Latest – Page 80
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CommentFete du Cinema is a Very Bad Trip for French films
The annual three-day ticket-sales booster moves up to a week, but Hollywood is the main beneficiary of French largesse
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CommentRestoring lustre to prestige titles
Increasing the number of films in the best picture category could be the shot in the arm Oscar needs as audiences turn their back on the cynical ‘awards movie’.
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CommentBritain's got talent, but needs new digital skills
Digital Britain opens up exciting opportunities for film companies - but we must ensure the right environment exists for companies to exploit them, writes Jon Kingsbury.
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CommentDigital pioneers can sink the pirates
Countries all over the world have developed different ways to battle piracy, but what these strategies mean to the industry, audiences and innovators must be carefully evaluated.
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CommentChaos reigns for Lars in France
After six weeks, Antichrist has barely nudged past $1.1m in Charlotte Gainsbourg’s home territory
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CommentRussell Crowe tries a little Tenderness...
…but does a single screen in London’s West End for a solitary week constitute a UK “release” for John Polson’s drama?
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CommentNo Greek tragedy for Helen Mirren
The UK’s National Theatre goes into self-distribution with a live broadcast on over 270 movie screens worldwide; the result is close to a sell-out.
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CommentHow the West can win in Asia
Mainstream films face increasing local competition in China and India, but as both markets grow, there will still be room for strong stories and speciality product, writes Liz Shackleton, Asia Pacific editor, Screen International.
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CommentIn times of crisis, film must make itself heard
Producer and policy-maker Lord Puttnam called for a stronger political voice from film-makers, when he delivered the keynote at last week’s Edinburgh International Film Festival
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CommentAnd then there were 10...
The Academy Awards’ bold decision to double the field to ten picture nominees instead of five was a surprise. Yet whether the move will succeed and benefit the film industry as a whole remains to be seen, writes Conor Dignam, editor of Screen International.
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CommentStars... took me from (almost) zero to 'hero'
Being named a Star of Tomorrow seems like a lifetime ago for documentary director Jamie Jay Johnson, who was lucky to even be alive for the photoshoot.
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CommentThe industry's rising stars
Screen’s UK Stars of Tomorrow issue is always a major event in our year. It’s the moment when we receive a fresh injection of confidence in the future of the industry because of the depth and breadth of talent coming out of the UK film business.
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CommentShock and awe
Sacha Baron Cohen’s latest incarnation will catapult US audiences out of their comfort zone. It may offend some, but Brüno is a welcome antidote to the political-correctness pandemic.
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CommentThe road to independents
IM Global is one of the few international sales companies that seems to be making headway in a tepid foreign-sales market. Founder and CEO Stuart Ford explains the principal causes of the current market conditions
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CommentPutting the foreign first
As the blockbuster success of Angels & Demons outside the US is proving, a number of major studio films are being crafted and targeted with international markets in mind.
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CommentDigital Britain's clear vision
Digital Britain lays an impressive and abitious framework for the future of communications in the UK, but leaves many questions unanswered.
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CommentMade in the UK, owned by the US
During the BBC Films drinks reception in Cannes last month, I fell into a conversation with a UK film executive who told me her private hobbyhorse was to persuade Screen International to describe films such as the Harry Potter series or Christopher Nolan’s The Dark Knight as “British”.
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CommentHow to negotiate the net's legal minefield
The future for film may be on the internet, but marketers and distributors who want to exploit it face a multitude of legal issues, says new-media lawyer Andrew Sparrow
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CommentMillennium: a new era for Europe
Sweden’s Millennium Trilogy could mark a watershed moment in the way producers think about scoring a pan-continental hit - and it doesn’t involve thinking about the US market