Groucho Club Under Siege Over Child Abuse Cover-Up P.

12

film
&
UNIVERSALtransmedia
magazine

Is Tarantino a
Whining
Bitch Ass
Monkey Boy
Mother F**ker?

Foxcatcher P. 4
Richard Attenborough P. 8
5000 Film Processing Deal P.18

Sylevester Stalone
Expendables 3 P.26

How to
train your
Dragon

Ken Loachs
New Film
Mr Turner

Kidman
in Grace
of Monaco

Universal Film
Issue 13 - 2014

About UFM
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passionate
and
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Editor DOM MURICU
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Photography KEV MURPHY

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Universal Film
Issue 13 - 2014

Contents
FEATURED STORIES:
Attenborough
08 Richard
A look at his life
Tarantino
10 Quinten
Goes ape sh*t over leaked script
Club Child Abuse Demo
12 Groucho
over cover-up of Paedophile network
TV hooks big deal
18 MoMedia
New Deal to Process 5000 Films
24 NIPROS
New Camera Systemization Technology
FX
35 Boris
Boris Continuum Complete 9 Units
Film Reviews
37 Classic
by James Knight
Cinema
42 Secret
Back to the Future
$1.5M Movie
43 The
Neil Gordon shows you how
Brussels Film Festival
50 The
Special Guest director Alan Parker
TV - IBC 2014
55 Suitcase
Showcasing Integration and Workfl ow
Independent Film Festival
64 Cardiff
Now a BAFTA qualifying Film Festival
Itself
74 Life
A fi lm by Steve James

Foxcatcher P. 4

The Expendables 3 P.26

Grace of Monaco P.28

Mr Turner by Loach P.80

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Universal Film
Issue 13 - 2014

FOXCATCHER
CANNES - 2014

by Amanda Ford

ased on true events, FOXCATCHER

tells the dark and fascinating story
of an unlikely and ultimately tragic
relationship between an eccentric multimillionaire and two champion wrestlers.

du Ponts mercurial personality turns, and

he begins to lure Mark into an unhealthy
lifestyle that threatens to undermine his
training. Soon du Ponts erratic behavior and
cruel psychological game-play begin to
erode the athletes already shaky selfWhen Olympic Gold Medal winning
esteem. Meanwhile, du Pont becomes
wrestler Mark Schultz (Channing CANNES fixated on Dave, who exudes the
Tatum) is invited by wealthy heir
2014 confidence both he and Mark lack,
John du Pont (Steve Carell) to move on
knowing that these are things even his
to the du Pont estate and help form a
money cannot buy. Fueled by du Ponts
team to train for the 1988 Seoul Olympics increasing paranoia and alienation from the
at his new state-of-the-art training facility, brothers, the trio is propelled towards a
Schultz jumps at the opportunity, hoping to tragedy no one could have foreseen..
focus on his training and finally step out
of the shadow of his revered brother, Dave FOXCATCHER is a rich and moving story of
(Mark Ruffalo). Driven by hidden needs, du brotherly love, misguided loyalty and the
Pont sees backing Schultzs bid for Gold and corruption and emotional bankruptcy that
the chance to coach a world-class wrestling can accompany great power and wealth.
team as an opportunity to gain the elusive As with Academy Award nominee Bennett
respect of his peers and, more importantly, Millers previous feature films, CAPOTE and
his disapproving mother (Vanessa Redgrave). MONEYBALL, he explores large themes
in society through his complex character
Flattered by the attention and entranced portraits of real people. All of Bennett Millers
by du Ponts majestic world, Mark comes films, including his first, the documentary
to see his benefactor as a father figure and THE CRUISE, are centered on real people
grows increasingly dependent on him for with
vivid personalities in
unusual
approval. Though initially
supportive, circumstances. And despite the stockpile

