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Statistical Yearbook 2019
STATISTICAL YEARBOOK 2019 Welcome to the 2019 BFI Statistical Yearbook. Compiled by the Research and Statistics Unit, this Yearbook presents the most comprehensive picture of film in the UK and the performance of British films abroad during 2018. This publication is one of the ways the BFI delivers on its commitment to evidence-based policy for film. We hope you enjoy this Yearbook and find it useful. 3 The BFI is the lead organisation for film in the UK. Founded in 1933, it is a registered charity governed by Royal Charter. In 2011, it was given additional responsibilities, becoming a Government arm’s-length body and distributor of Lottery funds for film, widening its strategic focus. The BFI now combines a cultural, creative and industrial role. The role brings together activities including the BFI National Archive, distribution, cultural programming, publishing and festivals with Lottery investment for film production, distribution, education, audience development, and market intelligence and research. The BFI Board of Governors is chaired by Josh Berger. We want to ensure that there are no barriers to accessing our publications. If you, or someone you know, would like a large print version of this report, please contact: Research and Statistics Unit British Film Institute 21 Stephen Street London W1T 1LN Email: [email protected] T: +44 (0)20 7173 3248 www.bfi.org.uk/statistics The British Film Institute is registered in England as a charity, number 287780. Registered address: 21 Stephen Street London W1T 1LN 4 Contents Film at the cinema -
The Face of an Angel Synopsis
THE FACE OF AN ANGEL SYNOPSIS The brutal murder of a Bri1sh student in Tuscany leads to the trial and convic1on of her American flatmate and Italian boyfriend in controversial circumstances. The media feeding frenzy around the case aracts once successful, but now struggling filmmaker Thomas, to be commissioned to write a film - 'The Face of an Angel', based on a book by Simone Ford an American journalist who covered the case. From Rome they head to Siena to research the film. Thomas has recently separated from his wife in a bi=er divorce and leI his 9-year-old daughter in Los Angeles. This unravelling of his own life, and the dark mediaeval atmosphere surrounding the case, begins to drag him down into his own personal hell. Like Dante journeying through the Inferno in the Divine Comedy, with Simone as his guide to the tragedy of the murder, Thomas starts a relaonship with a student Melanie. This is a beau1ful, unrequited love, where she acts as a guide to his own heart. He comes to realise the most important thing in his life is not solving an unsolvable crime, or wri1ng the film, but returning to the daughter he has leI behind. | THE FACE OF AN ANGEL | 1 SHEET | 15.10.2013 | 1!5 THE FACE OF AN ANGEL CAST DANIEL BRÜHL KATE BECKINSALE In 2003 Daniel Brühl took the leading role in the box office smash Good English actress Kate Beckinsale is revealing herself to be one of films’ Bye Lenin!, which became one of Germany’s biggest box office hits of all most versale and charismac actresses. -
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. -
Directed by Henry Selick; Based on the Novel by Neil Gaiman
