There are many references in Paul McCartney‘s “Let ‘Em In,” some more conscious than others. Paul often said that things subconsciously inspired him. Only later did he realize where certain ideas came from.
Paul McCartney | Chris Walter/ Getty Images Paul McCartney’s ‘Let ‘Em In’ is ‘filler’
In his book, The Lyrics: 1956 to the Present, Paul said he thinks his and Wings’ song “Let ‘Em In” is a “stocking filler.” That’s how he thinks of some of his songs. “It’s a fun little item, but it’s not your main Christmas present,” he wrote.
Paul said he can get perfectionist about things and think, “This is just not one of my grand pieces.” Then, he’ll get a “bit down” on those songs. For instance, he remembers being very down about his song “Bip Bop.”
Paul used to think, “Oh God, how banal can you get?” He...
Paul McCartney | Chris Walter/ Getty Images Paul McCartney’s ‘Let ‘Em In’ is ‘filler’
In his book, The Lyrics: 1956 to the Present, Paul said he thinks his and Wings’ song “Let ‘Em In” is a “stocking filler.” That’s how he thinks of some of his songs. “It’s a fun little item, but it’s not your main Christmas present,” he wrote.
Paul said he can get perfectionist about things and think, “This is just not one of my grand pieces.” Then, he’ll get a “bit down” on those songs. For instance, he remembers being very down about his song “Bip Bop.”
Paul used to think, “Oh God, how banal can you get?” He...
- 3/12/2023
- by Hannah Wigandt
- Showbiz Cheat Sheet
Last year, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 166 were entered. The short list of 15 will be announced, along with eight others for the first time on a single date this year: December 17.
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
- 11/8/2018
- by Anne Thompson
- Thompson on Hollywood
Last year, the Academy documentary branch had to grapple with a record 170 documentary feature submissions for the Best Documentary Feature Oscar. This year, it’s not so bad: only 166 were entered. The short list of 15 will be announced, along with eight others for the first time on a single date this year: December 17.
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
All year, branch members have been getting lists of secure online screeners available to watch on the Academy website, increasing in volume until last month, when they received a batch of 77, with more to come. It’s a burden to watch them all, so the ones with the most attention move to the top of the much-watch list. Give the advantage to early box office hits that were made available in the summer such as “Won’t You Be My Neighbor?,” “Rbg,” and “Three Identical Strangers,” as well as September’s list including critically hailed “Dark Money,...
- 11/8/2018
- by Anne Thompson
- Indiewire
A whopping 166 documentary features have been submitted to the academy for consideration at the 2019 Oscars. That is down by four from last year’s record 170 submissions. Among these contenders are all of the highest grossing documentaries of the year including “Free Solo,” “Rbg” and “Won’t You Be My Neighbor?”
To winnow the entries down to the 15 semi-finalists that will be announced on December 17, the academy is sending monthly packages of the newly eligible documentary feature screeners to all 400 or so members of the documentary branch. While all members are encouraged to watch as many of these as they can, one-fifth of the voters are assigned each title. In late November, each branch member will submit a preferential ballot listing their top 15 choices.
See 2019 Oscars: Foreign-language film entries from A (Afghanistan) to Y (Yemen)
All of these ballots will be collated to determine the 15 semi-finalists. Branch members will then be...
To winnow the entries down to the 15 semi-finalists that will be announced on December 17, the academy is sending monthly packages of the newly eligible documentary feature screeners to all 400 or so members of the documentary branch. While all members are encouraged to watch as many of these as they can, one-fifth of the voters are assigned each title. In late November, each branch member will submit a preferential ballot listing their top 15 choices.
See 2019 Oscars: Foreign-language film entries from A (Afghanistan) to Y (Yemen)
All of these ballots will be collated to determine the 15 semi-finalists. Branch members will then be...
- 11/8/2018
- by Paul Sheehan
- Gold Derby
In a year that has seen multiple documentaries find mainstream success, the Academy of Motion Picture Arts and Sciences released the list of 166 docs that have been submitted for Oscar consideration this year.
Among the films on the list are Michael Moore’s anti-Trump polemic “Fahrenheit 11/9,” as well as CNN Films’ Ruth Bader Ginsburg biography “Rbg” and Focus’ Mister Rogers retrospective “Won’t You Be My Neighbor?”