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Issue 13 - 2014

of evidence that was collected during

the years of preparation for FOXCATCHER,
in the end those stark facts become the
seeds for drama, and many of them, as the
actors have indicated, were distilled and
transformed through the process. Its fact
to fiction as a vehicle back to the truth,
says Miller. Some months after CAPOTE was
released I received a letter from Harper Lee.
She said the film was a demonstration of
fiction as a means towards truth. There was
as she pointed out, a great deal in the film
that we had invented, but that The film
told the truth about Truman. Thats what I
have tried to do with FOXCATCHER.
Miller first heard about the story of
eccentric
multi-millionaire
John
Eleuthre du Pont (Steve Carell) and a
pair of world champion wrestler brothers,
Mark (Channing Tatum) and Dave Schultz
(Mark Ruffalo) when executive producers
Michael Coleman and Tom Heller showed
him a newspaper article about the story.
The circumstances seemed comical and
absurd, but the outcome was horrible and
real, says Miller. The deeply strange things
that happened down there were unlike
anything I had personally experienced and
yet they felt immediately familiar. There
was something about the story, or perhaps
something beneath the story that I sensed
wasnt strange at all. In fact, the opposite.
While his initial impulse to take on the
project was immediate, the subsequent
time and energy Miller ended up pouring
into it was expansive. As he had previously
done with CAPOTE and MONEYBALL,
Miller embarked on a research journey
that would last several years. I wanted to
learn what hadnt been known about the
story and that takes time. It takes years
and it takes interest and care, he says.
This is a story with some uncomfortable
truths, everyone I spoke with seemed to be
guarding some aspect of what happened.
Miller traveled all over the countryto
Iowa, California, Colorado, Missouri, and
Pennsylvaniato find materials and to
interview dozens of people including Mark

Schultz, Daves widow Nancy, their friends

and fellow wrestlers, people who had
worked for du Pont, police, and anyone
who had lived any part of the story. In
addition to all the first-person accounts, he
assembled a trove of video of both du Pont
and the Schultz brothers.
While Dave was only a little older than
Mark, they didnt have a typical brother
relationship. Their parents split up early,
and Dave took on a parental role for Mark
as they moved between their parents
homes, fending for themselves. Mark had an
incredible love, reverence, and need for his
brotherhe relied upon him for emotional
support, a partner to wrestle with, and as
a coachbut at the same time he was
very jealous of Daves success, and his inner
turbulence escalated as the years went
by. Mark was always that little brother
that just couldnt break out, couldnt figure
out how to do it on his own, says Tatum. He
always had to rely on Dave, and this kept
him from having his life, his career, and the
thing he wanted mosthis respect from
people. Marks confused vulnerability makes
him turn his pent-up anger on himself
as much as on his wrestling opponentsat
times he literally hits himself in the face.
Says Tatum: I dont think anybody could
punish Mark more than he could himself,
and I think he hardens himself against the
world by punishing himself.
The intricate dynamic between the brothers
is vividly illustrated through the scene in
which they practice wrestling with each
other: It begins like a dance, with Dave
effortlessly ushering Mark through some
moves, lightly correcting and instructing.
There is real tenderness between them
and so much unspoken communication,
says Ruffalo. Its as intimate as two men can
be without being lovers. Gradually Marks
complicated feelings about Dave spill out
and compel him to amp up the aggression
and do real damage. Says Ruffalo: Mark
is so much bigger and more aggressive and
stronger, but Dave still has the psychological
edge on him. But you can also see that

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Issue 13 - 2014

Mark is exceptionally gifted. Says Miller:

