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Alison Riva Production Designer Agents Alice Dunne Assistant +44 (0) 20 3214 0949 Flora Line [email protected] Credits In Development Production Company Notes LETHAL WHITE BBC One/HBO Dir:Sue Tully 2019 Prod: Neil Blair, Ruth Kenley-Letts, Elizabeth Kilgarriff (with Holliday Grainger and Tom Burke) Film Production Company Notes BORN A KING Celtic Films Dir: Agusti Villaronga 2019 Prod: Stuart Sutherland FLYING BLIND Ignition Films Dir: Katarzyna Klimkiewicz 2012 Prod: Alison Sterling (with Helen McCrory) A THOUSAND KISSES Veil of Maya Productions Ltd Dir: Dana Lustig DEEP Prod: Christopher Granier-Deferre 2011 (with Dougray Scott, Emilia Fox, Jodie Whitaker) 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 MARATHON Dir: Tim Sullivan 2006 Producers: Anita Overland and Roger Michell SEPARATE LIES Celador Films Dir: Julian Fellowes 2005 Prod: Steve Clark Hall (with Tom Wilkinson, Emily Watson) ROCKET POST Ultimate Pictures Dir: Stephen Whittaker 2004 Prod: Mark Shorrock GLOBAL HERESY Ultimate Pictures Dir: Sidney J Furie 2000 Prod: Mark Shorrock (with Peter O’Toole, Joan Plowright, Martin Clunes, Alicia Silverstone) LONG TIME DEAD Working Title 2 Dir: Marcus Adams 2000 Films/Universal Prods: James Gay-Rees (with Alec Newman, Joe Absolom, Lukas Haas, James Hillier) COTTON MARY Merchant Ivory Dirs: Ismail Merchant, James Ivory 1999 Prod: Ismail Merchant (with Greta Scacchi, James Wilby, Madhur Jaffrey) TRUE BLUE Film & General/Film -
James Kent Director
James Kent Director Agents Natasha Galloway Associate Agent Talia Tobias [email protected] + 44 (0) 20 3214 0860 Credits Film Production Company Notes THE AFTERMATH Scott Free/Fox Producers: Jack Arbuthnott, Ridley Scott, Malte 2019 Searchlight/BBC Films Grunert Starring: Keira Knightley, Alexander Skarsgard, Jason Clarke TESTAMENT OF Heyday Films Prods: Rosie Alison, David Heyman YOUTH Starring Alicia Vikander, Kit Harington, Taron 2014 Egerton, Emily Watson, Dominic West, Hayley Atwell and Miranda Richardson Documentaries Production Company Notes ONE STRANGE ROCK Nutopia Producer: Darren Aronofsky, Starring: Will Smith 2018 Television Production Company Notes THE CAPTURE II Heyday/BBC/NBC Lead Director. Producers: Rosie Alison, 2021 Kristian Dench, Ben Chanan. Starring: Holliday Grainger, Paapa Essiedu, Ron Perlman. 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 MOTHER FATHER SON BBC Studios Lead director. 2019 Producers: Hilary Salmon, Lisa Osborne, Alan Poul, Sharon Bloom Starring: Richard Gere, Helen McCrory, Sarah Lancashire, Billy Howle SPARK ABC Pilot 2016 Prods: Ian Sander, Kim Moses Starring Lena Olin, Rege-Gene Page, Tracy Ifeachor AMERICAN CRIME II ABC Prods: John Ridley, Michael MacDonald 2015 Starring Felicity Huffman, Timothy Hutton Regina King 11/22/63 Bad Robot / Warner Prods: JJ Abrams, Bridget Carpenter 2015 Bros TV Starring: James Franco, Chris Cooper, Sarah Gadon THE THIRTEENTH TALE Heyday Films Director. 90min film for BBC2. 2013 Written by Christopher Hampton. Starring Vanessa Redgrave and Olivia Colman *Winner, C21 Media awards 'Best Miniseries'. THE WHITE QUEEN BBC/Starz Lead Director. -
Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994. -
Media Release Tune Into Nature Music Prize Winner
Media Release Tune Into Nature Music Prize Winner LYDIAH selected as recipient of the inaugural Tune Into Nature Music Prize Yorkshire Sculpture Park is delighted to announce the winner of the Tune Into Nature Music Prize, originated by Professor Miles Richardson from the Nature Connectedness Research Group at the University of Derby and supported by Selfridges, Tileyard London and YSP. The winner LYDIAH says: “Becoming the winner of the Tune Into Nature Music Prize has been such a blessing, I’m so grateful to have been given the opportunity. It’s definitely going to help me progress as an artist. Having Selfridges play my track in store and to be associated with such an incredible movement for Project Earth is something that I am very proud of and excited for. I’m able to use the funding to support my debut EP, which couldn’t have come at a better time! The Prize is such a great project and the message is so important. I can’t thank Miles, Martyn and everyone who supports it enough.” Twenty-one year old LYDIAH, based in Liverpool, has been selected as the winner of the Tune Into Nature Music Prize for her entry I Eden. The composition is written from the point of view of Mother Nature and highlights the dangers of humans becoming increasingly distanced from the natural world. LYDIAH will receive a £1,000 grant to support her work, the opportunity to perform at Timber Festival in 2021 and a remix with Tileyard London produced by Principal Martyn Ware (Heaven 17), who says: “I thoroughly enjoyed helping to judge some exceptional entries for this unique competition. -