Directed by Henry Selick; Based on the novel by Neil Gaiman Production Notes 2 Table of Contents I. Synopsis page 3 II. The Genesis of Coraline page 4 III. Screen Vision page 6 IV. Stop Starts page 7 V. With the Voice Talents of… page 9 VI. Two Worlds, One Studio page 14 VII. On the Set page 23 VIII. Two Worlds, Three Dimensions page 24 IX. Fast Facts page 27 X. Trivia Tips page 28 XI. About the Cast page 29 XII. About the Moviemakers page 33 3 Synopsis Combining the visionary imaginations of two premier fantasists, director Henry Selick (The Nightmare Before Christmas) and author Neil Gaiman (Sandman), Coraline is a wondrous and thrilling, fun and suspenseful adventure that honors and redefines two moviemaking traditions. It is a stop-motion animated feature – and, as the first one to be conceived and photographed in stereoscopic 3-D, unlike anything moviegoers have ever experienced before. Coraline Jones (voiced by Dakota Fanning) is a girl of 11 who is feisty, curious, and adventurous beyond her years. She and her parents (Teri Hatcher, John Hodgman) have just relocated from Michigan to Oregon. Missing her friends and finding her parents to be distracted by their work, Coraline tries to find some excitement in her new environment. She is befriended – or, as she sees it, is annoyed – by a local boy close to her age, Wybie Lovat (Robert Bailey Jr.); and visits her older neighbors, eccentric British actresses Miss Spink and Forcible (Jennifer Saunders and Dawn French) as well as the arguably even more eccentric Russian Mr. -
9 SONGS-B+W-TOR
9 SONGS AFILMBYMICHAEL WINTERBOTTOM One summer, two people, eight bands, 9 Songs. Featuring exclusive live footage of Black Rebel Motorcycle Club The Von Bondies Elbow Primal Scream The Dandy Warhols Super Furry Animals Franz Ferdinand Michael Nyman “9 Songs” takes place in London in the autumn of 2003. Lisa, an American student in London for a year, meets Matt at a Black Rebel Motorcycle Club concert in Brixton. They fall in love. Explicit and intimate, 9 SONGS follows the course of their intense, passionate, highly sexual affair, as they make love, talk, go to concerts. And then part forever, when Lisa leaves to return to America. CAST Margo STILLEY AS LISA Kieran O’BRIEN AS MATT CREW DIRECTOR Michael WINTERBOTTOM DP Marcel ZYSKIND SOUND Stuart WILSON EDITORS Mat WHITECROSS / Michael WINTERBOTTOM SOUND EDITOR Joakim SUNDSTROM PRODUCERS Andrew EATON / Michael WINTERBOTTOM EXECUTIVE PRODUCER Andrew EATON ASSOCIATE PRODUCER Melissa PARMENTER PRODUCTION REVOLUTION FILMS ABOUT THE PRODUCTION IDEAS AND INSPIRATION Michael Winterbottom was initially inspired by acclaimed and controversial French author Michel Houellebecq’s sexually explicit novel “Platform” – “It’s a great book, full of explicit sex, and again I was thinking, how come books can do this but film, which is far better disposed to it, can’t?” The film is told in flashback. Matt, who is fascinated by Antarctica, is visiting the white continent and recalling his love affair with Lisa. In voice-over, he compares being in Antarctica to being ‘two people in a bed - claustrophobia and agoraphobia in the same place’. Images of ice and the never-ending Antarctic landscape are effectively cut in to shots of the crowded concerts. -
![Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020](https://docslib.b-cdn.net/cover/3954/inmedia-3-2013-%C2%AB-cinema-and-marketing-%C2%BB-online-online-since-22-april-2013-connection-on-22-september-2020-603954.webp)
Inmedia, 3 | 2013, « Cinema and Marketing » [Online], Online Since 22 April 2013, Connection on 22 September 2020
