10 items from 2016
Ran Telem, a Primetime Emmy Award-winning producer on “Homeland” and longtime V.P. of programming and content at Israel’s Keshet Broadcasting, has joined Spain’s Mediapro Group in the newly-created post of head of international content development.
Taking up his position this week, he will responsible for furthering the development of original scripted and non-scripted at Mediapro, one of Spain’s biggest TV-film groups, as it turns ever more to international-market content as a strategic growth priority.
Telem’s oversight takes in identifying and developing ideas, whether in-house or from writers, through to international formats, tying in broadcaster partners, tapping writers and working with creatives at Mediapro offices around the world. He will work closely with Mediapro’s international arm, Imagina Intl. Sales (Iis). Telem will be based out of Spain and Israel, he said.
Mediapro’s competitive advantages, Telem said, are “first of all passion. Although it is »
- John Hopewell
This review was originally published in Nathaniel's column at Towleroad. It's reprinted here in a slightly expanded version...
Few things in life are as regular as Woody Allen movies. For the past 40 years or so they arrive exactly once a year. In recent years they generally premiere out of competition at Cannes and predictably reignite the endless cycle of media wars about Woody Allen.
The only thing irregular about the experience is the reviews, box office, and Oscars. For the past 10 years or so it’s been especially hard to predict. In that time he’s delivered critical and commercial Oscar winning hits that the media fawned over (Blue Jasmine, Midnight in Paris), well received films that didn’t quite crossover to that same extent (Match Point, Vicky Cristina Barcelona), critical flops that did surprisingly okay at the box office (To Rome With Love), trifles that people tolerated (Scoop), reanimated »
- NATHANIEL R
Kieran, here. The Cannes film festival is a peculiar animal. Its relation to the Oscar race (it's April, so I'm allowed to mention it again) is nebulous. While the festival raerly fails to deliver at least a few titles that will net multiple nominations, it's hardly the launching pad into awards season in a way similar to Toronto or (in more recent years) Telluride. And truthfully, that's one of the things that makes it so compelling to follow. Regardless of whatever criticisms one can levy against Cannes, it's hard to deny that it clearly has its own rich history and identity with different motives on its mind compared to many high profile festivals.
The lineup for the festival is replete with interesting cinematic offerings. There are certain directors who can always garner a slot on the roster (*uses quiet voice* regardles of the quality of the actual film). Even still, »
- Kieran Scarlett
Madrid – Sporting 30 offices in 20 countries, and already Spain’s biggest rights broker and a high-profile movie producer, Mediapro, one of Spain’s biggest heavyweight TV-film congloms, is making its first moves into high-end international TV co-production as, like other big ambitious companies in Europe – think Lagardere, or even Spain’s Telefonica – it zeroes in on high-end contents as a major growth driver.
Content represents “the major bet of the company for the next five years, where it aims to grow most,” said Javier Mendez, head of content at Mediapro, which also owns top Spain-based TV-film sales house Imagina Intl. Sales (Iis).
In early moves, Mediapro – which is headed by Jaume Roures and Taxto Benet and best-known as the co-producer of Woody Allen’s “Vicky Cristina Barcelona,” “You Will Meet a Tall Dark Stranger” and “Midnight in Paris” and as a long-term partner with Al Jazeera’s beIN Sports in and »
- John Hopewell
Principal photography has started in Yorkshire on romantic drama God’s Own Country, the debut feature of writer-director Francis Lee.
The cast includes acting veterans Gemma Jones (Sense and Sensibility, You Will Meet a Tall Dark Stranger) and Ian Hart (Urban Hymn, Boardwalk Empire) alongside rising talent Josh O’Connor, whose credits include festival favourite Bridgend, Kenneth Branagh’s Cinderella and Stephen Frears’ The Program, alongside upcoming Romanian actor Alec Secareanu.
Director Lee, whose award-winning shorts have screened at the BFI London Film Festival, Slamdance Fand Sheffield Doc/Fest, has explored what might have happened if he had stayed in his local community in rural Yorkshire and begun to farm instead of leaving to study at drama school.