Kay Mellor's Brand New Itv Drama 'Girlfriends'
KAY MELLOR’S BRAND NEW ITV DRAMA ‘GIRLFRIENDS’ WILL AIR IN THE NEW YEAR Rollem Productions brand new ITV drama Girlfriends - from the pen of BAFTA award- winning screenwriter Kay Mellor – will air in early 2018. The series stars Phyllis Logan (The Good Karma Hospital, Downton Abbey), Miranda Richardson (Mapp & Lucia, And Then There Were None, Churchill, iBoy) and Zoë Wanamaker (Mr Selfridge, Agatha Christie’s Poirot, My Family, Gormenghast, Harry Potter and the Philosopher's Stone) in the three lead roles and showcases a stellar supporting cast including: Daisy Head (Guilt, The Syndicate 3), Chris Fountain (Coronation Street, Hollyoaks), Philip Cumbus (The Resistable Rise of Arturo Ui, Comus), Matthew Lewis (Harry Potter, Ripper Street), Val Lilley (Cuffs, Mr Sloane, Shameless), Anthony Head (A Street Cat Named Bob, You, Me & Them), Adrian Rawlins (Hard Sun, Maigret in Montmartre), Wendy Craig (The Worst Witch, Unforgotten), Dave Hill (Porridge, Vera), Steve Evets (This Is Us, Looking For Eric, Rev), Paula Wilcox (Upstart Crow, Mount Pleasant, Boomers), Chloe Hart (Kinky Boots, Hairspray), Elena Saurel (Midsomer Murders, Silent Witness), Thailia Zucchi (The Windsors, New Tricks), Emmett J Scanlan (The Fall, In The Flesh), Rochenda Sandall (Love, Lies & Records, Broken) and Matthew Marsh (Love, Lies & Records, Riviera). For life-long friends Linda, Sue and Gail, the years have flown by, yet their lives seem more complicated than ever. When Linda’s husband Micky vanishes from a cruise ship on their wedding anniversary Linda suddenly finds herself on her own for the first time in nearly 30 years. Widowed and out of her depth she turns to her old friends Gail and Sue for support, who each have their own problems to face… Glamorous and successful Sue is shocked when she finds herself facing age discrimination in her job as the editor of a popular bridal magazine. -
The War and Fashion
F a s h i o n , S o c i e t y , a n d t h e First World War i ii Fashion, Society, and the First World War International Perspectives E d i t e d b y M a u d e B a s s - K r u e g e r , H a y l e y E d w a r d s - D u j a r d i n , a n d S o p h i e K u r k d j i a n iii BLOOMSBURY VISUAL ARTS Bloomsbury Publishing Plc 50 Bedford Square, London, WC1B 3DP, UK 1385 Broadway, New York, NY 10018, USA 29 Earlsfort Terrace, Dublin 2, Ireland BLOOMSBURY, BLOOMSBURY VISUAL ARTS and the Diana logo are trademarks of Bloomsbury Publishing Plc First published in Great Britain 2021 Selection, editorial matter, Introduction © Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian, 2021 Individual chapters © their Authors, 2021 Maude Bass-Krueger, Hayley Edwards-Dujardin, and Sophie Kurkdjian have asserted their right under the Copyright, Designs and Patents Act, 1988, to be identifi ed as Editors of this work. For legal purposes the Acknowledgments on p. xiii constitute an extension of this copyright page. Cover design by Adriana Brioso Cover image: Two women wearing a Poiret military coat, c.1915. Postcard from authors’ personal collection. This work is published subject to a Creative Commons Attribution Non-commercial No Derivatives Licence. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher Bloomsbury Publishing Plc does not have any control over, or responsibility for, any third- party websites referred to or in this book. -
An Interview with Andrew Davies