InMedia The French Journal of Media Studies 3 | 2013 Cinema and Marketing Electronic version URL: http://journals.openedition.org/inmedia/524 DOI: 10.4000/inmedia.524 ISSN: 2259-4728 Publisher Center for Research on the English-Speaking World (CREW) Electronic reference InMedia, 3 | 2013, « Cinema and Marketing » [Online], Online since 22 April 2013, connection on 22 September 2020. URL : http://journals.openedition.org/inmedia/524 ; DOI : https://doi.org/10.4000/ inmedia.524 This text was automatically generated on 22 September 2020. © InMedia 1 TABLE OF CONTENTS Cinema and Marketing When Cultural Demands Meet Industrial Practices Cinema and Marketing: When Cultural Demands Meet Industrial Practices Nathalie Dupont and Joël Augros Jerry Pickman: “The Picture Worked.” Reminiscences of a Hollywood publicist Sheldon Hall “To prevent the present heat from dissipating”: Stanley Kubrick and the Marketing of Dr. Strangelove (1964) Peter Krämer Targeting American Women: Movie Marketing, Genre History, and the Hollywood Women- in-Danger Film Richard Nowell Marketing Films to the American Conservative Christians: The Case of The Chronicles of Narnia Nathalie Dupont “Paris . As You’ve Never Seen It Before!!!”: The Promotion of Hollywood Foreign Productions in the Postwar Era Daniel Steinhart The Multiple Facets of Enter the Dragon (Robert Clouse, 1973) Pierre-François Peirano Woody Allen’s French Marketing: Everyone Says Je l’aime, Or Do They? Frédérique Brisset Varia Images of the Protestants in Northern Ireland: A Cinematic Deficit or an Exclusive -
Rebecca Front
Rebecca Front Film Title Role Director Producer The Hitman's Wife's Bodyguard Therapist Patrick Hughes Millennium Films/ Lionsgate Marionette Maureen Elbert Van Strain Accento Films The Aeronauts Frances Tom Harper Amazon Studios AI Therapist Ted Therapist Emerald Fennell Edmund The Magnificent Shop Keeper Ben Ockrent Transformers: The Last Night Marie Michael Bay Paramount Pictures Down A Dark Hall Mrs Olonsky Rodrigo Cortés Lionsgate The Brothers Grimsby Lady at Worldcure Event Louis Leterrier Columbia Pictures Horrid Henry Miss Oddbod Nick Moore Vertigo Color Me Kubrick Maureen Brian Cooke Colour Me K Ltd Suzie Gold Barbara Gold Ric Cantor Green Wolf Films England, My England Queen Mary Tony Palmer Television Title Role Director Producer Grantchester Reeny McAllister Rob Evans ITV The Chelsea Detective Diana Robinson Darcia Martin BBC The Other One Tess Holly Walsh BBC One The Artists Partnership 21-22 Warwick Street, Soho, London W1B 5NE (020) 7439 1456 Avenue 5 (Series 1 and 2) Karen Kelly Armando Iannucci and Various HBO Dark Money (US Title Shattered Dreams)Cherly Denon Lewis Arnold The Forge Entertainment/ BBC One Death In Paradise Fiona Tait Stewart Svaasand ITV Poldark Lady Whitworth Various BBC One The Other One (Pilot) Tess Dan Zeff BBC Queers Monologue Alice Mark Gatiss BBC Love, Lies & Records Judy Dominic LeClerc & Cilla Ware ITV War And Peace Anna Mikhailovna Dubetskaya Tom Harper Weinstein Co Doctor Thorne Lady Arabella Gresham Matt Lipsey Weinstein Co Billionaire Boy Miss Sharp Matt Lipsey King Bert Up The Woman Helen Christine Gernon Baby Cow Productions The Eichmann Show Mrs. Landau Paul Andrew Williams Feelgood Fiction Humans Vera Sam Donovan Kudos Doctor Who Walsh Daniel Nettheim BBC Psychobitches The Therapist Various Tiger Aspect Outnumbered Mrs. -
Presents a Film by Michael Winterbottom 104 Mins, UK, 2019
Presents GREED A film by Michael Winterbottom 104 mins, UK, 2019 Language: English Distribution Publicity Mongrel Media Inc Bonne Smith 217 – 136 Geary Ave Star PR Toronto, Ontario, Canada, M6H 4H1 Tel: 416-488-4436 Tel: 416-516-9775 Fax: 416-516-0651 Twitter: @starpr2 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com Synopsis GREED tells the story of self-made British billionaire Sir Richard McCreadie (Steve Coogan), whose retail empire is in crisis. For 30 years he has ruled the world of retail fashion – bringing the high street to the catwalk and the catwalk to the high street – but after a damaging public inquiry, his image is tarnished. To save his reputation, he decides to bounce back with a highly publicized and extravagant party celebrating his 60th birthday on the Greek island of Mykonos. A satire