Culture minister Ed Vaizey has confirmed that plans formed by the previous government to merge BFI and the UK Film Council have been abandoned.
As previously reported, Vaizey announced he intends “to reassess fundamentally how the government supports film in this country... to make sure every pound of public money we spend gives maximum benefit."
John Woodward, CEO of the UK Film Council, was pleased that the emergency Budget this week made no mention of cuts to film funding, but said, “only when we get past October's public spending review will we know the full picture for public funding for film over the next few years."
The DCMS is to reduce spending by 25% or more over the next four years, which could mean cuts to the UKFC's Grant-in-Aid funding. About 60% of its Grant-in-Aid funding goes to the BFI.
For more, visit the IFTN website here
Thursday, 24 June 2010
Wednesday, 23 June 2010
Director Ronald Neame dies aged 99
Director, producer writer and cinematographer Ronald Neame died on Friday 18th June, at the age of 99.
Born in 1911, Ronald’s career in film spanned over seven decades, and saw him work with some of the most famous names in cinema history. His father, Elwin Neame, was a film director, and his mother, Ivy Close, starred in films such as Abel Gance's La Roue. Ronald started his employment in cinema at Britain’s famous Elstree Studios in the 1920s, where he worked a number of jobs before becoming assistant cameraman to Alfred Hitchcock on the first British “talkie”, Blackmail.
Ronald then moved into cinematography in the 1930s, going on to work with Powell and Pressburger on One of Our Aircraft is Missing (for which he received one of his three Oscar nominations) and Noel Coward and David Lean (For Which We Serve). He maintained a working relationship with Lean for a few years, co-writing and co-producing two of Lean’s most revered and renowned works, Great Expectations and Brief Encounters, before the two fell out after Lean replaced him as director on The Passionate Friend.
Ronald Neame began directing in 1947 with Take My Life, and was prolific in this role throughout the 1950s and 60s. As a director he worked with several acting greats, including Alec Guinness on numerous occasions, Gregory Peck (The Million Pound Note), John Mills (Tunes of Glory), Judy Garland (I Could Go On Singing), David Niven (Prudence and the Pill), and many more besides.
His direction on The Prime of Miss Jean Brodie earned Maggie Smith an Oscar win (1969), whilst his version of Scrooge won Albert Finney a Golden Globe (1970). However, he is perhaps best known for directing the disaster movie The Poseidon Adventure, which was a box office smash in 1973, making twice as much money as the second highest-grossing film that year (Deliverance).
He was formerly married to Beryl Heanley from 1932 until they divorced in 1973. They had one son together, producer Christopher Neame. Since 1993, Ronald had been married to Donna Friedberg. He was awarded the Commander of the British Empire in 1996.
Born in 1911, Ronald’s career in film spanned over seven decades, and saw him work with some of the most famous names in cinema history. His father, Elwin Neame, was a film director, and his mother, Ivy Close, starred in films such as Abel Gance's La Roue. Ronald started his employment in cinema at Britain’s famous Elstree Studios in the 1920s, where he worked a number of jobs before becoming assistant cameraman to Alfred Hitchcock on the first British “talkie”, Blackmail.
Ronald then moved into cinematography in the 1930s, going on to work with Powell and Pressburger on One of Our Aircraft is Missing (for which he received one of his three Oscar nominations) and Noel Coward and David Lean (For Which We Serve). He maintained a working relationship with Lean for a few years, co-writing and co-producing two of Lean’s most revered and renowned works, Great Expectations and Brief Encounters, before the two fell out after Lean replaced him as director on The Passionate Friend.
Ronald Neame began directing in 1947 with Take My Life, and was prolific in this role throughout the 1950s and 60s. As a director he worked with several acting greats, including Alec Guinness on numerous occasions, Gregory Peck (The Million Pound Note), John Mills (Tunes of Glory), Judy Garland (I Could Go On Singing), David Niven (Prudence and the Pill), and many more besides.
His direction on The Prime of Miss Jean Brodie earned Maggie Smith an Oscar win (1969), whilst his version of Scrooge won Albert Finney a Golden Globe (1970). However, he is perhaps best known for directing the disaster movie The Poseidon Adventure, which was a box office smash in 1973, making twice as much money as the second highest-grossing film that year (Deliverance).
