Exclusive: James Bond producer Barbara Broccoli has revealed that it will be “at least two years“ before the next 007 movie begins filming and that the task of finding an actor to replace Daniel Craig hasn’t begun “because it’s a reinvention of Bond.”
Speaking to us at a star-studded private event in central London to honor Broccoli and her brother Michael G. Wilson for their BFI Fellowships, Broccoli wouldn’t be drawn on who would play Bond next but did offer an update on the decision-making process.
“Nobody’s in the running,” she disclosed. “We’re working out where to go with him, we’re talking that through. There isn’t a script and we can’t come up with one until we decide how we’re going to approach the next film because, really, it’s a reinvention of Bond. We’re reinventing who he is and that takes time.
Speaking to us at a star-studded private event in central London to honor Broccoli and her brother Michael G. Wilson for their BFI Fellowships, Broccoli wouldn’t be drawn on who would play Bond next but did offer an update on the decision-making process.
“Nobody’s in the running,” she disclosed. “We’re working out where to go with him, we’re talking that through. There isn’t a script and we can’t come up with one until we decide how we’re going to approach the next film because, really, it’s a reinvention of Bond. We’re reinventing who he is and that takes time.
- 6/29/2022
- by Baz Bamigboye
- Deadline Film + TV
Eric Fellner bounds through London Screen Academy, saying hearty hellos to students, waving to faculty and showing off the state-of-the-art facilities at the newly opened school to a Variety reporter.
The brainchild of Fellner’s Working Title co-chairman, Tim Bevan, the school is intended to teach teenagers between the ages of 16 and 19 the skills they need to get jobs in film and television production. It opened in September, as the entertainment business in the U.K. is booming. From “Star Wars” sequels to the latest season of Netflix’s “The Crown,” Hollywood continues to set up shop in the country, lured by its generous tax incentives, soundstages and world-class crews.
“People don’t actually know how many jobs there are behind the camera,” Bevan says. “Everyone knows about actors and producers and directors. What they’re not aware of is that there are thousands of other good-paying jobs that are based on technical skills.
The brainchild of Fellner’s Working Title co-chairman, Tim Bevan, the school is intended to teach teenagers between the ages of 16 and 19 the skills they need to get jobs in film and television production. It opened in September, as the entertainment business in the U.K. is booming. From “Star Wars” sequels to the latest season of Netflix’s “The Crown,” Hollywood continues to set up shop in the country, lured by its generous tax incentives, soundstages and world-class crews.
“People don’t actually know how many jobs there are behind the camera,” Bevan says. “Everyone knows about actors and producers and directors. What they’re not aware of is that there are thousands of other good-paying jobs that are based on technical skills.
- 12/12/2019
- by Brent Lang
- Variety Film + TV
Greengrass was giving a talk with journalist Danny Leigh at Sheffield Doc/Fest.
Filmmaker Paul Greengrass has spoken out about the need to widen access to jobs in the creative industries, describing the sector as ”more meritocratic” when he started his career in the 1970s.
In a discussion event with journalist and curator Danny Leigh at Sheffield Doc/Fest on Friday June 7, the Jason Bourne and Captain Phillips director said, ”When I started… it was more meritocratic because the unions were strong, and you didn’t get hired without a proper contract.”
“It’s still far, far too reliant on networking,...
Filmmaker Paul Greengrass has spoken out about the need to widen access to jobs in the creative industries, describing the sector as ”more meritocratic” when he started his career in the 1970s.
In a discussion event with journalist and curator Danny Leigh at Sheffield Doc/Fest on Friday June 7, the Jason Bourne and Captain Phillips director said, ”When I started… it was more meritocratic because the unions were strong, and you didn’t get hired without a proper contract.”
“It’s still far, far too reliant on networking,...
- 6/11/2019
- by Ben Dalton
- ScreenDaily
Heyman was speaking at the launch of the London Screen Academy.
Harry Potter and Gravity producer David Heyman has expressed his disappointment at the lack of diversity on UK film sets.