on the grotesque inequality of wealth in the fashion industry, the film sees McCreadie’s rise and fall through the eyes of his biographer, Nick (David Mitchell). Cast SIR RICHARD MCCREADIE STEVE COOGAN SAMANTHA ISLA FISHER MARGARET SHIRLEY HENDERSON NICK DAVID MITCHELL FINN ASA BUTTERFIELD AMANDA DINITA GOHIL LILY SOPHIE COOKSON YOUNG RICHARD MCCREADIE JAMIE BLACKLEY NAOMI SHANINA SHAIK JULES JONNY SWEET MELANIE SARAH SOLEMANI SAM TIM KEY FRANK THE LION TAMER ASIM CHAUDHRY FABIAN OLLIE LOCKE CATHY PEARL MACKIE KAREEM KAREEM ALKABBANI Crew DIRECTOR MICHAEL WINTERBOTTOM SCREENWRITER MICHAEL WINTERBOTTOM ADDITIONAL MATERIAL SEAN GRAY EXECUTIVE PRODUCER DANIEL BATTSEK EXECUTIVE PRODUCER OLLIE MADDEN PRODUCER -
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Contradictions A Journal for Critical Thought Volume 2 number 2 (2018) THE EUROPEAN CAVE Jan Patočka and Cinema in Theo Angelopoulos’s Film Ulysses’ Gaze Alex Forbes Abstract: Th e image of a dismantled statue of Lenin from Ukraine being transported up the Danube in Th eo Angelopoulos’s 1995 fi lm Ulysses’ Gaze is the starting point for a dis- cussion of the fi lm’s urgent resonance with the questioning of “Europe” in the present day. Th is image foreshadows the destruction of Lenin statues in Ukraine during the ongoing civil war and is more than a fortuitous indicator of the historical context of the present Ukrainian crisis in the aftermath of the breakup of the Soviet Union in 1991. Exploring the territory of seven post-Cold War Eastern European states and ending amid the rubble and destruction of the besieged city of Sarajevo, Ulysses’ Gaze off ers a panoramic, yet highly subjective, depiction of a Europe undergoing a painful and as-yet-undecided transition. Th is article will show the strong connections between the understanding of Europe that emerges from the fi lm and that elucidated in the work of the Czech philosopher Jan Patočka. Both the fi lm and Patočka’s thought seek the European on a utopian level that transcends particular temporal and territorial borders, recalls Classical polity and philosophy, and consists primarily in introspective thinking. Th e recurrence, in today’s Europe, of questions from the immediate post-Cold War era indicates that the work of defi nition undertaken after 1989 is not yet completed and suggests that fi lms from that period may contain images that have the capacity to guide the process of understanding Europe in the present day. -
Shirley Henderson
www.hamiltonhodell.co.uk Shirley Henderson Talent Representation Telephone Madeleine Dewhirst & Sian Smyth +44 (0) 20 7636 1221 [email protected] Address Hamilton Hodell, 20 Golden Square London, W1F 9JL, United Kingdom Film Title Role Director Production Company THE TROUBLE WITH JESSICA Sarah Matt Winn Sarah Sullick THE SANDS OF VENUS Rachel Tony Grisoni Potboiler Films GREED Margaret Michael Winterbottom Revolution Films STAR WARS: EPISODE IX Babu Frik J.J. Abrams Lucasfilm/Walt Disney Pictures STAN AND OLLIE Lucille Hardy Jon S. Baird BBC/Fable Pictures Nominated for the Best Actress (Film) Award, BAFTA Scotland Awards, 2019 T2: TRAINSPOTTING Gail Danny Boyle TriStar Pictures/Film4 OKJA Jennifer Bong Joon-ho Plan B Entertainment NEVER STEADY, NEVER STILL Judy Findlay Kathleen Hepburn Experimental Forest Films LOVE SONG: WOLF ALICE Joe's Mum Michael Winterbottom Lorton Entertainment Universal Pictures/Working Title BRIDGET JONES'S BABY Jude Sharon Maguire Films URBAN HYMN Kate Linton Michael Caton-Jones Eclipse Films Archimede/Recorded Picture THE TALE OF TALES Imma Matteo Garrone Company THE CARAVAN Elaine Simon Powell Uprising Features SET FIRE TO THE STARS Shirley Andy Goddard Mad As Birds/Masnomis FILTH Nominated for the Best Supporting Actress Award, British Independent Film Bunty Jon S. Baird Steel Mill Pictures Awards, 2013 THE LOOK OF LOVE Rusty Humphries Michael Winterbottom Pink Pussycat Films THÉRÈSE Suzanne Charlie Stratton Liddell Entertainment ANNA KARENINA Wife (Opera House) Joe Wright Working Title Films EVERYDAY -