EnterText 1.2 PETER SMITH “The Script is Looking Good”: an interview with Andrew Davies PS Before coming to talk to you, I asked my colleagues what they would most like to ask you, and more than one wanted to know how tight a brief a writer tends to be given when adapting for TV or cinema. AD Right – well, usually when I start something, it’s – first of all, it’s either going to be a one-off or it’s going to be an episode. If it’s for television and it’s going to be in episodes, usually I’m given, or we work out by mutual agreement, the number of episodes that would be best to do this kind of thing in – and when I say “we”, usually I’m working with the producer or it’s someone higher up like an executive producer. Smith: Interview with Andrew Davies 157 EnterText 1.2 For instance, I do a lot of work with the woman who’s Head of Drama at the BBC. This is one of the good things about having been around for a long time; I knew her when she was a script editor. She was a very good script editor, and I suppose what I’m working round to is there’s not usually a lot of disagreement about it. If she says “I think it would make three” or “I think it would make four” or whatever it is, I usually think she’s right. Occasionally, you find that there’s a difference, but generally people will go with what I say these days. -
George Eliot on Stage and Screen
George Eliot on Stage and Screen MARGARET HARRIS* Certain Victorian novelists have a significant 'afterlife' in stage and screen adaptations of their work: the Brontes in numerous film versions of Charlotte's Jane Eyre and of Emily's Wuthering Heights, Dickens in Lionel Bart's musical Oliver!, or the Royal Shakespeare Company's Nicholas Nickleby-and so on.l Let me give a more detailed example. My interest in adaptations of Victorian novels dates from seeing Roman Polanski's film Tess of 1979. I learned in the course of work for a piece on this adaptation of Thomas Hardy's novel Tess of the D'Urbervilles of 1891 that there had been a number of stage adaptations, including one by Hardy himself which had a successful professional production in London in 1925, as well as amateur 'out of town' productions. In Hardy's lifetime (he died in 1928), there was an opera, produced at Covent Garden in 1909; and two film versions, in 1913 and 1924; together with others since.2 Here is an index to or benchmark of the variety and frequency of adaptations of another Victorian novelist than George Eliot. It is striking that George Eliot hardly has an 'afterlife' in such mediations. The question, 'why is this so?', is perplexing to say the least, and one for which I have no satisfactory answer. The classic problem for film adaptations of novels is how to deal with narrative standpoint, focalisation, and authorial commentary, and a reflex answer might hypothesise that George Eliot's narrators pose too great a challenge. -
Ruth Prawer Jhabvala's Adapted Screenplays
Absorbing the Worlds of Others: Ruth Prawer Jhabvala’s Adapted Screenplays By Laura Fryer Submitted in fulfilment of the requirements of a PhD degree at De Montfort University, Leicester. Funded by Midlands 3 Cities and the Arts and Humanities Research Council. June 2020 i Abstract Despite being a prolific and well-decorated adapter and screenwriter, the screenplays of Ruth Prawer Jhabvala are largely overlooked in adaptation studies. This is likely, in part, because her life and career are characterised by the paradox of being an outsider on the inside: whether that be as a European writing in and about India, as a novelist in film or as a woman in industry. The aims of this thesis are threefold: to explore the reasons behind her neglect in criticism, to uncover her contributions to the film adaptations she worked on and to draw together the fields of screenwriting and adaptation studies. Surveying both existing academic studies in film history, screenwriting and adaptation in Chapter 1 -- as well as publicity materials in Chapter 2 -- reveals that screenwriting in general is on the periphery of considerations of film authorship. In Chapter 2, I employ Sandra Gilbert’s and Susan Gubar’s notions of ‘the madwoman in the attic’ and ‘the angel in the house’ to portrayals of screenwriters, arguing that Jhabvala purposely cultivates an impression of herself as the latter -- a submissive screenwriter, of no threat to patriarchal or directorial power -- to protect herself from any negative attention as the former. However, the archival materials examined in Chapter 3 which include screenplay drafts, reveal her to have made significant contributions to problem-solving, characterisation and tone. -
GAVIN FINNEY, BSC Director of Photography
