News

Shooting Wraps On Ralph Fiennes’ Directorial Project ‘The White Crow’

Principal photography has now wrapped on Ralph FiennesThe White Crow, which has been shooting in locations across France, Russia, Croatia and Serbia since August. A new image has been released, featuring lead actor Oleg Ivenko as the legendary ballet star Rudolf Nureyev. Check it out below.

The White Crow was developed by BBC Films and Gabrielle Tana (The Duchess, Dancer, Philomena) who also produces with Carolyn Marks Blackwood through Magnolia Mae Productions together with Ralph Fiennes through Lonely Dragon Productions, and François Ivernel (The Queen, Slumdog Millionaire, The Iron Lady) through the French branch of his company, Montebello Productions. American artist and filmmaker Andrew Levitas (Lullaby, Georgetown, The Art of Getting By) is a producer and financier through his companies Metalwork Pictures and Rogue Black respectively.

Hanway Films is handling worldwide sales on the project. BBC Films, Hanway Films and The Fyzz Facility co-financed the film.

The White Crow
See full article at The Hollywood News »

Tiff 2017 Women Directors: Meet Susanna White — “Woman Walks Ahead”

Woman Walks Ahead

Susanna White is a BAFTA-winning film and television director. Her previous credits include “Our Kind of Traitor” and “Parade’s End.” White was lauded for her six episodes of “Bleak House” for the BBC, winning a host of international broadcast awards including the BAFTA and Rts awards for Best Drama Serial. She also helmed BBC’s “Jane Eyre,” which earned her an Emmy nomination.

Woman Walks Ahead” will premiere at the 2017 Toronto International Film Festival on September 10.

W&H: Describe the film for us in your own words.

Sw: “Woman Walks Ahead” tells the story of Catherine Wheldon (Jessica Chastain), a portrait painter from New York, who, in 1890 set out on her own from New York to the Dakotas to paint a portrait of Sitting Bull (Michael Greyeyes). Mistakenly thinking she would find freedom in the lifestyle of the Sioux Indians in contrast to the oppression women faced in New York, Wheldon becomes increasingly politicized as she discovers that Sitting Bull’s people are in danger of losing their ancestral lands.

W&H: What drew you to this story?

Sw: My agent gave it to me because I was looking for an epic love story — something in the tradition of films like “The English Patient,” by Anthony Minghella. In fact, this isn’t a love story in a conventional sense at all — it is the story of two oppressed people giving each other hope. As soon as I read it I knew I had to make the film. It spoke to me so strongly.

I grew up loving the epic landscape of Westerns. This is set in that world but you hear the stories of people you don’t normally hear in those narratives — the Native American community and a strong woman. There’s also a very spiritual aspect to the movie that drew me — the sense that the land was there before any of us and will be there after we have passed through it.

I had always been interested in Native American history. My father worked at the Hudson’s Bay Company in London and in the reception there was a glass case with a full-size figure of a warrior dressed in an eagle headdress and a war shirt. I was always drawn to it and spent ages looking at the feathers and beadwork.

After I left film school I went to watch a ceremony on the Hopi reservation and was fascinated by the sense of how ancient and spiritual the culture was in contrast to the modern America I knew in Los Angeles.

W&H: What do you want people to think about when they are leaving the theater?

Sw: I’d like people to reflect on their history. I was very moved when our Lakota language adviser, Ben Blackbear, watched the movie and said he hoped it would change the way history was taught in schools because it was telling a story his community usually didn’t get told. What struck me doing the research on the Lakota people and reading about Sitting Bull was the sophistication of the culture.

The quality of the artwork and textiles is extraordinary and Sitting Bull was a man of such wisdom — there are so many great quotes from him, my favorite being “the greatest strength is in gentleness.” That is such an antithesis to the conventional narrative of a Western.

I’d like people to reflect on the value the Sioux people put on co-existing with the natural world — taking only what they needed so they didn’t exhaust natural resources. There are lessons for the modern world to draw from that.

W&H: What were the biggest challenges in making the film?

Sw: In making this movie I was very conscious, of being, like Wheldon, an outsider. While I could relate to being a woman in late 19th century New York, I knew I had a huge amount to learn about Native American culture. I asked for help from the community and had an amazing experience when I was invited to stay on the Rosebud reservation to watch a Sun Dance ceremony.

