British Film Industry
Is there a light at the end of the tunnel? Every situation can be turned into something positive and that is what the British film industry has to do. Thankfully, technology and digital disrupters are changing the way audiences watch content and are breaking down the walls in terms of distribution. New legislations, agreements and tax relief programmes could attract new projects to the UK.
There are so many things wrong with Top Dog, it's difficult to know where to start. First of all, it's just too long. There are too many self-indulgent "geezer" scenes that add little to the story. It's as though Brimson hasn't watched a movie in the past ten years.
Auditions aren't my favourite part of the film business. There's a built-in imbalance to the process, and it's easy for either side to lose sight of what the experience is like for the other party in the room.
Last week saw St Katherine's Day; a date marking the arrival of winter and the dramatic martyrdom of Saint Katherine, a Christian
If enough people take up the challenge, we might collectively achieve some "crowd-research" which might be useful to those who research the influence of depictions of guns and gun violence. Either way, it might stimulate much-needed debate about the casual normalisation of violence in our society.Whilst we hear much debate about whether gun violence in films or computer games can propel young men or boys (for they are almost always male) to commit mass murder or violence, we rarely hear about the effect of images on film posters.
The new wave is here and hard at work: Neil Maskell, Ed Skrein, Paul Anderson, Vicky McClure, Michael Smiley, Johnny Harris, Martin Compston, Kieron Hawkes, Jacob Anderson, Matt Morgan and Shane Meadows are all people Hartley calls friends and collaborators.
We launched our Annual Report on Thursday 11 July, as we regularly do at this time of year. The report looks back at the activities of the previous year, including key strands of work as well as individual film classification decisions at each of the BBFC classification categories.
I immediately knew I wanted to make a film of 'Lore' but really had no idea how to go about it. Sitting in Glasgow, the prospect of making a period feature, set in Germany, about the subject of Nazism, was daunting.
On 12 February we celebrated the premiere of the first year of films from Collabor8te, the scheme I developed through Rankin Film Productions, which hunts out and develops some of the country's best new filmmakers.
Few modern filmmakers have managed to successfully yoke the disciplines of scriptwriting and directing in quite the same way as Paul Andrew Williams.