David Mackenzie Director/Writer

Total Page：16

File Type：pdf, Size：1020Kb

David Mackenzie Director/Writer Agents Sean Gascoine Associate Agent Amy Sparks [email protected] +44 (0) 20 3214 0946 Credits Film Production Company Notes HELL OR HIGH WATER Film44/Sidney Kimmel Director. 2016 Entertainment Starring Jeff Bridges, Chris Pine, Ben Foster. STARRED UP Sigma Films Director. Starring Rupert Friend, Jack O'Connell, 2013 Ben Mendelsohn. Written by Jonathan Asser. YOU INSTEAD Sigma Films Starring Luke Treadaway and Natalia Tena. 2011 PERFECT SENSE Sigma Films Starring Ewan McGregor and Eva Green. 2011 SPREAD Katalyst Media Starring Ashton Kutcher and Anne Heche 2009 HALLAM FOE Film4/Sigma Films Adapted from the novel by Peter Jinks. Starring 2007 Jamie Bell and Sophia Miles. ASYLUM Seven Arts/Paramount Writer: Patrick Marber; Adapted from the novel 2005 Classics by Patrick McGrath. Starring Natasha Richardson, Hugh Bonneville and Ian McKellen. YOUNG ADAM Recorded Picture Adapted from the novel by Alexander Trocchi. 2003 Company Starring Ewan McGregor, Tilda Swinton and Peter Mullan. United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected] Production Company Notes THE LAST GREAT Scottish Screen/Sigma WILDERNESS Films MARCEY'S DOWRY Tartan Shorts/Parallel Films SOMERSAULT Sigma Films DIRTY DIAMONDS Caspian Other Production Company Notes Language / Driving Licence Television Production Company Notes BEER GOGGLES CH4 BEG TO DIFFER Ideal World/CH4 CALIFORNIA SUNSHINE Sigma Films/CH4 FIRST REELS STV FOUR ANGRY MEN Sigma Films SPOTLIGHT CH4 TWO FINGERS - A PORTRAIT OF AN AWKWARD BASTARD CH4 WANTING & GETTING Sigma Films/CH4 United Agents | 12-26 Lexington Street London W1F OLE | T +44 (0) 20 3214 0800 | F +44 (0) 20 3214 0801 | E [email protected].

Copy Link

Recommended publications

Adding Value Report Vol.1
ADDING VALUE a report by Northern Ireland Screen NORTHERN BOOSTING CELEBRATING ENHANCING CONTENTS THE THE THE IRELAND OUR OUR OUR CHILDREN'S ECONOMIC CULTURAL EDUCATIONAL SCREEN ECONOMY CULTURE EDUCATION VALUE VALUE VALUE 08 Large-scale Production 44 Writers 84 Creative Learning Centres 18 Independent Film 46 Short Film 90 Moving Image Arts (MIA) 22 Animation 48 ILBF / CCG 92 After School FilmClub 26 Factual / Entertainment 56 USBF 30 Television Drama 64 Film Culture 34 Gaming and Mobile 74 Heritage and Archive 38 Skills Development 78 Awards 04 05 INTROduCTION As the government-backed lead Of course certain activity intersects In a similar vein, the work of the agency in Northern Ireland for the film, more than one area and the inter- Education Department, with regard to television and digital content industry, connectivity of the agency’s work will its intervention through FilmClub, has Northern Ireland Screen is committed become apparent. For example, the value in both education and culture; as to maximising the economic, cultural development and production funding for children learn through film in a pure and educational value of the screen indigenous projects made in Northern educational sense as well as gain a wider industries for the benefit of Northern Ireland by Northern Ireland film-makers appreciation of film culture and of the Ireland. This goal is pursued through our and shown at a Northern Ireland festival, culture of Northern Ireland through mission to accelerate the development will have value in all areas. An obvious watching content-relevant films. of a dynamic and sustainable screen case in point is the feature film Good industry and culture in Northern Ireland.