Other films considered frontrunners include “Three Identical Strangers,” the wild story of triplets who were separated at birth by a bizarre experiment, “Free Solo,” which documents the first ever attempt to climb Yosemite’s El Capitan without any climbing gear, and “Dark Money,” an investigative report into the influence of billionaires on American democracy through the lens of a Montana congressional race.
Also Read: Sorry, Oscar Documentary Voters: Your Workload Just Doubled
The contender field is slightly less than last year’s record field of 170 but does include,...
Among the films on the list are Michael Moore’s anti-Trump polemic “Fahrenheit 11/9,” as well as CNN Films’ Ruth Bader Ginsburg biography “Rbg” and Focus’ Mister Rogers retrospective “Won’t You Be My Neighbor?”
Other films considered frontrunners include “Three Identical Strangers,” the wild story of triplets who were separated at birth by a bizarre experiment, “Free Solo,” which documents the first ever attempt to climb Yosemite’s El Capitan without any climbing gear, and “Dark Money,” an investigative report into the influence of billionaires on American democracy through the lens of a Montana congressional race.
Also Read: Sorry, Oscar Documentary Voters: Your Workload Just Doubled
The contender field is slightly less than last year’s record field of 170 but does include,...
- 11/8/2018
- by Jeremy Fuster
- The Wrap
“Maria by Callas,” an adoring profile of the Greek-American opera legend, is a one-sided documentary, using Callas’ own words in journals, letters and interview appearances to narrate her personal history. Yet this is not meant as criticism; it’s only fair that Callas’ voice finally gets heard off the stage, given how much the tabloids reinforced her image as a tempestuous diva, when the real person was much more complicated. First-time director Tom Volf plainly adores Callas — sometimes to a fault — but his film stands as a necessary corrective to decades of bad press. It’s an unalloyed tribute to her as a musical genius who gave all of herself to the public. Opera aficionados will be first in line when Sony Pictures Classics releases the film in early November, but the doc doubles as an accessible primer for the less schooled, too, with an abundance of classic recordings on the soundtrack.
- 9/11/2018
- by Scott Tobias
- Variety Film + TV
Green joins from WestEnd Films.
UK sales outfit Bankside Films has appointed Sophie Green as its head of acquisitions and development.
Green joins from WestEnd Films where she held the same position since 2016. Before then, she had roles at Studiocanal, literary agency David Higham Associates, and TV companies Tiger Aspect and Company Pictures.
During her time at WestEnd she worked on Sophie Fiennes’ Grace Jones: Bloodlight And Bami, Vicky Jewson’s Close starring Noami Rapace which was recently picked up by Netflix, and Agnieszka Holland’s Gareth Jones starring James Norton and Vanessa Kirby.
Green joined Bankside this week and...
UK sales outfit Bankside Films has appointed Sophie Green as its head of acquisitions and development.
Green joins from WestEnd Films where she held the same position since 2016. Before then, she had roles at Studiocanal, literary agency David Higham Associates, and TV companies Tiger Aspect and Company Pictures.
During her time at WestEnd she worked on Sophie Fiennes’ Grace Jones: Bloodlight And Bami, Vicky Jewson’s Close starring Noami Rapace which was recently picked up by Netflix, and Agnieszka Holland’s Gareth Jones starring James Norton and Vanessa Kirby.
Green joined Bankside this week and...
- 4/27/2018
- by Tom Grater
- ScreenDaily
Grace Jones has been an enigmatic performer for decades. Whether you know her from her music, or from her acting roles in Conan the Destroyer, A View to a Kill, Vamp or Boomerang, the mystery and unknown have been central to her mystique. Jones reveals herself in the documentary Grace Jones: Bloodlight and Bami. Filmmaker Sophie Fiennes, who has been friends with Jones for 15 years, filmed her recording and performing, while opening up on camera in between. Fiennes spoke with Monsters and Critics by phone this week before Grace Jones: Bloodlight and Bami opened. The film is in theaters […]
The post Grace Jones: Bloodlight and Bami director Sophie Fiennes on the real Grace Jones appeared first on Monsters and Critics.
The post Grace Jones: Bloodlight and Bami director Sophie Fiennes on the real Grace Jones appeared first on Monsters and Critics.
- 4/20/2018
- by Fred Topel
- Monsters and Critics
In today’s film news roundup, Jane Fonda and Elizabeth Olsen are set to be honored by the Environmental Media Association, David Ninh gets a new gig, and elephant documentary “Love & Bananas” gets a release.