“You go to any film set and it’s shocking, disappointing and depressing to look at the make-up of the vast majority of crews. The lack of diversity - ethnicity, economic, gender, social - is marked,” said Heyman.
The Heyday Films founder was speaking at an event to celebrate the launch of the London Screen Academy, a new school for 16-18-year-olds that will open in Islington, North London,...
Harry Potter and Gravity producer David Heyman has expressed his disappointment at the lack of diversity on UK film sets.
“You go to any film set and it’s shocking, disappointing and depressing to look at the make-up of the vast majority of crews. The lack of diversity - ethnicity, economic, gender, social - is marked,” said Heyman.
The Heyday Films founder was speaking at an event to celebrate the launch of the London Screen Academy, a new school for 16-18-year-olds that will open in Islington, North London,...
- 10/11/2018
- by Tom Grater
- ScreenDaily
Harry Potter producer David Heyman and Working Title co-chief Eric Fellner lamented the “shocking” lack of diversity on UK sets at the launch event for a new school aimed at boosting skills and diversity within the local film and TV industries.
Heyman and fellow London Screen Academy founders Fellner and Tim Bevan of Working Title, Barbara Broccoli and Michael G. Wilson of Eon, and producer Lisa Bryer (The Last King of Scotland) are the driving forces behind the government-backed vocational school, which will teach 16- to 19-year-olds practical screen industry skills.
“The need for more highly skilled workers and more diversity in the UK industry is pressing in many ways,” Heyman told us. “I think the lack of diversity you see on so many film sets is shocking. This isn’t a change that can happen overnight, but we need change from top to bottom: ethnic, social and gender. The...
Heyman and fellow London Screen Academy founders Fellner and Tim Bevan of Working Title, Barbara Broccoli and Michael G. Wilson of Eon, and producer Lisa Bryer (The Last King of Scotland) are the driving forces behind the government-backed vocational school, which will teach 16- to 19-year-olds practical screen industry skills.
“The need for more highly skilled workers and more diversity in the UK industry is pressing in many ways,” Heyman told us. “I think the lack of diversity you see on so many film sets is shocking. This isn’t a change that can happen overnight, but we need change from top to bottom: ethnic, social and gender. The...
- 10/10/2018
- by Andreas Wiseman
- Deadline Film + TV
Some of the biggest names in U.K. film and TV have launched the London Screen Academy. The free school for 16-to-19 year-olds in the English capital will train a new generation of industry professionals. The launch comes as U.K. film and TV boom, but the British Film Institute has warned of a skills shortage.
Barbara Broccoli and Michael G. Wilson from “James Bond” producer Eon Prods., Tim Bevan and Eric Fellner from Working Title, Heyday Films’ founder David Heyman, and “The Last King of Scotland” producer Lisa Bryer are among the Lsa founders.
They came up with the idea and have played an integral part in creating the curriculum. Under the free school system in the U.K., the department of education will fund the school, which will not charge students any fees.
The Lsa founders want to turn out students who are ready to step straight into...
Barbara Broccoli and Michael G. Wilson from “James Bond” producer Eon Prods., Tim Bevan and Eric Fellner from Working Title, Heyday Films’ founder David Heyman, and “The Last King of Scotland” producer Lisa Bryer are among the Lsa founders.
They came up with the idea and have played an integral part in creating the curriculum. Under the free school system in the U.K., the department of education will fund the school, which will not charge students any fees.
The Lsa founders want to turn out students who are ready to step straight into...
- 10/10/2018
- by Stewart Clarke
- Variety Film + TV
Working Title, Harry Potter producer David Heyman, Bond producers Eon and The Last King of Scotland producer Lisa Bryer officially launched the London Screen Academy, their government-backed film and TV-oriented free school for 16-19 year-olds, at an event in North London this morning.
The Islington-based school, which is due to open in autumn 2019, is being set up in a bid to improve skills and diversity within the UK film and TV arenas. It will offer a vocational curriculum including behind the camera skills and teaching from industry professionals, many of whom have worked with the founders.