[Show full text]
Land of Mine
LAND OF MINE Directed and Written by Martin Zandvliet Official Selection 2016 Sundance Film Festival 2015 Toronto International Film Festival 101 Minutes East Coast Publicity West Coast Publicity Distributor Sophie Gluck & Block Korenbrot Sony Pictures Classics Associates 6100 Wilshire Blvd Carmelo Pirrone Sophie Gluck Suite 170 Maya Anand Aimee Morris Los Angeles, CA 90048 550 Madison Ave [email protected] 323-634-7001 tel New York, NY 10022 [email protected] 323-634-7030 fax 212-833-8833 tel 212-833-8844 fax CAST Sgt. Rasmussen ROLAND MØLLER Captain Ebbe MIKKEL BOE FØLSGAARD Sebastian Schumann LOUIS HOFMANN Helmut Morbach JOEL BASMAN Ernst Lessner EMIL BELTON Werner Lessner OSKAR BELTON FILMMAKERS Written and directed by Martin Zandvliet Director of Photography Camilla Hjelm Knudsen, DFF Production Designer Gitte Malling Casting Director Simone Bär Editors Per Sandholt Molly Malene Stensgaard Composer Sune Martin Sound Designer Rasmus Winther Jensen Re-recording Mixer Lars Ginzel Production Sound Mixer Johannes Elling Dam Costume Designer Stefanie Bieker Hair and Make-up Designer Barbara Kreuzer Producer Mikael Chr. Rieks Malte Grunert Line Producer Louise Birk Petersen Post Producer Mette Høst Hansen Executive Producers Henrik Zein Torben Majgaard Lena Haugaard Oliver Simon Daniel Baur Stefan Kapelari Silke Wilfinger Associate Producer Klaus Dohle LOGLINE As World War Two comes to an end, a group of German POWs, boys rather than men, are captured by the Danish army and forced to engage in a deadly task – to defuse and clear land mines from the Danish coastline. With little or no training, the boys soon discover that the war is far from over.
[Show full text]
Ewan Mcgregor Tilda Swinton
Presents Ewan McGregor Tilda Swinton YOUNG ADAM “…the best performance of Ewan McGregor's career” Peter Bradshaw, The Guardian WINNER of 4 SCOTTISH BAFTA AWARDS Best Actor (Ewan McGregor) | Best Actress (Tilda Swinton) Best Director (David Mackenzie) | Best Film Nationally in Select Cinemas April 7, 2005 Rating: MA High Level Sex Scenes, Nudity Running Time: 94 minutes www.madman.com.au/incinemas ALL IMAGES AVAILABLE AT: www.image.net Exhibitor contact (and VIC publicity): Publicity (all states excluding VIC) Anna McLeish Edweana Wenkart Theatrical Distribution Manager Director Madman Cinema Tsuki Publicity [email protected] | +61 3 9417 0977 [email protected] | +61 3 8354 1830 RECORDED PICTURE COMPANY, HANWAY, FILM COUNCIL, SCOTTISH SCREEN and SVENO MEDIA present a JEREMY THOMAS production a film by DAVID MACKENZIE EWAN MCGREGOR, TILDA SWINTON, PETER MULLAN, EMILY MORTIMER YOUNG ADAM Casting by DES HAMILTON Costume designer JACQUELINE DURRAN Production designer LAURENCE DORMAN Film editor COLIN MONIE Director of photography GILES NUTTGENS Music by DAVID BYRNE Associate producers PETER WATSON, STEPHAN MALLMANN, GILLIAN BERRIE Based on the novel by ALEXANDER TROCCHI Co-producers ALEXANDRA STONE, NICK O’HAGAN, JIM REEVE Produced by JEREMY THOMAS Written and directed by DAVID MACKENZIE YOUNG ADAM Written and directed by the award-winning short filmmaker David Mackenzie, Young Adam is a hauntingly faithful adaptation of the novel by the Scottish Beat writer Alexander Trocchi. Featuring a strong cast headed by Ewan McGregor, Tilda Swinton, Peter Mullan and Emily Mortimer, Young Adam is a moody, sensual thriller that takes place on the canals between Glasgow and Edinburgh during the 1950s.