God’s Own Country is the story of farmer’s lad Johnny (O’Connor) who has shut »
- firstname.lastname@example.org (Michael Rosser)
A disappointing downfall from the previous films, the appealing metaphor for nonconformity giving way to dull good-vs-evil battle and dumb plot conundrums. I’m “biast” (pro): I’ve enjoyed the previous films in the series
I’m “biast” (con): nothing
I have not read the source material
(what is this about? see my critic’s minifesto)
I’ve been onboard with the dystopian adventures of Tris Prior (Shailene Woodley: The Fault in Our Stars, The Spectacular Now) in her postapocalyptic future Chicago, but this third outing — with the fourth and final installment due next year — is a disappointing downfall from the first two films, which only just about skated by on the novelty of a very cool female action hero and the appealing metaphor for the struggle against enforced conformity her world offered. Here, in Allegiant, based on the first half of the novel of the same name, »
- MaryAnn Johanson
Cinematographer Vilmos Zsigmond, who won an Oscar for his work on Steven Spielberg’s Close Encounters Of The Third Kind, died on New Year's Day at his home in Big Sur, California at the age of 85. The legendary collaborator with Robert Altman (McCabe And Mrs. Miller, The Long Goodbye), Brian De Palma (Blow Out. Obsession, The Bonfire Of The Vanities) and Woody Allen (Cassandra’s Dream, You Will Meet A Tall Dark Stranger, Melinda And Melinda), also received Oscar nominations for Michael Cimino’s The Deer Hunter, Mark Rydell's The River and De Palma's The Black Dahlia. The Cannes Film Festival in 2014 presented him with a Lifetime Achievement Award.
- Anne-Katrin Titze
Visionary cinematographer Vilmos Zsigmond, who escaped his native Hungary to set up in Hollywood and became one of the most acclaimed practitioners of his generation, has died aged 85 in Big Sur, California.
The cinematographer fled Budapest in 1956 with his hidden footage of Soviet forces crushing the Hungarian Revolution and along with his dear friend and fellow émigré the late László Kovács went on to establish a brilliant career in the United States.
He shot Altman’s McCabe & Mrs Miller and won the Oscar in 1978 for Spielberg’s Close Encounters Of The Third Kind. He was nominated subsequently for The Deer Hunter, The River and The Black Dahlia, a collaboration with frequent associate Brian De Palma.
- email@example.com (Jeremy Kay)
Vilmos Zsigmond, the Academy Award-winning cinematographer of Close Encounters of the Third Kind as well as films like The Deer Hunter, Deliverance and Heaven's Gate, passed away Friday, his business partner Yuri Neyman confirmed to Variety. Zsigmond was 85.
The Hungarian-born Zsigmond – who filmed the Hungarian Revolution alongside his friend and fellow cinematographer László Kovács before they both relocated to Los Angeles – began his Hollywood career as a director of photography on low-budget exploitation and horror films and TV movies before he was hired by director Robert Altman – another veteran of »
Hungarian-born cinematographer Vilmos Zsigmond, winner of an Oscar for his achievements on “Close Encounters of the Third Kind” and a nominee for “The Deer Hunter,” “The River” (1984) and the “The Black Dahlia” (2006), has died at 85. His business partner Yuri Neyman said he died January 1.
Over a period of five decades in Hollywood, his other outstanding achievements included “Deliverance,” “Blow Out,” “The Ghost and the Darkness” and such Robert Altman films as “McCabe and Mrs. Miller” and “The Long Goodbye.” And he considered it the ultimate compliment that no two of his movies looked alike.
Working into his eighties, Zsigmond also shot a number of episodes of the Fox sitcom “The Mindy Project” from 2012-14. Zsigmond ranked among the 10 most influential cinematographers in film history in a 2003 survey conducted by the International Cinematographers Guild.
Belying his comment to Rolling Stone that “a cinematographer can only be as good as the director, »
- Carmel Dagan
10 items from 2016
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