Classes will range from writing to production design, hair and makeup to VFX. Training in games and Vr/Ar will be part of a future offering, the founders have said. The school is expected to include a film production studio, workshops, a film theater and a rooftop courtyard with views over London.
In its...
The Islington-based school, which is due to open in autumn 2019, is being set up in a bid to improve skills and diversity within the UK film and TV arenas. It will offer a vocational curriculum including behind the camera skills and teaching from industry professionals, many of whom have worked with the founders.
Classes will range from writing to production design, hair and makeup to VFX. Training in games and Vr/Ar will be part of a future offering, the founders have said. The school is expected to include a film production studio, workshops, a film theater and a rooftop courtyard with views over London.
In its...
- 10/10/2018
- by Andreas Wiseman
- Deadline Film + TV
School to enroll initial 300 students in September 2019.
The London Screen Academy (Lsa), a free sixth-form college set up to address skills shortages in the UK’s screen sectors, has appointed its inaugural principal and is now accepting applications for students.
The project has been founded by heavyweight UK producers including Working Title Films, Heyday Films, Eon Productions, and Lisa Bryer.
The school will open in September 2019 in Islington, north London. It will be take an initial 300 students at the UK sixth-form age, 16-19, and that number will eventually rise to 1,000.
It will be a free establishment and is set up...
The London Screen Academy (Lsa), a free sixth-form college set up to address skills shortages in the UK’s screen sectors, has appointed its inaugural principal and is now accepting applications for students.
The project has been founded by heavyweight UK producers including Working Title Films, Heyday Films, Eon Productions, and Lisa Bryer.
The school will open in September 2019 in Islington, north London. It will be take an initial 300 students at the UK sixth-form age, 16-19, and that number will eventually rise to 1,000.
It will be a free establishment and is set up...
- 10/10/2018
- by Tom Grater
- ScreenDaily
TELLURIDE, Colo. -- Director Kevin Macdonald introduced the Telluride screening of "The Last King of Scotland" by saying, "It's my first feature. Please be gentle." But there's little need for gentleness. Much of "Scotland" is an extraordinary piece about naivete caught up short in terrible events. Boxoffice looks substantial in sophisticated urban venues in North America.
Young Scottish doctor Nicholas Garrigan (James McAvoy) actually is beyond naive. He is criminally reckless and unaware of the world he has chosen to enter. When he finishes medical school, he spins the globe in his bedroom to decide where he will seek his fortune. Garrigan's finger lands on Uganda, and by coincidence, he gets there the very day in 1970 that Idi Amin (Forest Whitaker) seizes power.
While many white British immediately understand the potential danger to themselves and to Uganda, young Garrigan's first response is to have a quick fling with a black Ugandan woman who shares his seat on the bus. In another rash moment, Garrigan accepts Amin's offer to become his personal physician, which leads Garrigan deep into the morass of the horror Amin unleashes upon his own people.
Macdonald, with cinematographer Anthony Dod Mantle, has a terrific eye for detail and motion. The early rollicking scenes as Garrigan arrives in Uganda are loaded with color, dancing, fast-moving events and music. Then the color grows ever more somber, while lines and shapes become more regular and ominous as the story continues. Eventually, the film turns into a thriller -- can Garrigan escape both Amin's insanity and his own folly before he, too, falls to Amin's murderous insanity?
"Scotland" has pace and wit; it is brainy and visceral at the same time. Amin is simultaneously absurd and dangerous, as the wild dictator bests friends and colleagues at swimming by starting before the gun goes off. He arrays himself and his troops in kilts to celebrate some private notion of Scottishness, and a bizarre lingering affection for the European colonial powers.
But the core of the film presents problems. Macdonald, working from a novel by Giles Foden, falls into the trap that claims too many white filmmakers who want to film other kinds of people. The movie tries to bring home the horror of Amin's regime by showing the trials of a white character. All over Uganda, Amin's henchmen are murdering his often-imagined enemies, mostly black people, including Garrigan's friends and lover. But the character whose pain matters most to the movie is Garrigan's. It puts the film out of balance.