(2/25/21) GAVIN FINNEY, BSC Director of Photography www.gavinfinney.com FILM & TELEVISION DIRECTOR COMPANIES PRODUCERS “SUSPICION” Chris Long Apple TV+ Howard Burch (Series) Keshet Prods. Chris Long Rob Williams “BARKSKINS” Darren Grant Fox 21 Television Eli Bush (Series) David Slade National Geographic Scott Rudin “FOUR WEDDINGS AND A Tristram Shapeero MGM Television Jonathan Prince FUNERAL” Universal Television Matt Warburton (Series) Mindy Kaling “GOOD OMENS” Douglas Mackinnon Amazon Studios Neil Gaiman (Mini-Series) BBC Studios Paul Frift Nomination: BSC Award for Best Cinematography in a TV Drama “UNFORGOTTEN” Andy Wilson Mainstreet Pictures Tim Bradley (TV Series) Chris Lang “THE MINIATURIST” Guillem Morales Masterpiece Theatre Rebecca Eaton (TV Series) BBC Elizabeth Kilgarriff The Forge Entertainment Brett Wilson “THE STATE” Peter Kosminsky Lionsgate Steve Clark-Hall (Mini-Series) Mandeville Films Liza Marshall Nomination: RTS Craft & Design Award for Best Photography in a Drama Nomination: BSC Award for Best Photography in a TV Drama “THE SECRET AGENT” Charles McDougall BBC Television Pricilla Parish Simon (Mini-Series) Heath “BLACK WORK” Michael Samuels Mammoth Screen Matt Charman (Mini-Series) Lipsync Productions Damien Timmer “WOLF HALL” Peter Kosminsky Company Pictures Mark Pybus (Mini-Series) Playground Ent. Rebecca Eaton Winner: Televisual Bulldog Award for Best Cinematography Hindsight Media Sonia Friedman Winner: BSC Award for Best Photography in a TV Drama Nomination: BAFTA Television Craft Award for Photography & Lighting -
Rupert Everett ~ 36 Screen Credits
Rupert Everett ~ 36 Screen Credits Look at that lip. Hauteur, condescension, disdain writ large. "I am a very limited actor. There's a certain amount I can do and that's it," said Everett in 2014. Maybe so, but - see My Best Friend's Wedding, An Ideal Husband, Separate Lies or Unconditional Love - how well he does it. Born in Burnham Deepdale, Norfolk on 29 May 1959 the second son of parents Anthony and Sara, RUPERT JAMES HECTOR EVERETT is of English, Scottish, Irish and more distant German and Dutch ancestry. His father, who died in 2009, was a Major in the British Army who later worked in business. When he was six, Rupert was taken into Braintree for his first trip to a cinema. There was a long queue, the child was typically fretful and the grown-ups thought about leaving, but finally decided not to: And so my mother bought the fateful tickets and unknowingly guided me through a pair of swing doors into the rest of my life ... ... Those huge curtains silently swished open and Mary Poppins sprang across the footlights and into my heart. After preliminary instruction from a governess, Everett was educated at Far- leigh House School, Andover from seven to thirteen then at Ampleforth College, Yorkshire from thirteen to sixteen, at which point he absconded to London to become an actor. After two years of living the bohemian life to the full (if not excess), he won a coveted place at the Central School of Speech and Drama, but after attending for two tempestuous and more or less unrewarding years was told not to return for a third. -
Adaptations, Heritage Film & Costume Dramas
source guides adaptations, heritage film & costume dramas National Library adaptations, heritage film and costume drama 16 + Source Guide contents THE CONTENTS OF THIS PDF CAN BE VIEWED QUICKLY BY USING THE BOOKMARKS FACILITY INFORMATION GUIDE STATEMENT . .i BFI NATIONAL LIBRARY . .ii ACCESSING RESEARCH MATERIALS . .iii APPROACHES TO RESEARCH, by Samantha Bakhurst . .iv Introduction...........................................................................................................................................................1 E.M. FORSTER: MERCHANT IVORY ADAPTATIONS.........................................................................................2 A Room With a View.............................................................................................................................................3 Maurice...................................................................................................................................................................5 Howards End..........................................................................................................................................................8 JANE AUSTEN Pride and Prejudice.............................................................................................................................................12 Sense and Sensibility .........................................................................................................................................13 Emma....................................................................................................................................................................14