He was formerly married to Beryl Heanley from 1932 until they divorced in 1973. They had one son together, producer Christopher Neame. Since 1993, Ronald had been married to Donna Friedberg. He was awarded the Commander of the British Empire in 1996.
Friday, 18 June 2010
Government cuts funding to BFI Film Centre
Plans for a new BFI Film Centre on London’s Southbank were dealt a huge blow yesterday, as the Department for Culture, Media and Sport announced they were withdrawing the £45 million funding originally promised by the previous government. The cut is part of £73million of savings announced by the DCMS as further contribution to reducing the national deficit.
Ed Vaizey, Minister for the Creative Industries, conceded that the withdrawal was “obviously disappointing”, but said in a statement, “I want to make sure that we are supporting the film industry so that it is ready for the challenges it will face in the decade to come, and that we make sure every pound of public money we spend gives the maximum benefit.”
The BFI had announced its intentions of building the Centre last year, with plans for five cinema screens, spaces for exhibitions and research facilities at a cost of £166 million in total. The organisation released a statement yesterday saying the cut had been anticipated, and that it was committed to continuing the project.
A further £2.5 million is also being removed by the DCMS from a BFI project to improve digital access to its extensive archive. But the government will still fund the creation of a new film store to safeguard the National Film Archive.
The BFI said it was "relieved that vital monies to save the BFI National Collections are secure”, but was concerned that film was "bearing the brunt" of the cuts. "Over 50% of the department's cuts that have been announced are coming from film”, according to the organisation.
It was also revealed that Ed Vaizey will undertake a reassessment of government support for film, including the impact of National Lottery funding and film tax relief, although it is understood that neither will be affected financially by this.
Roger Michell, Chair of Directors UK Film Group commented: “We deeply regret the cuts that have been announced, but understand that the Arts in general, and Film in particular, cannot be exempted from the forthcoming onslaught upon public spending. However, as a major new report published by Oxford Economics last week makes abundantly clear, the UK film industry contributes a total of over £4.5 billion a year to UK GDP and more than £1.2 billion to the exchequer, and that, crucially, every £1 invested through the Tax Credit system generates an extra £13 in GDP."
"As Ed Vaizey commented at the time, "this report is evidence of how important British film is - to our economy as well as promoting our cultural life, our identity and diversity on the international stage", and we trust that he will be mindful of these conclusions when making his assessment of our industry and particularly the tax credit. We need and expect him to be a strong and compelling voice on our behalf in Cabinet and at the Treasury.”
To read more from the DCMS, click here, and here to read the BFI statement.
Ed Vaizey, Minister for the Creative Industries, conceded that the withdrawal was “obviously disappointing”, but said in a statement, “I want to make sure that we are supporting the film industry so that it is ready for the challenges it will face in the decade to come, and that we make sure every pound of public money we spend gives the maximum benefit.”
The BFI had announced its intentions of building the Centre last year, with plans for five cinema screens, spaces for exhibitions and research facilities at a cost of £166 million in total. The organisation released a statement yesterday saying the cut had been anticipated, and that it was committed to continuing the project.
A further £2.5 million is also being removed by the DCMS from a BFI project to improve digital access to its extensive archive. But the government will still fund the creation of a new film store to safeguard the National Film Archive.
The BFI said it was "relieved that vital monies to save the BFI National Collections are secure”, but was concerned that film was "bearing the brunt" of the cuts. "Over 50% of the department's cuts that have been announced are coming from film”, according to the organisation.
It was also revealed that Ed Vaizey will undertake a reassessment of government support for film, including the impact of National Lottery funding and film tax relief, although it is understood that neither will be affected financially by this.
Roger Michell, Chair of Directors UK Film Group commented: “We deeply regret the cuts that have been announced, but understand that the Arts in general, and Film in particular, cannot be exempted from the forthcoming onslaught upon public spending. However, as a major new report published by Oxford Economics last week makes abundantly clear, the UK film industry contributes a total of over £4.5 billion a year to UK GDP and more than £1.2 billion to the exchequer, and that, crucially, every £1 invested through the Tax Credit system generates an extra £13 in GDP."