Honors
The Environmental Media Association will honor Jane Fonda, Ray Halbritter, Mike Sullivan, and Elizabeth Olsen on June 9 at its Honors Benefit Gala in Los Angeles.
Fonda will receive the Female Ema Lifetime Achievement Award and Halbritter, CEO of Oneida Nation Enterprises, will be given the Male Ema Lifetime Achievement Award. Olsen will receive the Ema Futures Award. Sullivan, owner of LAcarGuy, has been selected for the Ema Corporate Responsibility Award.
Past Ema Honors recipients include Michael Bloomberg, Sir Richard Branson, Matt Damon, Elon Musk, Natalie Portman, Jaden Smith, Justin Timberlake, and Shailene Woodley.
Fonda and Halbritter are both longtime champions of the Environmental Media Association and Halbritter is a member of its board of directors.
Honors
The Environmental Media Association will honor Jane Fonda, Ray Halbritter, Mike Sullivan, and Elizabeth Olsen on June 9 at its Honors Benefit Gala in Los Angeles.
Fonda will receive the Female Ema Lifetime Achievement Award and Halbritter, CEO of Oneida Nation Enterprises, will be given the Male Ema Lifetime Achievement Award. Olsen will receive the Ema Futures Award. Sullivan, owner of LAcarGuy, has been selected for the Ema Corporate Responsibility Award.
Past Ema Honors recipients include Michael Bloomberg, Sir Richard Branson, Matt Damon, Elon Musk, Natalie Portman, Jaden Smith, Justin Timberlake, and Shailene Woodley.
Fonda and Halbritter are both longtime champions of the Environmental Media Association and Halbritter is a member of its board of directors.
- 4/17/2018
- by Dave McNary
- Variety Film + TV
A Quiet Place to cross $100m on Monday.
April 16 Update: Rampage ruled the world at the weekend as the Dwayne ‘The Rock’ Johnson action adventure rustled up $35.8m to usurp A Quiet Place, which crossed $100m on Sunday.
The $120m tentpole debuted via Warner Bros in 4,101 theatres and while early signs would suggest North America is not the place to recoup, international prospects appear far healthier.
The film about a scientist who must deal with giant mutant beasts run amok in Chicago generated $115.7m international and $151.5m worldwide.
Blumhouse Films’ latest genre film, the supernatural thriller Truth Or Dare, debuted...
April 16 Update: Rampage ruled the world at the weekend as the Dwayne ‘The Rock’ Johnson action adventure rustled up $35.8m to usurp A Quiet Place, which crossed $100m on Sunday.
The $120m tentpole debuted via Warner Bros in 4,101 theatres and while early signs would suggest North America is not the place to recoup, international prospects appear far healthier.
The film about a scientist who must deal with giant mutant beasts run amok in Chicago generated $115.7m international and $151.5m worldwide.
Blumhouse Films’ latest genre film, the supernatural thriller Truth Or Dare, debuted...
- 4/15/2018
- by Jeremy Kay
- ScreenDaily
Art houses got an infusion of fresh blood this weekend, as a wide range of films did business in limited release. Three new films directed by women showed interest, led by the strong showing of the documentary “Grace Jones: Bloodlight and Bami” (Kino Lorber), and two landed among the highest Metascores of the year: “The Rider” (Sony Pictures Classics) and “Zama” (Strand.)
A wider release for bigger-budget and more mainstream “Beirut,” even with decent reviews, didn’t fare as well. And two high profile festival films, tennis biopic “Borg Vs. McEnroe” (A24) and Win Wenders’ “Submergence” (Goldwyn) joined the Sundance premiere “Come Sunday” (Netflix) for token theater dates while pulling eyeballs in home venues.
A wider release for bigger-budget and more mainstream “Beirut,” even with decent reviews, didn’t fare as well. And two high profile festival films, tennis biopic “Borg Vs. McEnroe” (A24) and Win Wenders’ “Submergence” (Goldwyn) joined the Sundance premiere “Come Sunday” (Netflix) for token theater dates while pulling eyeballs in home venues.
- 4/15/2018
- by Tom Brueggemann
- Indiewire
The first on-screen credit of “Grace Jones: Bloodlight and Bami” reads: “Hats designed by Philip Treacy.” It’s an entirely appropriate announcement of values, a reminder that style and substance are indistinguishable for Jones, the film’s enduring singer-actor-model-muse.