People were incredibly generous in coming forward to teach me and share their traditions. Many of these were deeply spiritual — the Ghost Dance for example that we show in the film was a sacred dance which hadn’t been performed on the scale we were doing it in the movie for over a hundred years. I felt a great sense of responsibility to get that right. We also had wonderful crew members from the community as well as cast who would offer up help on the day.

This was not a big budget movie — we shot it in 31 days. I had to be very focused everyday on what were the most essential elements of every scene in order to make the days. I made a decision to jettison big set pieces and focus on the emotional heart of the film. Mike Eley, the cinematographer, and I also worked to give the movie scale by offering up big skies and landscapes — at the heart of the film is the story of our relationship to the land and its scale came from the wonder of the natural world rather than big builds or crowd scenes.

W&H: How did you get your film funded?

Sw: Period dramas are always challenging for independent film — this was a very ambitious movie, taking someone from New York to the plains of Dakota in the 1890s. There were a lot of reasons why it had taken 14 years to get made. It has not always been easy to finance a movie with a female lead and there have been very few Native American actors with big box office profile.

Fortunately times are changing and with Chastain attached we managed to attract finance from Erika Olde at Black Bicycle Entertainment, who has been very committed to strong female stories. Sales estimates didn’t match the original needs of the budget so I cut some of the big set pieces — Brooklyn Bridge, New York Street scenes, and a big steamboat sequence — in order to concentrate on what I felt was the emotional heart of the story.

We played to our strengths, abandoning crowd scenes for big skies and landscapes in which people are dwarfed by nature.

W&H: What does it mean for you to have your film play at Tiff?

Sw: Tiff always felt like the ideal environment for this movie. We were on tenterhooks in the run up to the announcements and when I heard that we had been invited I was over the moon. It was a dream come true.

It is especially resonant for us as Toronto is Greyeyes’ home town.

W&H: What is the best advice you have received?

Sw: The best advice I have received is from the British producer Tony Garnett. I worked with him early on and he told me that you never want to see any acting going on. That has always been my touchstone. If you feel the mechanics of the acting something isn’t right and it is my job as the director to shift things in order to free up the actors to give their best.

W&H: What advice do you have for other female directors?

Sw: I have never really seen myself as a female director, just as a director who happens to be a woman — but I know that is not how the world always sees us. I’d advise other women to try to bounce back when they get knocks and not to give up. If you want it enough you will get there in the end.

The most important thing is to listen to your own voice — that can be hard sometimes when there aren’t many female voices being heard out there.

W&H: Name your favourite woman-directed film and why.

Sw: It has always been Jane Campion’s “The Piano.” Almost every time I embark on a new piece of work I watch it — it is such an inspiration. Up until I saw that movie I knew I wanted to be a filmmaker and admired huge numbers of films but there were not that many films I could connect to on a really deep level.

When I saw “The Piano” it was like someone was singing in a key that felt like me whereas the other films had been in a different range. It’s not that I want to re-make “The Piano.” It is just that it has such a clearly female voice that is so different from what went before.

W&H: There have been significant conversations over the last couple of years about increasing the amount of opportunities for women directors yet the numbers have not increased. Are you optimistic about the possibilities for change? Share any thoughts you might have on this topic.

Sw: I have been very involved in the campaign at Directors UK to get more women directors in Britain. Certainly in the UK I feel the tide is changing. People within the industry were very shocked when we published our data set and there seems to be a genuine desire to bring about change.

This is perceived not just in terms of redressing gender equality but also in pursuit of greater cultural richness. I think the work of the Geena Davis Institute on Gender in Media and organizations like Women and Hollywood have really raised awareness worldwide.

Change will not happen overnight but I am optimistic that for my daughter’s’ generation things will be different.

Tiff 2017 Women Directors: Meet Susanna White — “Woman Walks Ahead” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

‘My Cousin Rachel’ Review: Rachel Weisz and Sam Claflin Have an Uneven Affair in Moody Daphne du Maurier Adaptation

  • Indiewire
‘My Cousin Rachel’ Review: Rachel Weisz and Sam Claflin Have an Uneven Affair in Moody Daphne du Maurier Adaptation
Despite its title, “My Cousin Rachel” is not a family comedy set over a Bat Mitzvah weekend in New Jersey, though it might yield similar audience demographics. Rather, it is a moody period romance from “Notting Hill” director Roger Michell starring Rachel Weisz and Sam Claflin, and one of a diminishing breed of mid-budget studio dramas.