[Show full text]
STARRED up Directed by David Mackenzie Written by Jonathan Asser
Tribeca Film presents a Film4 presentation in association with CREATIVE SCOTLAND QUICKFIRE FILMS NORTHERN IRELAND SCREEN AND LIPSYNC PRODUCTIONS a SIGMA FILMS Production a DAVID MACKENZIE film STARRED UP Directed by David Mackenzie Written by Jonathan Asser Theatrical release beginning August 29, VOD beginning August 26 Run Time: 106 minutes Rating: Not Rated Press Materials: http://tribecafilm.com/press-center/tribeca-film/films/5318ed3fa32a618693000001 Nominated for 6 British Independent Film Awards Winner: British Independent Film Award for Best Supporting Actor for Ben Mendelsohn TRIBECA FILM: ID PR Brandon Rohwer [email protected] [email protected] [email protected] Introduction Starred Up is the story of a young man prematurely transferred from a young offenders’ institution to adult jail for being too violent. The film is directed by award-winning UK filmmaker David Mackenzie (Young Adam, Hallam Foe, Perfect Sense) from a screenplay written by first-time scriptwriter Jonathan Asser, who has a background in the prison system working as an innovative therapist. The title comes from the process of prematurely upgrading a teenager from a Young Offenders’ Institution to Adult Prison. Starred Up stars Jack O’Connell (Unbroken, “Skins”, Eden Lake), Ben Mendelsohn (The Dark Knight Rises, Animal Kingdom, Killing Them Softly) and Rupert Friend (Pride and Prejudice, The Boy in The Striped Pajamas, “Homeland”). The crew includes director of photography Michael McDonough, ASC (Winter’s Bone, New York – I Love You, Albert Nobbs, 13), and production designer Tom McCullagh (Hunger, Wilderness, Killing Bono) and Producer Gillian Berrie (Red Road, Hallam Foe, Perfect Sense). Film4 financed the project in association with Creative Scotland, Quickfire Films, Lipsync productions and Northern Ireland Screen.
[Show full text]
Nick Emerson Editor
NICK EMERSON EDITOR FILM & TELEVISION LIFE AFTER LIFE Director: John Crowley Production Company: BBC & House Productions IDIOT PRAYER Director: Nick Cave Production Company: Piece of Magic Ent. EMMA Director: Autumn De Wilde Production Company: Working Title Films ORDINARY LOVE Director: Lisa Barros D’Sa & Glenn Leyburn Production Company: Focus Fetures, Out of Orbit & Canderblinks Films Official Selection, Toronto Film Festival (2019) Official Selection, London Film Festival (2019) GRETA Director: Neil Jordan Production Company: Dignity Film Finance Official Selection, Toronto Film Festival (2018) AN EVENING WITH BEVERLY LUFF LINN Director: Jim Hosking Production Company: Park Pictures Official Selection, Sundance Film Festival (2018) FILM STARS DON’T DIE IN LIVERPOOL Director: Paul McGuigan Production Company: Eon Productions Official Selection, Toronto Film Festival (2017) Official Selection, London Film Festival (2017) LUX ARTISTS | 1 PIN CUSHION Director: Deborah Haywood Production Company: Dignity Film Finance Official Selection, Venice Film Festival (2017) LADY MACBETH Director: William Oldroyd Production Company: Sixty Six Pictures & BFI Nominated, Outstanding British Film and Outstanding Debut, BAFTA Awards (2018) Official Selection, Sundance Film Festival (2017) Official Selection, Toronto Film Festival (2016) Official Selection, London Film Festival (2016) DAPHNE Director: Peter Mackie Burns Production Company: The Bureau I AM NOT A SERIAL KILLER Director: Billy O’Brien Production Company: Tea Shop & Fantastic Films Winner,