You can see the film struggle to resolve this dilemma, but the result is confusion at the end. The thriller side of the movie takes over, while the lively questions about Garrigan's responsibility for his own ignorance fade away. An imaginative and original picture turns conventional as it ends.
THE LAST KING OF SCOTLAND
Fox Searchlight
Fox Searchlight Pictures, DNA Films and FilmFour present in association with the U.K. Film Council and Scottish Screen a Cowboy Films/Slate Films production
Credits:
Director: Kevin Macdonald
Screenwriters: Peter Morgan, Jeremy Brock
Based on a novel by: Giles Foden
Producers: Andrea Calderwood, Lisa Bryer, Charles Steel
Executive producers: Tessa Ross, Andrew Macdonald, Allon Reich
Director of photography: Anthony Dod Mantle
Production designer: Michael Carlin
Music: Alex Heffes
Costume designer: Michael O'Connor
Editor: Justine Wright
Cast:
Nicholas Garrigan: James McAvoy
Idi Amin: Forest Whitaker
Nigel Stone: Simon McBurney
Sara Zach: Gillian Anderson
MPAA rating R
Running time -- 121 minutes...
Young Scottish doctor Nicholas Garrigan (James McAvoy) actually is beyond naive. He is criminally reckless and unaware of the world he has chosen to enter. When he finishes medical school, he spins the globe in his bedroom to decide where he will seek his fortune. Garrigan's finger lands on Uganda, and by coincidence, he gets there the very day in 1970 that Idi Amin (Forest Whitaker) seizes power.
While many white British immediately understand the potential danger to themselves and to Uganda, young Garrigan's first response is to have a quick fling with a black Ugandan woman who shares his seat on the bus. In another rash moment, Garrigan accepts Amin's offer to become his personal physician, which leads Garrigan deep into the morass of the horror Amin unleashes upon his own people.
Macdonald, with cinematographer Anthony Dod Mantle, has a terrific eye for detail and motion. The early rollicking scenes as Garrigan arrives in Uganda are loaded with color, dancing, fast-moving events and music. Then the color grows ever more somber, while lines and shapes become more regular and ominous as the story continues. Eventually, the film turns into a thriller -- can Garrigan escape both Amin's insanity and his own folly before he, too, falls to Amin's murderous insanity?
"Scotland" has pace and wit; it is brainy and visceral at the same time. Amin is simultaneously absurd and dangerous, as the wild dictator bests friends and colleagues at swimming by starting before the gun goes off. He arrays himself and his troops in kilts to celebrate some private notion of Scottishness, and a bizarre lingering affection for the European colonial powers.
But the core of the film presents problems. Macdonald, working from a novel by Giles Foden, falls into the trap that claims too many white filmmakers who want to film other kinds of people. The movie tries to bring home the horror of Amin's regime by showing the trials of a white character. All over Uganda, Amin's henchmen are murdering his often-imagined enemies, mostly black people, including Garrigan's friends and lover. But the character whose pain matters most to the movie is Garrigan's. It puts the film out of balance.
You can see the film struggle to resolve this dilemma, but the result is confusion at the end. The thriller side of the movie takes over, while the lively questions about Garrigan's responsibility for his own ignorance fade away. An imaginative and original picture turns conventional as it ends.
THE LAST KING OF SCOTLAND
Fox Searchlight
Fox Searchlight Pictures, DNA Films and FilmFour present in association with the U.K. Film Council and Scottish Screen a Cowboy Films/Slate Films production
Credits:
Director: Kevin Macdonald
Screenwriters: Peter Morgan, Jeremy Brock
Based on a novel by: Giles Foden
Producers: Andrea Calderwood, Lisa Bryer, Charles Steel
Executive producers: Tessa Ross, Andrew Macdonald, Allon Reich
Director of photography: Anthony Dod Mantle
Production designer: Michael Carlin
Music: Alex Heffes
Costume designer: Michael O'Connor
Editor: Justine Wright
Cast:
Nicholas Garrigan: James McAvoy
Idi Amin: Forest Whitaker
Nigel Stone: Simon McBurney
Sara Zach: Gillian Anderson
MPAA rating R
Running time -- 121 minutes...
