All Features articles – Page 91
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FeaturesVirtual reality bytes
Studios and VFX facilities are experimenting with animated and live-action virtual reality in anticipation of a new consumer mass market. Adrian Pennington reports.
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FeaturesIMAX: Size matters
With its global expansion strategy in full flow and a raft of blockbusters to fill its screens, the picture continues to look rosy for IMAX. CEO Richard Gelfond and EMEA president Andrew Cripps sit down with Matt Mueller.
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FeaturesCineEurope’s mass appeal
As CineEurope (June 22-25) enters its fourth year in Barcelona, Nikki Baughan looks at the evolution of Europe’s largest exhibition and distribution showcase.
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FeaturesThe premium cinema blend
With cutting-edge premium cinema systems being pushed into the global marketplace, are mainstream exhibitors ready to make the technological and financial leap to adopt them? John Hazelton reports.
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FeaturesILM London: A force to be reckoned with
With Avengers: Age Of Ultron tearing up the box office and Star Wars: The Force Awakens on its hard drives, ILM London is looming large on the UK VFX scene. Michael Rosser speaks to head Ben Morris
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FeaturesDrawing power: animation special
While Hollywood continues to dominate animation globally, European distributors and producers are increasingly looking to grab a slice of the pie. Geoffrey Macnab looks at the state of play.
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FeaturesKarlovy Vary’s golden jubilee
As the Czech film festival celebrates its 50th anniversary, artistic director Karel Och talks Michael Rosser through Karlovy Vary’s sometimes rocky history, and this year’s ‘daring’ line-up.
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FeaturesSeville International: Passion Projects
Seville International, the boutique sales arm of eOne, consolidated its growing reputation in Cannes as a home for visionary film-makers. Jeremy Kay reports.
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FeaturesEuropaCorp: Seeing Red
Luc Besson’s EuropaCorp is gearing up to make serious headway in the US with the launch of RED. Melanie Goodfellow reports on the company’s game-changing developments.
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FeaturesCreative Week: Channel The Change
BBC strategy, TV consolidation and the boom in digital talent were among the hot topics at this year’s Creative Week conference in London. Andreas Wiseman reports.
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FeaturesCreative Skillset: Invest in the future
The urgent need to invest in and develop talent sits at the forefront of Creative Skillset’s ambitions for the future growth of the film and TV sectors.
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FeaturesValérie Donzelli, 'Marguerite and Julien'
The French director talks to Melanie Goodfellow about her fifth film, premiering In Competition at Cannes.
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FeaturesShin Su-won, 'Madonna'
Korean director Shin Su-won is following up her second feature fiction film Pluto - a gritty high school thriller that won a Special Mention at the 2013 Berlinale - with Madonna in Un Certain Regard.
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FeaturesJonas Carpignano, 'Mediterranea'
Italian-American film-maker Jonas Carpignano returns to Cannes with Critics’ Week entry Mediterranea.
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FeaturesFuture Leaders 2015: Producers
Find out who are the hottest upcoming producers from around the world.
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FeaturesDemocratising distribution
Many producers are turning to direct distribution to get their films in front of audiences. Ian Sandwell reports on the growing trend and hears about the pros and cons from those who have taken the path.
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FeaturesFrance Focus: producers
French producers are rising to the challenges in the changing landscape of finance and production. Melanie Goodfellow meets some of the most enterprising players.
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FeaturesBloom: a first year to remember
With Gus Van Sant’s The Sea Of Trees in Competition and several titles in post-production, Alex Walton tells Jeremy Kay why Bloom’s first year has been one to remember.
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FeaturesJoachim Trier, 'Louder Than Bombs'
Norwegian director Joachim Trier tells Wendy Mitchell about his first English-language feature, Louder Than Bombs, a father-son drama that elevates him into Cannes Competition
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FeaturesJustin Kurzel, 'Macbeth'
Australian film-maker Justin Kurzel explains to Andreas Wiseman why following his chilling debut Snowtown with Shakespeare’s Scottish tragedy Macbeth worked out to be the ‘perfect storm’.