[Show full text]
Director: Harry Wootliff Producers: Tristan Goligher, Valentina Brazzini, Ben Jackson, Ruth Wilson and Jude Law
Kahleen Crawford Casting: As casting directors (selected credits) True Things About Me (2020) Director: Harry Wootliff Producers: Tristan Goligher, Valentina Brazzini, Ben Jackson, Ruth Wilson and Jude Law. Feature film. Cast inc: Ruth Wilson, Tom Brooke and Hayley Squires Vigil (2020) Directors: James Strong, Isabelle Sieb Producer: Angie Daniell, Simon Heath and Jake Lushington, World Productions. 6 part Television series. Cast inc: Suranne Jones, Rose Leslie, Shaun Evans, Paterson Joseph and Gary Lewis His Dark Materials S1 and S2 (2019-Present) Directors inc: Tom Hooper. Producers: Jane Tranter and Julie Gardner, Bad Wolf, Dan McCulloch and Laurie Borg. BBC TV series based upon the Philip Pullman books, adapted by Jack Thorne. Currently casting. Cast inc: Ruth Wilson, James McAvoy, Dafne Keen, Amir Wilson, Andrew Scott, Simone Kirby and Lin-Manuel Miranda The Nest (2020) Directors: Andy De Emmony, Simen Elsvick Producers: Clare Kerr, Susan Hogg, Simon Lewis, Studio Lambert Television series Cast inc: Martin Compston, Sophie Rundle and Mirren Mack The North Water (2020) Director: Andrew Haigh Producers: Iain Canning, Jamie Laurenson and Kate Ogborn, See-Saw. BBC Television. Cast inc: Colin Farrell, Jack O’Connell, Stephen Graham and Tom Courtenay I Hate Suzie (2020) Directors: Georgi Banks-Davies and Anthony Neilson Produces: Andrea Dewsbery and Julie Gardner. 8-part Television series for Sky Atlantic created by Billie Piper and Lucy Prebble, written by Lucy Prebble. Cast inc: Billie Piper, Laila Farzad, Dan Ings, and introducing Matthew
[Show full text]
Rebel Or Outlaw? Shared Leadership in a Filmmaking Company Strandgaard, Jesper
Rebel or Outlaw? Shared Leadership in a Filmmaking Company Strandgaard, Jesper Document Version Final published version Publication date: 2011 License CC BY-NC-ND Citation for published version (APA): Strandgaard, J. (2011). Rebel or Outlaw? Shared Leadership in a Filmmaking Company. imagine.. CBS. Link to publication in CBS Research Portal General rights Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. Take down policy If you believe that this document breaches copyright please contact us ([email protected]) providing details, and we will remove access to the work immediately and investigate your claim. Download date: 27. Sep. 2021 Rebel or Outlaw? Shared Leadership in a Filmmaking Company By Jesper Strandgaard December 2011 Page 1 of 47 Creative Encounters Working Paper # 68 Abstract How can organizations innovate and break with conventions without losing their legitimacy? Organizing for legitimacy (serving tradition and convention) often contrasts organizing for innovation and is often perceived a choice between two evils. This paper suggests that leaders can reconcile the legitimacy-innovation tension by combining and addressing them as two complimentary processes. An ethnographic case study depicts how shared leadership in a highly successful filmmaking company, confronts the legitimacy-innovation tension and, based on a combination of ‘out-of-fashion’ and contra-intuitive actions, their search for new solutions makes them balance between being a rebel or an outlaw. Keywords Filmmaking, Innovation-legitimation balance, Rebel identity Page 2 of 31 Creative Encounters Working Papers # 68 Rebel or Outlaw? Shared Leadership in a Filmmaking Company.