"As Ed Vaizey commented at the time, "this report is evidence of how important British film is - to our economy as well as promoting our cultural life, our identity and diversity on the international stage", and we trust that he will be mindful of these conclusions when making his assessment of our industry and particularly the tax credit. We need and expect him to be a strong and compelling voice on our behalf in Cabinet and at the Treasury.”
To read more from the DCMS, click here, and here to read the BFI statement.
Thursday, 17 June 2010
Directors Boyle, Daldry and Hamilton join Olympics 2012 creative team
Oscar winner Danny Boyle has been announced as the Artistic Director of the Opening Ceremony of the 2012 Olympics. Stephen Daldry, another Oscar-winner, will executive produce, alongside BAFTA and Grammy-nominated director Hamish Hamilton and two others.
Boyle, who won the Best Director and Best Feature Oscar for Slumdog Millionaire in 2009, said he was “honoured” to be asked. He described the role as a "unique opportunity to contribute to what I'm sure are going to be a fantastic Games".
For more on this story, click here.
Boyle, who won the Best Director and Best Feature Oscar for Slumdog Millionaire in 2009, said he was “honoured” to be asked. He described the role as a "unique opportunity to contribute to what I'm sure are going to be a fantastic Games".
For more on this story, click here.
Wednesday, 16 June 2010
Edinburgh Film Festival kicks off today
Edinburgh International Film Festival gets underway today, and the Telegraph has picked out its five to watch this year. Two of which are from Great Britain - Mr Nice, directed by Bernard Rose and Hattie Dalton’s Third Star - whilst another two come from Irish directors (Shimmy Marcus’s Soul Boy and Karl Golden’s Pelican Blood).
Meanwhile, over at Variety, there is a list of the films (and directors) in the running for the festival’s prestigious Michael Powell Award. Nominees include Ashley Horner’s brilliantlove, Paul Andrew Williams’ Cherry Tree Lane and Nick Moran’s The Kid.
Meanwhile, over at Variety, there is a list of the films (and directors) in the running for the festival’s prestigious Michael Powell Award. Nominees include Ashley Horner’s brilliantlove, Paul Andrew Williams’ Cherry Tree Lane and Nick Moran’s The Kid.
Monday, 14 June 2010
Directors UK members invited to LFS events this summer
Directors UK members have been offered tickets to some great events taking place at London Film School this week and beyond.
For more details, click here (you will need your login details: if you don't have yours, please contact the Directors UK office).
For more details, click here (you will need your login details: if you don't have yours, please contact the Directors UK office).
Marking makes impression on pupils with Afghan Star
Director Havana Marking was interviewed on the Guardian website this morning, speaking about her experience of participating in a Filmclub screening and Q & A.
Marking’s award-winning documentary Afghan Star, based on the Afghanistan version of X Factor, was shown to 150 11-12 year-old children at a school in Kilburn, London. “The kids didn't ask anything about me as a filmmaker”, Marking said. “They were completely swept up in the characters – they asked how Setara felt, why she did things like take off her headscarf and dance, which is really the point”.
Filmclub was founded by the director Beeban Kidron and the journalist Lindsay Mackie to give children greater access to cinema. Its current Behind the Headlines series focuses on films about countries making news, including Afghan Star, Iraq In Fragments, Hotel Rwanda, Burma VJ, and Persepolis. To read more from Havana, or about Filmclub, click here.
Marking’s award-winning documentary Afghan Star, based on the Afghanistan version of X Factor, was shown to 150 11-12 year-old children at a school in Kilburn, London. “The kids didn't ask anything about me as a filmmaker”, Marking said. “They were completely swept up in the characters – they asked how Setara felt, why she did things like take off her headscarf and dance, which is really the point”.
Filmclub was founded by the director Beeban Kidron and the journalist Lindsay Mackie to give children greater access to cinema. Its current Behind the Headlines series focuses on films about countries making news, including Afghan Star, Iraq In Fragments, Hotel Rwanda, Burma VJ, and Persepolis. To read more from Havana, or about Filmclub, click here.
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