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Daniel  Cormack

Daniel Cormack


Daniel was born in London and educated at Thomas Tallis Comprehensive School and Oxford University where he was awarded an Academic Scholarship reading English.
Daniel then worked at the BFI London Film Festival and the Electric Cinema. In 2004, he established Actaeon Films to produce feature-length theatrical motion pictures.
He went on to direct and produce three multi-award winning shorts which screened at major international film festivals and garnered critical acclaim in publications such as Hotdog and Time Out: his directorial debut AMELIA AND MICHAEL (2007) starring Anthony Head which won the Tiscali Award at the Raindance Film Festival; A FITTING TRIBUTE (2007) starring Sally Bretton which won a UK Film Council Completion Fund Award and premiered at the Edinburgh International Film Festival; and NIGHTWALKING (2008) starring Raquel Cassidy.
In 2007, Daniel made his broadcast and documentary debut for Channel 4 with Make Me a Tory (2007) which led Broadcast to name

Recent activity

Comments (2)

  • Comment on: Industry mobilises support for Twickenham Studios as Taylor Wimpey in talks for redevelopment

    Daniel Cormack's comment 1-Mar-2012 4:05 pm

    The link to the petition is: The campaign is not asking for "preferential treatment". The fact is that there is massive local opposition to the change of use that Taylor Wimpey are seeking which will put a huge amount of pressure on already stretched local amenities. The reality is that the proposed development is totally unsuited to the site. The fact that Steven Spielberg saw fit to sign the petition, having recently shot Warhorse at the studios, proves it isn't 'rundown', as Anonymous suggests. Cosmetics aside, the comments on the petition show that those who have recently worked there think it is a great studios. There's no reason why it shouldn't continue as such with the right owners.

  • Comment on: Short Cuts

    Daniel Cormack's comment 1-Dec-2011 9:37 am

    For those interested in pursuing the product placement route for funding which is touched on briefly in the article, this link may be of interest: It's a video of a "Brands and Filmmakers" panel session from the 2008 Encounters Film Festival. The short film I used as a case study - Amelia and Michael - is available to view online on the BBC Film Network: I'm not sure I agree with the overriding emphasis on "modern digital technology" from Nik Powell and indeed from the UK Film Council's previous approach to short film funding. Besides the discipline and purposefulness that shooting on film instils, shooting format should also be an aesthetic choice, whether it's Super 8 or IMAX (believe it or not there are a few shorts which have shot on the IMAX format!) Not only that but often the perceived cost and time implications of shooting on film are not always correct. I know that the filmmakers behind the (feature film) SHIFTY worked out it would be cheaper and quicker for them to shoot on 16mm than HD. I'm also disagree quite strongly with Phil Ilson's thesis that having a decent budget forces people to "play by the rules" and therefore stifles creativity. His festival shows some interesting and creative work, but I detect a kind of inverse snobbery about budgets and "mainstream" shorts. "Heavily funded"? The loaded language says it all. Anyone would think that denying support to filmmakers who aren't "out of touch with the morons who go to the Odeon" (or "BAFTA-chasers" as they are known in the bars of the ICA) is a good thing! Personally, I think there's room in the world for both types of film, but people involved in short films do seem to get very tribal about it, when surely a catholic commitment to quality would probably better serve audiences and the ecology of new talent coming into the industry. As much as I love Lynne Ramsay and Andrea Arnold are the audience for their films so unsated that we need to plough resources into bringing through another 10 imitators of their work?