[Show full text]
Julia Valentine Co-Producer / Line Producer
Julia Valentine Co-Producer / Line producer Credits include: UNTITLED STAR WARS/CASSIAN ANDOR SERIES Production Co: Lucasfilm / Disney+ Fantasy Sci-Fi Spy Thriller Series based on Exec Producer: Kathleen Kennedy ‘Rogue One: A Star Wars Story’ Dev. Producer: Dan Winch Budget, Schedule, Feasibility VP, Long Form Physical Production: John Hampian Featuring: Diego Luna THE LONG SONG Director: Mahalia Belo 3pt Period Drama Adaptation of Andrea Levy’s novel Producer: Roopesh Parekh Line Producer (UK) Exec Producers: Rosie Alison, David Heyman Featuring: Hayley Atwell, Jack Lowden, Tamara Lawrance Production Co: Heyday Television / NBC Universal / BBC One RTS Programme Award for Best Mini-Series PATIENT ZERO Director: Stefan Ruzowitzky Post-Apocalyptic Action Thriller Producers: Vincent Newman, Steve Norris Co-Producer Featuring: Natalie Dormer, Matt Smith, Stanley Tucci Production Co: Sony Screen Gems PHILIP K. DICK’S ELECTRIC DREAMS Production Co: Left Bank Pictures / Channel 4 / Sony Pictures Sci-Fi Anthology Drama Series Exec Producers: Bryan Cranston, Maril Davis, James Degus, Series Line Producer Matt DeRoss, Isa Dick Hackett, Katie DiMento, Michael Dinner, Kalen Egan, David Kanter, Marigo Kehoe, Ronald D Moore, Lila Rawlings, Christopher Tricarico THE COMMUTER Producer: Rupert Ryle-Hodges Director: Tom Harper Featuring: Tuppence Middleton, Timothy Spall IMPOSSIBLE PLANET Producer: Rupert Ryle-Hodges Director: David Farr Featuring: Jack Reynor, Benedict Wong, Geraldine Chaplin CRAZY DIAMOND Producer: Rupert Ryle-Hodges Director: Marc Munden
[Show full text]
Projecting the Nation: Constructions of Scotland in Film Since 1979
Projecting the Nation: Constructions of Scotland in Film Since 1979 Emily Torricelli PhD University of York Theatre, Film and Television January 2016 Abstract This thesis examines questions of the continued significance of national cinemas and identities, focussing on the case of Scottish cinema. As a small, devolved nation with relative autonomy from the United Kingdom, Scotland presents an interesting case for how films are labelled with a national identity, as Scottish films can also often be understood in a British, European, and even global context. Rather than attempting to construct a working model of Scottish cinema based on representation or production context, I ask how films have been constructed as Scottish. I approach the concepts of Scotland and Scottish film as sets of meanings that are subject to change over time and in different contexts. This facilitates a perspective which asks in what ways Scotland and Scottishness is constructed in film. I examine how multiple identities are balanced in the filmic construction of Scotland first by considering how Scottish films—both those made in and which are about Scotland—from the early 1980s to the present construct Scottish identities. I will consider the way these films explored ‘traditional’ Scottish identities in the 1980s, Scottish masculinity in the 1990s, and Scottish identities based on ethnicity and gender in the 2000s and 2010s. Second, I look at how these films are received as Scottish by examining reviews and other press materials to determine how the Scottishness
[Show full text]
Film from Scotland
FILM FROM SCOTLAND Films From Scotland This booklet provides details of films recently shot in Scotland and those that were originated by or involve Scottish-based talent. It also 2017 Calibre Wellington Films indicates projects that received funding from Feature Films Creative Scotland’s UK National Lottery Screen Hush Anna and the Apocalypse Sigma Films Funding and the Production Growth Fund. Blazing Griffin Whisky Galore Documentaries Whisky Galore Movie Ltd Leaning into the Wind The Wife – Andy Goldsworthy Tempo Productions/Meta Films Skyline Productions/Human Touch Limited/Filmpunkt GmbH The Etruscan Smile Po Valley Productions 2016 Bodkin Ras Feature Films Blue Iris/Revolver Amsterdam Seat in Shadow Documentaries La Belle Allee Accidental Anarchist Daphne Hopscotch Films The Bureau The Islands and the Whales Churchill Intrepid Cinema Salon Pictures/Tempo Productions Antonia Bird: From Eastenders T2 Trainspotting to Hollywood DNA Films Bofa Productions Ewan McGregor and Ewen Bremner in T2 Trainspotting Photo: © Tristar Productions Supported by the Scottish Government and the UK National Lottery through Creative Scotland 2016 continued Una The Fog of Srebrenica Scottish Mussel Jean Doumanian Productions/West Paradiso Films Documentaries Unstoppable Entertainment/Flexibon Seven Songs for a Long Life End Film Productions, in association Films/thefyzz Battle Mountain – Graeme Obree’s SDI Productions, Amy Hardie with Bron Creative Productions & Hardworking Movies Story Sunset Song Tommy’s Honour Journey Films Hurricane Films/Iris Productions/