Of course, the title wouldn’t have been so funny when the novel came out in 1951, written by Daphne du Maurier. The twentieth century British author and playwright’s work has inspired many great films over the years, including Nicholas Roeg’s “Don’t Look Now” (1973), starring Donald Sutherland and Julie Christie, as well as two from Alfred Hitchcock (“Rebecca” and “The Birds”). Lesser known is 1952 version of “My Cousin Rachel,” starring Richard Burton and Olivia de Havilland. Though classified as a romance novelist, her stories are more about the darker side of love and its obsessive qualities,
See full article at Indiewire »

My Cousin Rachel review: Dir. Roger Michell (2017)

My Cousin Rachel review: Roger Michell (Notting Hill, Enduring Love) directs Rachel Weisz and Sam Claflin in this new adaption of Daphne du Maurier’s 1950’s novel.

My Cousin Rachel review by Andrew Gaudion, June 2017.

My Cousin Rachel review

‘Is she? Isn’t she? Did she? Didn’t she? These are the opening lines to set the tone for the ambiguous nature of Roger Michell’s adaption of Daphne du Maurier’s 1950’s novel. The ambiguity as to the true nature and intention of the eponymous cousin Rachel (here played by Rachel Weisz) undoubtedly stirs interest from the off, and for anyone with an interest in du Maurier, this new adaption does offer a gorgeous painterly depiction of the text. But it too often fumbles along with the mystery, resulting in a new version that struggles to keep the candle aflame when standing in the company of both the original
See full article at The Hollywood News »

Ralph Fiennes Spreads Wings Over ‘The White Crow,’ Taking Key Role

Ralph Fiennes Spreads Wings Over ‘The White Crow,’ Taking Key Role
Ralph Fiennes will do double duty on his third film as director, “The White Crow,” additionally taking on the key role of Rudolf Nureyev’s teacher and mentor. The twice Oscar-nominated actor will join the international cast which has also added French actors Laurent Lafitte and Raphael Personnaz, French actress Calypso Valois and rising German star Louis Hofmann.

Fiennes will play Nureyev’s mentor Pushkin who helped launch the dancer’s international career beyond St Petersburg. In his role as director Fiennes has also newly enlisted “Jackie” costume designer Madeline Fontaine, director of photography Mike Eley and composer Ilan Eshkeri for his production team.

The biopic of the legendary Soviet ballet dancer and choreographer, which tells the story of story of his defection to the West, “The White Crow” is written by David Hare. Russian dancer and film newcomer Oleg Ivenko had previously been announced to play Nureyev with French actress Adele Exarchopoulos,
See full article at Variety - Film News »

Ralph Fiennes joins cast of his Nureyev drama 'The White Crow'

  • ScreenDaily
Ralph Fiennes joins cast of his Nureyev drama 'The White Crow'
Exclusive: Laurent Lafitte, Raphaël Personnaz, Louis Hofmann also board project.

Ralph Fiennes has joined the cast of The White Crow, his project about Russian ballet dancer Rudolf Nureyev.

Fiennes will play Nureyev’s teacher and mentor, Pushkin, who helped launch Nureyev’s career out of St Petersburg, and will also direct the feature.

As previously reported, professional dancer Oleg Ivenko will play the lead role of Nureyev, while fellow dancer Sergei Polunin, Blue Is The Warmest Colour star Adèle Exarchopoulos and Russian actress Chulpan Khamatova are among the cast.

The production has now also attached Elle star Laurent Lafitte, The French Minister star Raphaël Personnaz, Personal Shopper actor Calypso Valois and Land Of Mine star Louis Hofmann ahead of its summer 2017 shoot in St Petersburg and Paris, with locations including the Mariinsky Theatre and the Palais Garnier.

Two-time Oscar-nominee David Hare (The Hours, The Reader) has adapted the screenplay from Julie Kavanagh’s book Rudolf Nureyev, which
See full article at ScreenDaily »

Rachel Weisz in Second Trailer for Romantic Thriller 'My Cousin Rachel'

"Don't close the door, I cannot be alone with you." Fox Searchlight has debuted a second trailer for the new romantic thriller My Cousin Rachel, starring Rachel Weisz in a period piece based on Daphne Du Maurier's novel of the same name. Weisz plays the alluring cousin of a young Englishman, who falls for her as he attempts to seek revenge on her for supposedly murdering his guardian. Sam Claflin co-stars, along with Holliday Grainger, Iain Glen, Andrew Knott, and Poppy Lee Friar. There's some impressive cinematography in this, thanks to Dp Mike Eley (Nanny McPhee Returns), but as for the rest of it I'm not sure if it's for me. There is a great deal of sexual tension and confusion and all that good stuff. Take a peek. Here's the second official trailer for Roger Michell's My Cousin Rachel, direct from YouTube: You can still watch the
See full article at FirstShowing.net »