Carmen Du Sautoy Photo: Faye Thomas
Paddock Suite, The Courtyard, 55 Charterhouse Street, London, EC1M 6HA p: + 44 (0) 20 73360351 e: [email protected] Carmen Du Sautoy Photo: Faye Thomas Height: 5'8" (172cm) Eye Colour: Hazel Weight: 9st. 6lb. (60kg) Hair Colour: Light/Mid Brown Playing Age: 56 - 65 years Hair Length: Mid Length Appearance: White Voice Character: Engaging Nationality: British Voice Quality: Melodious Other: Equity Stage Stage, Gwendolen Fairfax, The Importance of Being Earnest, UK Tour, Lucy Bailey Stage, Countess Irene, Mind Milly For Me, Haymarket Theatre, Peter Hall Stage, Herodias, Salome, Royal National Theatre/Phoenix/NY/World Tour, Steven Berkoff Stage, Cleopatra, Antony & Cleopatra, Mermaid Theatre, Bernard Miles Stage, Lady Macbeth, Macbeth, Old Vic for USA, Stuart Burge Stage, Myra, Hayfever, Albery Theatre, Alan Strachan Stage, Abbie, Desire Under the Elms, Greenwich Theatre, Patrick Mason Stage, Miss Leighton, Once In A Lifetime, RSC Stratford/Aldwych/Piccadilly Theatre, Trevor Nunn Stage, Lyia Vivian, Peace in Our Time, Touring Partnership, Wyn Jones Stage, Eliena, Children of the Sun, RSC/Aldwych, Terry Hands Stage, Princess Of France, Love's Labour's Lost, RSC/Stratford/Aldwych, John Barton Stage, Mrs Fainall, The Way of the World, RSC/Aldwych, John Barton Stage, Madelaine, Piaf, RSC/The Other Place, Howard Davies Stage, Lady Cummings, Captain Swing, RSC Other Place/Warehouse, Bill Alexander Stage, The Courtesan, The Comedy of Errors, RSC Aldwych Theatre, Trevor Nunn Stage, Hippolyta, A Midsummer Night's Dream, RSC Stratford/ Aldwych Theatre -
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 Pp., ISBN: 798-0-7391-2583-0 (Pbk)
The Cinema of Michael Winterbottom, Deborah Allison (2013) Plymouth: Lexington, 224 pp., ISBN: 798-0-7391-2583-0 (pbk) About half-way through The Cinema of Michael Winterbottom, Deborah Allison cites Annette Kuhn’s observation that it is both more interesting and more important to discuss what film genres do than what they are (116). As part of the Genre Film Auteurs series, one of the principle objectives of Allison’s book is to investigate what it is that genre does in the work of Michael Winterbottom, one of the most extraordinarily prolific and controversial of contemporary British filmmakers. Thus, in each of the book’s eight chapters, Allison sets out to use genre as a ‘as a critical tool’ (x), focusing her attention on one of the director’s films and the variety of ways in which its dominant genre identity is constructed, inflected and, more often than not, inverted. In this way, despite a focus that is narrower than some auteur studies, Allison successfully unearths a variety of themes and characteristics that run throughout Winterbottom’s eclectic oeuvre. After a brief introduction setting out these objectives and their parameters, the first chapter begins with an investigation of Butterly Kiss (1995) and its relationship to the road movie. This is the earliest film discussed in the fifteen years of Winterbottom’s output covered in the book, and Allison’s discussion of it provides a useful foundation for the other chapters. Indeed, each chapter follows a broadly similar framework, beginning with a short plot synopsis before exploring each film in relation to its respective genre/s, discussing the ways in which the films draw on and challenge established genre codes and convention.