[Show full text]
Transnationalism and New Scottish Cinema Simon Brown, Kingston
“Anywhere but Scotland?” Transnationalism and New Scottish Cinema1 Simon Brown, Kingston University Fifteen years on from the moment that Danny Boyle’s Trainspotting (1996) fulfilled the promise of his earlier Shallow Grave (1994) and helped to launch what has become known as New Scottish Cinema, the critical debates which have accompanied its development find themselves at a crossroads. Prompted in part by the New Scottish Cinema symposium, which took place in Ireland in 2005 and looked back over 20 years of Scottish film, key writers have begun to critically assess the arguments which have circulated and to refashion the debate for the future. Initial models focussing upon the influences of first American and then European cinema have proved themselves to be inflexible in locating New Scottish Cinema within a global cinema marketplace, and furthermore have privileged a certain type of film, influenced by European art cinema traditions, as being representative of Scottish cinema to the exclusion of other more commercial projects. Not only is this ironic considering the inherently commercial nature of both Trainspotting and Shallow Grave, but also it had led to a vision of Scottish film which is more European than Scottish; more international than national. Recent scholars have begun to address New Scottish Cinema through the concept of transnationalism and it is the aim of this article to consider transnationalism as a way forward for critical debates about New Scottish Cinema through a case study of two films, both shot in the same location, one of which has been widely discussed and fits the more traditional critical model, Ken Loach’s Sweet Sixteen (2002), and the other of which has been largely ignored and is much more mainstream in its ambitions and economic context, Dear Frankie (2005).
[Show full text]
Portal Layout Template
Different Trajectories: Europe and Scotland in Recent Scottish Cinema Ian Goode, University of Glasgow Since approval was given via a referendum in 1997 for the advent of the Scottish Parliament, the benefits and constraints of Scotland’s devolved role within and against the UK has, understandably, formed the primary axis of political debate, despite increasing evidence that Scotland, like other nations, is part of a globalised world. It has long been argued that nationalist Scotland exercises a preference for closer ties with a less imperialist Europe rather than with the colonially tainted state of the United Kingdom (Hechter 1975, 310). However, the precise meaning of Scotland’s role within a changing Europe receives little attention in mainstream debate (Imrie 2006). Meanwhile, the European Union (EU) is engaged in the ongoing process of enlarging and renegotiating its boundaries. Despite the paucity of cinematic texts that address ostensibly Scottish-European concerns, I want to consider the meaning of Europe through a focus on how a number of films have been written into critical accounts of Scottish, British and European cinema while also examining how this relationship is given meaning in recent films produced in Scotland, in order to map the different manifestations of the relationship between Europe and Scotland. The Idea of Europe Europe initially referred to a terrain that stretched westwards from the Aegean and was associated with Christendom, civilisation and the values of human rights and freedom (Ichijo 2004, 71-72). The political institutionalisation of Europe as the formation called the European Economic Community (EEC) in 1957 meant that Europe increasingly became identified with Western Europe, as did an adherence to democracy and human PORTAL Journal of Multidisciplinary International Studies, vol.
[Show full text]