You see Daves steadfastness, his fairness,
and his love, but you
simultaneously
see his statushes the Alpha. Not an
uncaring, unsympathetic, unloving Alpha,
but an Alpha. The brothers complicated
relationship comes to a boil with Marks
realization that Dave was beginning to move
on with his life, to pursue his family and
career. Says Ruffalo: Theres a deep, deep
connection between them and what some
people might call a codependency that
became unhealthy as they moved into
the world. As Dave started transitioning,
embarking on his adult life, Mark saw it as a
betrayal, and honestly, it was a betrayal.
Its at this time, when Mark is at his lowest
ebb that du Pont invites Mark for a lifechanging meeting at Foxcatcher. There he
showers him with the words of praise and
respect that Mark had always wanted to
hear, albeit in an aloof and peculiar manner.
I think Mark had a lot of trepidations, says
Tatum. I dont think he trusts anyone. But
finally he is hearing somebody see him and
Dave the way he thinks they deserve.
Du Pont is saying that the brothers are
heroes. They literally fight for their country,
and no one supports them, no one cares
about them like he does. I dont think
Mark knew completely but I think he
slowly started to see that this was the best
opportunity he had ever been given. This
is an opportunity for him to finally get the
attention, respect and accolades that hes
always wanted, and to separate himself
from Dave.
In telling Mark that he wasnt getting
the appreciation he deserved, du Pont
could just as well have been speaking
about himself. He was burdened by a
family legacy that was nearly impossible
to uphold because it went back so many
generations. While the expectations were
high, the celebration of the successes
seemed almost nonexistent, says Carell.
His mother, from all reports, was a rather cold
woman. He was close to her but really didnt

experience much affection from her at all

she reserved that for her prized horses. I
think that wrestling became very important
to him because it was a vocation of his own
choosing. It didnt apply to any other part of
his upbringing. His mother was not a fan
of wrestling, thought it was barbaric, so he
stepped out from her shadow in that way.
Carell is reluctant to pass any easy judgment
on du Pont. I dont see him as a monster;
he says. I see him as someone who did
something terrible who was suffering from
mental illness. He was a very sad, damaged
human being.
Du Pont had previously tried numerous
ways to make his mark on the world: as an
ornithologist, conchologist, philatelist and
philanthropist, a trainee for the Olympic
pentathlon, and a benefactor to sports
of all kinds. But ultimately he focused on
becoming the savior of USA wrestling,
building the Foxcatcher facility and being
the leading funder of the sport. He was
highly competitive, says Carell. He yearned
for respect. I think he wanted people to look
up to him in the way they naturally looked
up to Dave Schultz. But ultimately, he was
unable to earn that same kind of esteem
and admiration. Dupont wanted to be one of
the guys, but at the same time, he wanted to
be held in a somewhat higher regard.
Theres no doubt that Steve Carells fans will
be surprised to see him in the role as dark as
John du Pont. I knew that Steve could play
awkward and eccentric, says Miller, but when
I met him, I realized how many layers there
are, that he is one of these actors that has a
public self and a private selfand you never
see the private self ever. And I thought those
protected, guarded areas of himself might
relate to this character in some way.
A vast dynasty of industrial enterprise and
wealth, the du Pont family has one of the
oldest and most prestigious legacies in
American history.

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Universal Film
Issue 13 - 2014

Richard Attenborough
19452014

veryone must leave something behind and giving their talent its chance to live.
when he dies. . . Something your hand Fellow film producer David Puttnam cites
touched some way so your soul has the Royal Academy of Dramatic Art (Rada)
somewhere to go when you die. . . It doesnt and the British Film Institute (BFI) among the
organisations Lord Attenborough saved.
matter what you do, so long as you
change something from the way it was
Nobody achieves this level of
before you touched it into something 1945
influence, and almost universal
thats like you after you take your
to
love and respect, without being a
hands away. After a few weeks of
tragic news, of untimely and violent 2014 very special individual themselves,
somebody who is very, very driven.
deaths of the young, the unknowing,
the innocent and the courageous, its worth Always a man with a cause.
standing back to remember one of our Amanda Neville
greats who reached the grand age and lived
He had huge authority and great intellectual
a grand life.
rigour - people listened to him.
Lord Richard Attenboroughs name and Michael Grade
face were synonymous with British film,
an overused phrase but literally a legend In life, its all too easy to stand back. To wait
in his own lifetime. Not just for his body of for others to make our opportunities arise, to
work as an actor and a director, but for the blame others when things dont go our way.
dedication, fearless hard work and energy Lord Richard Attenboroughs life attitude
he put into the betterment of the British is one that can inspire us all. The battles
Film Industry, for the sake of his own passion he fought were for the sake of the talent
and his own films and the sake of other that is out there and the art and inspiration
filmmakers and actors who would stand the that comes from that talent. He got lottery
chance to live out their vocations, making money into the film industry..., and that
the struggles they faced that little bit easier transformed the industry. When a man from