Treacy, millinery king of the outlandish fascinator (think Kate and William’s wedding and the late Isabella Blow), has no interest in understatement, and neither does the outlandishly fascinating woman whose body becomes a collaborating force with his work.
In addition to those never-wrong hat decisions, what follows in the winning documentary from Sophie Fiennes (“The Pervert’s Guide to Ideology”) is two hours of contrasts that inform one another: sweat-inducing concert footage, intimate family reunion moments, steel-spine business negotiations, recording-studio drama, and a steadfast commitment to personal glamour that sees its subject in a Parisian hotel suite enjoying a champagne breakfast wearing nothing but a fur coat, as though this were a daily occurrence. (And it very well could be.)
Also Read: 'Grace Jones: Bloodlight and Bami' Gives Toronto a Big Dose of Disco Diva
At age 69, Jones remains an unclassifiable icon, a tireless CEO of her own aesthetic, and a willful iconoclast. We witness the recording artist who scolds legendary Jamaican music producer Robbie Shakespeare for not showing up to the studio when she needs him, the cultural force who mocks contemporary audiences’ unwillingness to party all night long, and the grandmother who coos over her son’s newborn.
We’re treated to the Studio 54 legend who harnessed a hurricane’s worth of nerve and seamlessly transitioned into 80s New Wave diva status, taking her worshipful Lgbtq audience along for the ride without ever succumbing to fuzzy nostalgia as the years went by. We travel with the devoted family member going home to Jamaica who picks up the beat of a lived-in domesticity with people who’ve known her since childhood. She’s somewhat more than one documentary can contain.
Fiennes knows this and doesn’t try to overstuff the film. Rather than cram seven decades’ worth of biographical events into 120 minutes — there’s a glimpse of Andy Warhol but you can forget learning anything new about Dolph Lundgren — Fiennes approaches Jones’ unique position with a clear, unsentimental directness, unburdened with shaping an easy narrative or lazy hagiography, resolutely concerned with the present. This means that longtime fans will enjoy a relatively demystifying glimpse into Jones’ private life as she lives it today, and newcomers will find themselves pleasantly confused.
Also Read: Grace Jones Throws Shade at Rihanna, Kanye West, Miley Cyrus for Being Copycats
The filmmaker allows Jones the space to be the crowd-pleasing singer in the concert hall whose expectations for herself “are much higher than [that of the audience],” the artist in the “bloodlight” of the recording studio working to create relevant new music, and the hometown hero sharing bami (a type of bread) with elderly Jamaican neighbors.
Jones, for her part, makes no qualitative distinctions between the spaces she occupies, not in the worlds of music, fashion, and art, nor in her day-to-day tending of a family and business. When she goes to a Jamaican church service and then, in another sequence, performs “Amazing Grace” with an attitude that may or may not be a little self-aggrandizing, it all feels exactly right. Fiennes frames Jones in collaboration with the artist’s own fluidly presentational sense of self: her shifting style, and often her very accent, dependent on her audience and location, as though performance is everything she knows.
Watch Video: First Trailer for Mister Rogers Doc 'Won't You Be My Neighbor?' Might Make You Cry
And because this sort of existence requires tenacity over the long haul, Jones is never without a point of view. She’s shown fighting a French TV producer who not only wants her to take off her face-obscuring hat, but also subjects her to unappealing set design and sexy background dancers. (“We are visual artists. We know what things look like,” she sniffs, the shade finely calibrated for the moment.) She’s seen ruminating on the abusive religious childhood foundations of her self-described “scary” public persona, all the while dealing tenderly with that same Pentecostal family.
It’s a life — and now a film about a life — built from disparate strands of experience, but one that makes sense exactly because she is Grace Jones, and being Grace Jones means synthesizing Grace Jones from all available material. That she continues to share this with audiences is a bonding act of disco generosity, one only appreciated with repeated nights out dancing to “Pull Up to The Bumper.”
And that’s not really something a documentary can do for you. Like Jones herself, you have to put in those late hours on your own.
Read original story ‘Grace Jones: Bloodlight and Bami’ Review: She’s Almost Too Much for One Film At TheWrap...
Treacy, millinery king of the outlandish fascinator (think Kate and William’s wedding and the late Isabella Blow), has no interest in understatement, and neither does the outlandishly fascinating woman whose body becomes a collaborating force with his work.