Forest Whitaker will star as Idi Amin in The Last King of Scotland, a political drama that Kevin Macdonald is directing for Fox Searchlight. James McAvoy also has been cast to star in the film, which is being produced by Andrea Calderwood of Slate Films along with Lisa Bryer and Charles Steel of Cowboy Films. Film Four and DNA are co-financing the project. Set in the 1970s, Scotland is based on Giles Foden's award-winning novel that blends history and fiction. It centers on a Scottish doctor who, though a twist of fate, becomes the hand-picked personal physician of the then-new president of Uganda. At first, the doctor is flattered by his new position but soon awakens to Amin's savagery and his own complicity in it. Amin was a horrific if flamboyant figure in the world of despots. He trained as part of the British army and had an affinity for things Scottish. He liked to wear kilts and famously said he wanted to raise an army to fight for Scottish independence, thus becoming the last king of Scotland. The project has been in development since 1998.
- 4/13/2005
- The Hollywood Reporter - Movie News
Forest Whitaker will star as Idi Amin in The Last King of Scotland, a political drama that Kevin Macdonald is directing for Fox Searchlight. James McAvoy also has been cast to star in the film, which is being produced by Andrea Calderwood of Slate Films along with Lisa Bryer and Charles Steel of Cowboy Films. Film Four and DNA are co-financing the project. Set in the 1970s, Scotland is based on Giles Foden's award-winning novel that blends history and fiction. It centers on a Scottish doctor who, though a twist of fate, becomes the hand-picked personal physician of the then-new president of Uganda. At first, the doctor is flattered by his new position but soon awakens to Amin's savagery and his own complicity in it. Amin was a horrific if flamboyant figure in the world of despots. He trained as part of the British army and had an affinity for things Scottish. He liked to wear kilts and famously said he wanted to raise an army to fight for Scottish independence, thus becoming the last king of Scotland. The project has been in development since 1998.
- 4/13/2005
- The Hollywood Reporter - Movie News
Although "The Hole" might spark easily made comparisons with "The Blair Witch Project" -- terrified teens stalked by an evil presence -- it is actually a shrewdly made chiller that has a good deal to offer. With the right handling, this film could make a nice hit in that hefty marketplace for "teens in peril" movies.
While the film is a U.K.-French production set firmly in rural England, the fact that the key young leads, Thora Birch and Desmond Harrington, are Americans tips us off that this is a film made for the international marketplace.
The film is structured in the form of a series of flashbacks, which gradually reveal more and more about the events, cleverly mixing true memories with alternate variations. The film opens impressively with the shocked, frightened Liz (Birch) wandering into a village where, in a series of flashbacks, she explains to psychologist Philipa Horwood (the always fine Embeth Davidtz) what has happened.
It seems she and fellow pupils from an English public school had gotten out of a school trip by hiding out in an old World War II bunker. Liz was keen to go into the hole with American hunk Mike (Harrington) because she had the hots for him, while fellow students Geoff and Frankie engage in a little quality time together.
Liz initially blames much of what happened to them in the hole on another student, Martin (Daniel Brocklebank), who she says was jealous of her feelings for Mike. But as the police interrogation of her and Martin continues, more and more is revealed of the actual events in the bunker. Without giving too much of the plot away, it becomes clear that someone is controlling the events in the bunker. As the bodies start to fall, fear and paranoia increase.
"Hole" is impressively directed by Nick Hamm (whose previous film was the romantic comedy "Martha, Meet Frank, Daniel and Laurence"). He makes great use of the frightening location of a dark, shadowy bunker, though his work is much assisted by a fine, intelligent script from Ben Court and Caroline Ip, who give depth and variation to their characters. The hole is nicely designed by Eve Stewart, and, as shot by cinematographer Denis Crossan, it makes for a fine twist on the old-dark-house format.
Birch is asked to offer different levels to her character as the truth behind what happened is gradually revealed, and she does an excellent job of presenting a character who lurches between shy and mousy to cunning and sociopathic. The rest of the young cast is impressive, especially Brocklebank as Martin.
