Latest – Page 101
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FeaturesSchedule 2: stand and deliver
Schedule 2, which recently celebrated its 10th anniversary and opened a New York outpost, makes sure films are seen at their very best. Michael Rosser meets Rebecca Hawkes, chief of the ‘technical police’.
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FeaturesLipSync Post at 30
LipSync Post celebrates its 30th anniversary this year and has invested in more than 50 feature films. Wendy Mitchell talks to financial director Norman Merry about the company’s flexibility and the diversity of its work.
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FeaturesVFX on Maleficent
Digital Domain’s Kelly Port tells Elbert Wyche how he created technical processes to produce the stellar effects for Disney’s fantasy blockbuster Maleficent.
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FeaturesAnonymous Content: dramatic leanings
Ahead of Karlovy Vary’s tribute to Anonymous Content, CEO Steve Golin tells Jeremy Kay about how his company is finding its niche as talent continues to migrate from film to television drama.
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FeaturesIcon Film Distribution: on target
After investment eight months ago, the relaunched Icon Film Distribution is ready to fill a gap in the UK distribution market. CEO Ian Dawson talks to Wendy Mitchell about the team and its new slate
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FeaturesAltitude Film Entertainment: raising the game
Altitude’s joint CEO, Andy Mayson, tells Wendy Mitchell about how the company has expanded smartly and why distribution is the next focus.
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FeaturesRania Attieh and Daniel Garcia, Recommended By Enrique
The neo-noir premieres at the Los Angeles Film Festival on June 13 and plays again on June 17 and tells of a young actress and an aging cowboy in a small Texan town on the Mexican border. Emmanuelle Charlier saddles up.
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FeaturesE.L. Katz, Cheap Thrills
Ian Sandwell talks to the US film-maker about his feature directorial debut.
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FeaturesJohn Boorman, Queen and Country
Geoffrey Macnab speaks to the English film-maker about the sequel to his autobiographical feature Hope and Glory.
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FeaturesCANNES: The French collection
Despite increasing pressures on the funding of French film, local producers are bringing an exciting selection of projects to Cannes. Interviews by Melanie Goodfellow.
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FeaturesPatrick Ewald and Shaked Berenson, Epic Pictures
Patrick Ewald and Shaked Berenson tell Jeremy Kay about the nimble manoeuvres of Epic Pictures, and how the company builds a diverse slate on the back of undead beavers and giant spiders.
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FeaturesPierre-Ange Le Pogam, Grace of Monaco
When veteran producer Pierre-Ange Le Pogam first came to Cannes in the 1970s, he slept in a tent. Some 40 years later, the former Gaumont and EuropaCorp exec is on the Croisette with his fledgling company Stone Angels and opening night film Grace Of Monaco. Melanie Goodfellow reports.
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FeaturesEdward Noeltner, Cinema Management Group
Cinema Management Group’s Ed Noeltner tells Jeremy Kay about the company’s evolution and its success with independent animations.
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FeaturesDavid Cross: Hits maker
The US comedian and writer discusses Hits, his directorial debut about celebrity and the YouTube generation.
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FeaturesJanine Marmot, Hot Property Films
The two-time BAFTA-winning producer discusses one of her production company’s busiest years to date and Cannes-bound thriller Brand New-U.
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FeaturesJeremy Saulnier, Blue Ruin
The Brooklyn-based filmmaker talks about how his revenge thriller, released in the UK this weekend, came close to being his swansong.
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FeaturesTribeca: Lou Howe, Gabriel
Lou Howe, who studied film at Harvard and AFI, had his directorial debut Gabriel starring Rory Caulkin selected to open Tribeca’s World Narrative Feature competition.
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FeaturesSundance London: John Cooper and Trevor Groth
As Sundance London kicks off, organisers John Cooper and Trevor Groth talk film highlights, Robert Redford and the “nuts and bolts” of filmmaking.
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FeaturesGareth Evans, The Raid 2
The Welsh film-maker talks to Ian Sandwell about the action sequel and teases The Raid 3.
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FeaturesAgents of change
Agents have an increasingly important role in the film and TV industries. At a Screen-hosted roundtable, Wendy Mitchell and Andreas Wiseman asked some of the UK’s key players how agenting is changing.