In addition to those never-wrong hat decisions, what follows in the winning documentary from Sophie Fiennes (“The Pervert’s Guide to Ideology”) is two hours of contrasts that inform one another: sweat-inducing concert footage, intimate family reunion moments, steel-spine business negotiations, recording-studio drama, and a steadfast commitment to personal glamour that sees its subject in a Parisian hotel suite enjoying a champagne breakfast wearing nothing but a fur coat, as though this were a daily occurrence. (And it very well could be.)
Also Read: 'Grace Jones: Bloodlight and Bami' Gives Toronto a Big Dose of Disco Diva
At age 69, Jones remains an unclassifiable icon, a tireless CEO of her own aesthetic, and a willful iconoclast. We witness the recording artist who scolds legendary Jamaican music producer Robbie Shakespeare for not showing up to the studio when she needs him, the cultural force who mocks contemporary audiences’ unwillingness to party all night long, and the grandmother who coos over her son’s newborn.
We’re treated to the Studio 54 legend who harnessed a hurricane’s worth of nerve and seamlessly transitioned into 80s New Wave diva status, taking her worshipful Lgbtq audience along for the ride without ever succumbing to fuzzy nostalgia as the years went by. We travel with the devoted family member going home to Jamaica who picks up the beat of a lived-in domesticity with people who’ve known her since childhood. She’s somewhat more than one documentary can contain.
Fiennes knows this and doesn’t try to overstuff the film. Rather than cram seven decades’ worth of biographical events into 120 minutes — there’s a glimpse of Andy Warhol but you can forget learning anything new about Dolph Lundgren — Fiennes approaches Jones’ unique position with a clear, unsentimental directness, unburdened with shaping an easy narrative or lazy hagiography, resolutely concerned with the present. This means that longtime fans will enjoy a relatively demystifying glimpse into Jones’ private life as she lives it today, and newcomers will find themselves pleasantly confused.
Also Read: Grace Jones Throws Shade at Rihanna, Kanye West, Miley Cyrus for Being Copycats
The filmmaker allows Jones the space to be the crowd-pleasing singer in the concert hall whose expectations for herself “are much higher than [that of the audience],” the artist in the “bloodlight” of the recording studio working to create relevant new music, and the hometown hero sharing bami (a type of bread) with elderly Jamaican neighbors.
Jones, for her part, makes no qualitative distinctions between the spaces she occupies, not in the worlds of music, fashion, and art, nor in her day-to-day tending of a family and business. When she goes to a Jamaican church service and then, in another sequence, performs “Amazing Grace” with an attitude that may or may not be a little self-aggrandizing, it all feels exactly right. Fiennes frames Jones in collaboration with the artist’s own fluidly presentational sense of self: her shifting style, and often her very accent, dependent on her audience and location, as though performance is everything she knows.
Watch Video: First Trailer for Mister Rogers Doc 'Won't You Be My Neighbor?' Might Make You Cry
And because this sort of existence requires tenacity over the long haul, Jones is never without a point of view. She’s shown fighting a French TV producer who not only wants her to take off her face-obscuring hat, but also subjects her to unappealing set design and sexy background dancers. (“We are visual artists. We know what things look like,” she sniffs, the shade finely calibrated for the moment.) She’s seen ruminating on the abusive religious childhood foundations of her self-described “scary” public persona, all the while dealing tenderly with that same Pentecostal family.
It’s a life — and now a film about a life — built from disparate strands of experience, but one that makes sense exactly because she is Grace Jones, and being Grace Jones means synthesizing Grace Jones from all available material. That she continues to share this with audiences is a bonding act of disco generosity, one only appreciated with repeated nights out dancing to “Pull Up to The Bumper.”
And that’s not really something a documentary can do for you. Like Jones herself, you have to put in those late hours on your own.
Read original story ‘Grace Jones: Bloodlight and Bami’ Review: She’s Almost Too Much for One Film At TheWrap...
- 4/12/2018
- by Dave White
- The Wrap
The Spirit of ’45 to oversee grants as Doc Society’s film fund executive.
Producer Lisa Marie Russo has been appointed by Doc Society (formerly Britdoc) to head up the newly-launched BFI Doc Society Fund.
The BFI selected Doc Society as the delivery partner for its £1m-per-year doc fund in December last year. The commitment, which runs through to 2022, is part of the BFI’s five-year strategy (BFI2022), which includes a promise to support the documentary medium and its emerging filmmakers.