"Hole" is a fine, tense piece of chilling entertainment that deserves to reach an audience.
THE HOLE
Pathe Pictures presents in association with the Film Council and Le Studio Canal Plus
Cowboy Films/Granada Film Prods. in association with Cowboy Pictures
Producers: Lisa Bryer, Jeremy Bolt, Pippa Cross
Director: Nick Hamm
Screenwriters: Ben Court, Caroline Ip
Based on the novel by: Guy Burt
Executive producers: Francois Ivernel, Andrea Calderwood
Director of photography: Denis Crossan
Editor: Niven Howie
Production designer: Eve Stewart
Music: Clint Mansell
Costume designer: Verity Hawkes
Color/stereo
Cast:
Liz Dunn: : hora Birch
Mike Steel: Desmond Harrington
Martin Taylor: Daniel Brocklebank
Geoff: Laurence Fox
Frankie Smith: Keira Knightley
Dr. Philipa Horwood: Embeth Davidtz
DCS Tom Howard: Steven Waddington
Running time -- 102 minutes
No MPAA rating...
While the film is a U.K.-French production set firmly in rural England, the fact that the key young leads, Thora Birch and Desmond Harrington, are Americans tips us off that this is a film made for the international marketplace.
The film is structured in the form of a series of flashbacks, which gradually reveal more and more about the events, cleverly mixing true memories with alternate variations. The film opens impressively with the shocked, frightened Liz (Birch) wandering into a village where, in a series of flashbacks, she explains to psychologist Philipa Horwood (the always fine Embeth Davidtz) what has happened.
It seems she and fellow pupils from an English public school had gotten out of a school trip by hiding out in an old World War II bunker. Liz was keen to go into the hole with American hunk Mike (Harrington) because she had the hots for him, while fellow students Geoff and Frankie engage in a little quality time together.
Liz initially blames much of what happened to them in the hole on another student, Martin (Daniel Brocklebank), who she says was jealous of her feelings for Mike. But as the police interrogation of her and Martin continues, more and more is revealed of the actual events in the bunker. Without giving too much of the plot away, it becomes clear that someone is controlling the events in the bunker. As the bodies start to fall, fear and paranoia increase.
"Hole" is impressively directed by Nick Hamm (whose previous film was the romantic comedy "Martha, Meet Frank, Daniel and Laurence"). He makes great use of the frightening location of a dark, shadowy bunker, though his work is much assisted by a fine, intelligent script from Ben Court and Caroline Ip, who give depth and variation to their characters. The hole is nicely designed by Eve Stewart, and, as shot by cinematographer Denis Crossan, it makes for a fine twist on the old-dark-house format.
Birch is asked to offer different levels to her character as the truth behind what happened is gradually revealed, and she does an excellent job of presenting a character who lurches between shy and mousy to cunning and sociopathic. The rest of the young cast is impressive, especially Brocklebank as Martin.
"Hole" is a fine, tense piece of chilling entertainment that deserves to reach an audience.
THE HOLE
Pathe Pictures presents in association with the Film Council and Le Studio Canal Plus
Cowboy Films/Granada Film Prods. in association with Cowboy Pictures
Producers: Lisa Bryer, Jeremy Bolt, Pippa Cross
Director: Nick Hamm
Screenwriters: Ben Court, Caroline Ip
Based on the novel by: Guy Burt
Executive producers: Francois Ivernel, Andrea Calderwood
Director of photography: Denis Crossan
Editor: Niven Howie
Production designer: Eve Stewart
Music: Clint Mansell
Costume designer: Verity Hawkes
Color/stereo
Cast:
Liz Dunn: : hora Birch
Mike Steel: Desmond Harrington
Martin Taylor: Daniel Brocklebank
Geoff: Laurence Fox
Frankie Smith: Keira Knightley
Dr. Philipa Horwood: Embeth Davidtz
DCS Tom Howard: Steven Waddington
Running time -- 102 minutes
No MPAA rating...
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