First Trailer for ‘My Cousin Rachel’ Finds Rachel Weisz Casting Her Dark Charms

We have a first trailer for the dark romance My Cousin Rachel, an adaptation of Daphne Du Maurier‘s classic novel. The story is centered on an Englishman (Sam Claflin) who is caught in a bit of a pickle: he plots revenge against his cousin, Rachel (Rachel Weisz), under suspicion of murder, all the while falling for her irresistible charms. Helmed by Roger Michell, who also penned the adaptation, My Cousin Rachel could be a striking, vivid portrait of lust and revenge.

Featuring a dream-like and (more) somber rendition of “Wicked Game,” the trailer plays to the strengths of its mise-en-scène and the cinematography by Mike Eley; Candlelight, rain, and period garb are on full display.

See the trailer below, along with a synopsis, for the film that also stars Game of ThronesIain Glen and Holliday Grainger:

A dark romance, My Cousin Rachel tells the story of a
See full article at The Film Stage »

Palm Springs Film Review: ‘This Beautiful Fantastic’

Palm Springs Film Review: ‘This Beautiful Fantastic’
There are no puppies, kittens or baby bunnies in “This Beautiful Fantastic.” That said, however, any restraint before the altar of adorableness is abandoned in writer-director Simon Aboud’s sophomore feature. Its heroine is so Amelie-like that she’s clad and coiffed like that pixie queen’s separated-at-birth English Rose twin. This winsome comedy may lack Jean-Pierre Jeunet’s high cinematic style, but it does hit the same general mark — which is to say, a sweet spot for some viewers that might induce sugar shock in others. Those seeking twee will get their fill when Samuel Goldwyn distributes the film Stateside, presumably later this year.

A foundling dumped as a babe in a banana crate — like Moses, but wackier! — on a Hyde Park orphanage stoop, Bella Brown (Jessica Brown Findlay of “Downton Abbey”) grows up “the oddest of the odd,” a misfit whose threadbare social skills and peculiar habits
See full article at Variety - Film News »

Penny Dreadful scoops three BAFTA Craft awards

Penny Dreadful picked up three awards at the British Academy Television Craft Awards.

The period thriller series, produced by Neal Street with Showtime, triumphed in the Production Design, Make Up & Hair Design and Original Music categories.

BBC drama Sherlock received two Bafta craft awards: one for Sound: Fiction and the other for Editing: Fiction, taking its total tally of Baftas to nine in four years.

Meanwhile, Mackenzie Crook picked up his first-ever Bafta for BBC comedy Detectorists. He won in the Writer: Comedy category, and also stars in the show, which has been recommissioned.

In terms of broadcasters, the awards were spread around. BBC1 led the way with six of the 20 awards, with Channel 4 picking up five.

ITV and Sky Atlantic won three awards each, while BBC2 landed two and BBC4 one.

The winners in full

The winners in full:

Breakthrough Talent

Marc Williamson

The Last Chance School - Minnow Films/Channel 4

Costume Design

[link
See full article at ScreenDaily »

Penny Dreadful, Sherlock and Sally Wainwright among BAFTA Craft winners

Penny Dreadful and Sherlock are among the winners at this year's British Academy Television Craft Awards.

The ceremony, which celebrated behind-the-scenes talent in British television during 2014, took place tonight (April 26) and was hosted by Stephen Mangan.

Penny Dreadful walked away with three awards, with wins in Production Design and Make Up and Hair Design as well as Original Music for Abel Korzeniowski.

Sherlock's BAFTA successes increase to nine in four years as Mark Gatiss and Steven Moffat's drama picked up two wins in Sound: Fiction and Editing: Fiction.

Sally Wainwright received the Writer: Drama award for Happy Valley, while Mackenzie Crook won the first ever BAFTA of his career for Detectorists, which won the Writer: Comedy category.

The X Factor won Entertainment Craft Team - bringing the talent show's BAFTA tally up to seven - as Doctor Who succeeded in the Special, Visual & Graphic Effects category.

