UK independent film producers have expressed enthusiasm and caution following the news of Netflix’s decision to bolster its UK film presence by appointing Film4 and Channel 4 drama head Ollie Madden to the role of director of UK film.
Madden will join the US streamer in early October, reporting to Anne Mensah, the UK-based vice president of content.
“This is exciting news,” said Gillian Berrie of Sigma Films. “It’s another notable step in the right direction where we can now see not just government but also corporate policy shifting towards properly supporting the sector, and another sign that Netflix recognises and wants to participate in a new era of filmmaking in the UK.
“Ollie has impeccable taste, and the ability to identify and develop world-class material. What a great role for him. One that I expect he’ll use to create a significant resurgence.”
Vaughan Sivell, CEO of Western Edge Films, was equally enthusiastic. “I think it’s great news. It says Netflix is cementing a position in the UK with a hire of such experience and importance is hugely encouraging. Ollie has a great track record and great taste.”
Nicky Bentham, producer at Neon Films, added of Madden: “He has fantastic talent relationships across British independent film and I hope his appointment comes with a renewed UK film strategy that enables Netflix to become a destination for British filmmakers again.”
Caution
However, some producers who asked to remain anonymous expressed caution about whether Madden’s hire signified a real commitment by the US streamer to support UK talent and the UK local industry.
“The move does not surprise me. I’ll believe Netflix’s commitment to being a real player in UK film when I see it,” said one UK producer. “Good luck to Ollie. I hope he can steer them into a proper commitment to being a player within UK film.”
The producer, although not part of the Breakout scheme personally, raised the issue of Netflix’s bruising decision to end the programme for rising filmmakers it ran with Creative UK in 2023, without greenlighting any projects, suggesting repair work is needed between the streamer and pockets of the independent sector. “It was pretty terrible what happened. They need to make amends for that,” noted the producer.
“Ollie’s almost a veteran now,” added another producer. “I hope it bodes well for more UK films. The last I heard was Anne Mensah’s remit was to make big IP, big cast movies out of the UK, Peaky Blinders being a perfect example. Unless that changes, we’re not going to go back to the days where they’re going to make less expensive movies.
“It sounds exciting, but the feeling I’m getting is that Anne Mensah isn’t crazy about films… I don’t think they want small, independent, social realist dramas on their platform. They want brassy, entertaining films. I wish it would mean an opening out of their remit but I suspect not. Having said that, look at Adolescence. Maybe they are looking at different kinds of film as well.”
Not everyone is convinced Adolescence is something the film industry should hold onto as a beacon of hope. “I’m very happy to see that project flourish, but that’s TV. It’s written by Jack Thorne, who is the most in-demand, prolific, mainly TV writer. That is not a risk-taking exercise. That’s a piece of talent [Stephen Graham] connecting with probably the biggest name writer we have working in the UK at the moment,” said a producer.
“The whole industry has had a very disappointing experience of what Netflix’s appetite is for genuinely engaging with the British film industry. Even on their current slate, it feels more accidental than strategic. They are projects that have been walked in, passion projects with big-name actors, or sprung out of TV projects with the Peaky Blinders movie.
“There hasn’t, for years, been a sense that they are seriously a place that one would take a movie to. For the size of Netflix, it has never looked like a meaningful place that’s interested. They are interested in taking the enhanced career upside that’s spawned by British movies. They work with plenty of talent that’s been launched out of other people’s work in the industry, but have never contributed to it.
“In terms of this next era going ahead, I heard from people in the [Netflix] building who have been saying the strategy is film first, not TV first. Certainly, in the producer community, we’re sceptical that it won’t be the star package mini-series that will dominate. Netflix is currently saying that’s not the case, and they are going to have a film strategy.
“Ollie is obviously someone who is very tapped into the community here, knows most of us and is liked a lot. We try and think maybe it’ll be different this time, but we’ve had several tenures that haven’t translated into any meaningful engagement.”
Netflix’s UK film presence has fluctuated over the years. Most recently, Teresa Moneo quietly left as head of UK original film earlier this year, with her slate including Ben Taylor’s Joy, Edward Berger’s The Ballad Of A Small Player and Tom Harper’s Peaky Blinders film.
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