Russo‘s credits include Ken Loach’s The Spirit of ’45, Terence Davies’ Of Time And The City, Gillian Wearing’s...
Producer Lisa Marie Russo has been appointed by Doc Society (formerly Britdoc) to head up the newly-launched BFI Doc Society Fund.
The BFI selected Doc Society as the delivery partner for its £1m-per-year doc fund in December last year. The commitment, which runs through to 2022, is part of the BFI’s five-year strategy (BFI2022), which includes a promise to support the documentary medium and its emerging filmmakers.
Russo‘s credits include Ken Loach’s The Spirit of ’45, Terence Davies’ Of Time And The City, Gillian Wearing’s...
- 3/12/2018
- by Tom Grater
- ScreenDaily
Morgan Spurlock re-engages with the food industry, James Franco digs into the ‘worst film ever made’.
Top brass at the Toronto International Film Festival (Tiff) unveiled on Tuesday selections in the Tiff Docs, Midnight Madness, and Short Cuts programmes.
The Canadian titles that are part of this year’s programme will be announced on August 9. The 42nd Toronto International Film Festival is scheduled to run from September 7-17 and will open with Borg/McEnroe.
Tiff Docs
The world premiere of Morgan Spurlock’s Super Size Me 2: Holy Chicken! joins a marquee Tiff Docs roster from renowned filmmakers that opens with Sophie Fiennes’ Grace Jones: Bloodlight And Bami.
Selections include Brett Morgen’s profile of primatologist Jane Goodall in Jane; the story of three Hasidic Jews who attempt to join the secular world in One Of Us by Heidi Ewing and Rachel Grady; Violeta Ayala’s Bolivian drug trade film Cocaine Prison; and Emmanuel Gras’ closing film Makala...
Top brass at the Toronto International Film Festival (Tiff) unveiled on Tuesday selections in the Tiff Docs, Midnight Madness, and Short Cuts programmes.
The Canadian titles that are part of this year’s programme will be announced on August 9. The 42nd Toronto International Film Festival is scheduled to run from September 7-17 and will open with Borg/McEnroe.
Tiff Docs
The world premiere of Morgan Spurlock’s Super Size Me 2: Holy Chicken! joins a marquee Tiff Docs roster from renowned filmmakers that opens with Sophie Fiennes’ Grace Jones: Bloodlight And Bami.
Selections include Brett Morgen’s profile of primatologist Jane Goodall in Jane; the story of three Hasidic Jews who attempt to join the secular world in One Of Us by Heidi Ewing and Rachel Grady; Violeta Ayala’s Bolivian drug trade film Cocaine Prison; and Emmanuel Gras’ closing film Makala...
- 8/1/2017
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Buyers expressed optimism over a handful of titles amid London security concerns.
Despite at least one distributor cancelling their trip to the 13th edition of The Film London London Screenings (19-22 June) due to the recent UK terror attacks, organisers and buyers expressed optimism about this year’s lineup.
In the sweltering heat of one of the hottest months of June in recent memory, distributors watched films represented by British sales agents in the air-conditioned sanctuary of the BFI Southbank.
Around 150 delegates (roughly 125 international buyers and a number of UK distributors, festival directors and programmers) attended the event, which showcases completed films and works in progress.
Alongside the usual smattering of European buyers, there were several Us distributors in attendance, among then Magnolia, The Weinstein Company, AMC, Film Movement and Screen Media. Buyers also came from as far afield as Taiwan and Brazil.
“It was a concern of mine whether the recent events (in London) would have an...
Despite at least one distributor cancelling their trip to the 13th edition of The Film London London Screenings (19-22 June) due to the recent UK terror attacks, organisers and buyers expressed optimism about this year’s lineup.
In the sweltering heat of one of the hottest months of June in recent memory, distributors watched films represented by British sales agents in the air-conditioned sanctuary of the BFI Southbank.
Around 150 delegates (roughly 125 international buyers and a number of UK distributors, festival directors and programmers) attended the event, which showcases completed films and works in progress.
Alongside the usual smattering of European buyers, there were several Us distributors in attendance, among then Magnolia, The Weinstein Company, AMC, Film Movement and Screen Media. Buyers also came from as far afield as Taiwan and Brazil.
“It was a concern of mine whether the recent events (in London) would have an...
- 6/23/2017
- by geoffrey@macnab.demon.co.uk (Geoffrey Macnab)
- ScreenDaily
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