See a
See full article at Digital Spy - TV news »

‘Penny Dreadful’ Picks Up Three BAFTAs at TV Craft Awards

‘Penny Dreadful’ Picks Up Three BAFTAs at TV Craft Awards
London — Supernatural horror series “Penny Dreadful” picked up three BAFTAs Sunday for its portrayal of a murky Victorian London, with wins in production design, makeup and hair design, and original music.

Other winners at the British Academy Television Craft Awards, which celebrates the best behind-the-scenes talent in British television of 2014, included “Sherlock,” which picked up BAFTAs for sound in a fiction show and editing in a fiction program.

Sally Wainwright cemented her status as one of the U.K.’s leading writers, receiving a BAFTA in the drama writer category for her rural police thriller “Happy Valley.” In the comedy writer category, Mackenzie Crook prevailed over strong competition to win the first BAFTA of his career for “Detectorists,” in which he also stars alongside Toby Jones.

Julian Farino received the fiction director award for “Marvellous.” The show, which also stars Jones, is a fantasy-biopic of clown Neil Baldwin.

British Academy
See full article at Variety - TV News »

‘Penny Dreadful’ Leads Nominations for BAFTA Television Craft Awards

London — Psychological thriller “Penny Dreadful” leads the race for BAFTA’s Television Craft Awards with five nominations.

There are four nominations each for “The Honorable Woman,” starring Maggie Gyllenhaal, and documentary “Life & Death Row,” while “Strictly Come Dancing,” “Peaky Blinders” and “Da Vinci’s Demons” each received three nominations.

In the week that James Corden made his bow on “The Late Late Show” in the U.S., he and Mathew Baynton picked up a BAFTA nomination in the comedy writer category for “The Wrong Mans.”

Among free-tv networks, BBC led the chart with 46 nominations, while Channel 4 had 13, and ITV had 10, while pay TV operator Sky had six.

There were two nominations for “Ripper Street,” marking the first BAFTA nominations for a program shown exclusively on Amazon’s streaming platform, Prime Instant Video.

Vision mixer Hilary Briegel will receive the BAFTA Special Award at the ceremony, which will be held on April 26 at The Brewery,
See full article at Variety - TV News »

TV Review: ‘Klondike’

TV Review: ‘Klondike’
Discovery stakes a claim on scripted programming with the epic miniseries “Klondike,” and if the lavish production doesn’t quite strike gold, it comes close enough to encourage further exploration. Boasting a first-rate cast, an increasingly engrossing narrative and frequently awe-inspiring visuals, the six-hour saga transports viewers back to the tail end of 19th-century life with a requisite dose of contemporary edge. Given current trends in cable event programming, Discovery could be looking at a ratings bonanza — provided audiences aren’t so fed up with cold weather that watching characters that risk freezing to death to find their fortune is an instant turn-off.

If anything, the recent polar vortex headlines should give viewers a deeper connection to the bone-chilling conditions faced by adventurous pals Bill Haskell (Richard Madden, recovering nicely from the “Game of Thrones” Red Wedding) and Byron Epstein (Augustus Prew) as they head out in search of gold
See full article at Variety - TV News »

The Selfish Giant – review

Clio Barnard's affecting take on Oscar Wilde's fable sees a pair of outsiders scrabble to survive on a poor Bradford estate

Director Clio Barnard's first feature, The Arbor, was an extraordinary account of the hard life and times of the playwright Andrea Dunbar which pushed at the boundaries of documentary film-making. A "verbatim drama" which included extracts from Dunbar's work performed on Bradford's Buttershaw estate, the film used audio interviews with the late playwright's friends and family to which actors performed note-perfect lip-synched "readings", creating a haunting and disorienting fusion of fact and fiction. On the surface, Barnard's latest feature is more formally conventional, drawing on the neorealist tradition of Ken Loach (the ghost of Kes hovers overhead) to tell the story of two young boys from Bradford who turn to the scrap metal trade to support their struggling families. Yet scratch the surface and those same cross-generic fluidities are still present,
See full article at The Guardian - Film News »

Lff 2013: The Selfish Giant Review

  • HeyUGuys
There is an astonishing amount of raw young talent that is deliciously unearthed occasionally with the right eye and direction. The Arbor writer-director Clio Barnard brings this to a purely fictional piece to this year’s BFI London Film Festival, executed with all the social realism as her intriguing 2010, non-linear pseudo-documentary. The Selfish Giant, winner of the Label Europa Cinemas at Cannes this year, comments on deprivation and loss of childhood in a robust fashion, aided by two standout performances from fresh, young newcomers Conner Chapman and Shaun Thomas.

