for another twelve years. Roger Moore, taking over for Sean Connery, the third different Bond in three films, had enjoyed popular success as a television star on mystery series “The Saint.” He had originally tested for the role prior to inaugural series entry Dr. No, but was deemed “too pretty” by Bond producers Harry Salzman and Albert “Cubby” Broccoli. Sean Connery had only grudgingly agreed to return for 1971′s Diamonds Are Forever, and had no interest in continuing further due to tension with the producers. Salzman was not a fan of the choice of Moore, but was overruled by Broccoli, who saw in the TV star the opportunity to create an...
Written by Tom Mankiewicz
Directed by Guy Hamilton
UK, 1973
1973′s Live and Let Die unleashed a new kind of Bond upon the world, a Bond whose bland propriety and vacuous quips would dominate the screen for another twelve years. Roger Moore, taking over for Sean Connery, the third different Bond in three films, had enjoyed popular success as a television star on mystery series “The Saint.” He had originally tested for the role prior to inaugural series entry Dr. No, but was deemed “too pretty” by Bond producers Harry Salzman and Albert “Cubby” Broccoli. Sean Connery had only grudgingly agreed to return for 1971′s Diamonds Are Forever, and had no interest in continuing further due to tension with the producers. Salzman was not a fan of the choice of Moore, but was overruled by Broccoli, who saw in the TV star the opportunity to create an...
- 11/7/2012
- by Gabriel Bucsko
- SoundOnSight
You may find the new Ben Stiller movie The Watch strangely familiar. But that's not necessarily a good thing
You might be forgiven for thinking that you've seen The Watch before. Not because Ben Stiller's character is the same uptight blowhard that he has played in everything for the past 15 years, or because Richard Ayoade is basically just Moss from The It Crowd again, or because Vince Vaughn remains content to sit back and bibble out the same directionless patter that has been his stock in trade for what seems like centuries.
No. The reason is because, once you've scraped away all the sex jokes and clanging Costco product placement, you're basically left with Dad's Army. Both are essentially stories about a group of ill-prepared middle-aged incompetents trying to escape the monotony of their day-to-day lives by fudging together a defence against an enemy they don't fully understand. With The Watch,...
You might be forgiven for thinking that you've seen The Watch before. Not because Ben Stiller's character is the same uptight blowhard that he has played in everything for the past 15 years, or because Richard Ayoade is basically just Moss from The It Crowd again, or because Vince Vaughn remains content to sit back and bibble out the same directionless patter that has been his stock in trade for what seems like centuries.
No. The reason is because, once you've scraped away all the sex jokes and clanging Costco product placement, you're basically left with Dad's Army. Both are essentially stories about a group of ill-prepared middle-aged incompetents trying to escape the monotony of their day-to-day lives by fudging together a defence against an enemy they don't fully understand. With The Watch,...
- 8/16/2012
- by Stuart Heritage
- The Guardian - Film News
Hm The Queen has arrived at the Golden Jubilee Concert, taking her seat 90 minutes into the celebrations taking place in front of Buckingham Palace, and joining 100,000 revellers partying along the Mall.
The duty of kick-starting the show fell to Robbie Williams - bandmate of the evening's organiser Gary Barlow - who took to the floor for a suitably crowd-rousing rendition of Let Me Entertain You.
He later returned to the stage, showing his versatile abilities with a jazzy version of Mack The Knife - with lyrics suitably customised to honour the event, including references to Cheryl Cole and even Towie, and royal box incumbents Princesses Beatrice and Eugenie.
What Was Your Favourite Moment Of The Night? Let Us Know Below...
One of the highlights of the evening was when the 200-strong musicians on Barlow's official Jubilee song, Sing, came together to perform on stage. It was a technical challenge of...
The duty of kick-starting the show fell to Robbie Williams - bandmate of the evening's organiser Gary Barlow - who took to the floor for a suitably crowd-rousing rendition of Let Me Entertain You.
He later returned to the stage, showing his versatile abilities with a jazzy version of Mack The Knife - with lyrics suitably customised to honour the event, including references to Cheryl Cole and even Towie, and royal box incumbents Princesses Beatrice and Eugenie.
What Was Your Favourite Moment Of The Night? Let Us Know Below...
One of the highlights of the evening was when the 200-strong musicians on Barlow's official Jubilee song, Sing, came together to perform on stage. It was a technical challenge of...
- 6/4/2012
- by The Huffington Post UK
- Huffington Post
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