With nods to Oscar Wilde’s story of the same name, two schoolboys, confident Arbor (Chapman) and softie Swifty (Thomas) are growing up in an underprivileged Yorkshire town, struggling to fit in at school and desperate to make ends meet and help their families. After witnessing a cable theft on a nearby rail track and making off with the loot, the
See full article at HeyUGuys »

Clio Barnard: why I'm drawn to outsiders – interview

Clio Barnard's The Arbor charted the troubled life of working-class playwright Andrea Dunbar. Her new film, The Selfish Giant, about two boys who scavenge to survive on a Bradford estate, has been called 'a Kes for the 21st century'. Here she talks about the appeal of the margins

Back in 2010, when Clio Barnard was shooting her first feature film, The Arbor, on the Buttershaw estate in Bradford, a young local lad caught her eye. "I first saw him when he was just 14, when I went to Buttershaw to do a workshop at a school," she recalls. "There was just something about him that was different from the other lads I met. He was a bit volatile, but enigmatic too and he really made his presence felt. When I went to Brafferton Arbor [the street on which The Arbor is set] for the first time, there he was, wearing his rigger boots and really dirty clothes. It was pure attitude,
See full article at The Guardian - Film News »

Cannes Film Review: ‘The Selfish Giant’

Cannes Film Review: ‘The Selfish Giant’
Oscar Wilde is uncharacteristically muffled in “The Selfish Giant,” an abstruse contempo interpretation of Wilde’s Christian fairy tale, but writer-helmer Clio Barnard’s voice comes through loud and clear. A jaggedly moving study of a feral adolescent (astonishing newcomer Conner Chapman) on a rough journey to grace, the pic is ostensibly more conventional than Barnard’s acclaimed hybrid-doc debut, “The Arbor,” but exhibits stunning formal progress nonetheless. Though her tender-tough worldview arguably hews closer to that of Shane Meadows, this demanding but eminently distributable art film should elevate Barnard to the bracket of streetwise femme compatriots Andrea Arnold and Lynne Ramsay.

Fans of the barely classifiable “The Arbor,” a biopic of working-class Bradford playwright Andrea Dunbar that inventively fused firsthand testimony with lipsynched performance, may be initially disappointed that Barnard has chosen a more straightforward narrative path for her sophomore effort. However, after a few opening scenes that suggest
See full article at Variety - Film News »

Blu-ray Review: Comprehensive Doc ‘Marley’ Bound to Enthrall Music Buffs

Chicago – Clocking in at a shade under two-and-a-half hours, Kevin Macdonald’s hugely informative yet leisurely paced documentary plays like the condensed version of a top-drawer TV miniseries. There’s even enough fade-outs for one to mentally insert commercial breaks. Yet for music buffs, the need to see this footage on the big screen undoubtedly justified its theatrical release.

As someone only vaguely familiar with Bob Marley, I found myself completely captivated by this picture, which tells the story of a life purely through in-depth interviews and archival footage. Though the film perhaps could’ve benefitted from more concert footage, the context in which the footage is presented is always enlightening, and at times, very moving. Marley’s messages of peace and unity resonate not only through the power of music, but through the methods in which the filmmakers explore the origins of Marley’s beliefs.

Blu-ray Rating: 4.5/5.0

In sequences
See full article at HollywoodChicago.com »

15 minutes of Kevin Macdonald’s ‘Marley’ to screen in Cannes on 30th anniversary of the singer’s death

Just got an interesting email about a now not so hush-hush secret screening of 15 minutes of director Kevin Macdonald’s documentary Marley, described as the “definitive film about one of the true and most loved international icons of the 20th Century.”

The screening of footage will take place in Cannes on the 30th Anniversary of Marley’s death on May 11th.

Take a look at the full press release below.

Academy Award® and BAFTA® winning filmmaker Kevin Macdonald will head to Cannes next week to screen around 15 minutes of footage from his hotly anticipated documentary feature Marley. The filmmakers have purposely chosen the opening day of the Cannes Film Festival to unveil the footage as the date itself, 11th May 2011, marks the 30th anniversary of the day Marley died. The footage will be presented to a select audience of buyers with the movie opening later in 2011.

The movie marks Macdonalds
See full article at The Hollywood News »
loading
An error has occured. Please try again.

See also

Credited With | External Sites