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Universal Film
Issue 13 - 2014

humble beginnings can go on to create such

an impact. When one individual can achieve
astonishing results for the whole industry,
we must be reminded that we all have a duty
to do our own bit. Its comfortable and easy
in filmmaking and acting to let jealousy and
resentment creep in, for egos and pride to
yearn for one-upmanship, to slip into divides.
Nothing can be achieved this way. Great
things grow from solid living earth, not from
dust and mud.
We can all work for changes that better
ourselves and the next generation coming up
behind us. We can all take a stand for positive
action. In difficult times, despondency is
easy. But its worth remembering that Lord
Attenborough would not have worked
so hard or so tirelessly were it not for the
same enormity of challenges he and others
alongside him faced in their time. An echo of
the difficulties we now face.

The industry was on its knees... in the late

80s and early 90s. It was Richards ability to
persuade John Major to include film in lottery
distribution that altered everything.
He had a genius for knowing what to do and
for having the persistence to go ahead and do
it, Melvin Bragg.
I adore my family; they are my joy. However,
I am committed to my work. If on a Saturday
morning when I was ostensibly going to
be with the children and something arose
at Rada or at Unicef or at the orphanage or
whatever, I would allow the other pressures to
take precedent.
Richard Attenborough

We are deeply saddened to learn of the

passing of esteemed filmmaker and former
BAFTA President, Lord Attenborough Kt, CBE,
whose passionate support of BAFTA for more
than 50 years was integral to who we are
The following quotes about a man and a life today. He will be sorely missed.
truly lived can inspire us to never give up on BAFTA
our own dreams and remind us that if one
man can create such a mark then many of ET depended absolutely on the concept of
us standing together as one can move even cinema and I think that Steven Spielberg, who
Im very fond of, is a genius. I think ET is a quite
bigger mountains.
extraordinary piece of cinema.
Enjoy and be inspired by more quotes from Richard Attenborough
and about Lord Attenborough
A titan of British cinema, to say he embodied
its finest qualities is to have it backwards.
I cant write; I cant paint; I dont compose.
British film would do well to live up to the
Richard Attenborough
example of industry, skill and compassion set
My first film role was for Richard by Richard, Lord Attenborough.
Attenborough. A beautiful, brilliant, gentle,
positive man. Gave me confidence & endless I believe we need heroes, I believe we need
certain people who we can measure our own
encouragement.
shortcomings by.
Tom Goodman-Hill
Richard Attenborough
Well, you cannot think of cinema now, and
you cannot think of cinema in the UK and
not place Chaplin in the most extraordinary
elevated context, if there can be such thing, in
that he was a genius, he was unique.
Richard Attenborough
British film would do well to live up to the
example of industry, skill and compassion set
by Richard, Lord Attenborough.

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Issue 13 - 2014

QUINTEN TARANTINO
GOES APE-S**T OVER LEAKED SCRIPT
as shallow and blames him for generating
a media frenzy that led the website to link
to the leaked screenplay. Apparently, the
leak occurred because QT was betrayed by
somebody who he had entrusted with the
script. Although the project now appears to
have recovered from the leak, QT was left
depressed by the whole affair. According
to the Tech Times web site, Tarantino stated
I gave it to three actors: Michael Madsen,
Bruce Dern, Tim Roth. The one I know didnt
do this is Tim Roth.

ome of our readers may remember

a while back we wrote a story about
Tarantino and his refusal to comment
on the violent nature of his films in an
interview and stated, Im not your slave and
youre not my master. You cant make me dance
to your tune. Im not a monkey.
Since this rather funny interview, we have a
new celebration of depravity of the human
language from the Whiney Bitch-Ass,
Monkey-Boy, Mother-F**ker, Tarantino. We
need to be sure when he reads this and we
are certain he will, then he can understand it
in Tarantino f**k-speak.
Quentin Tarantino completely lost his S**T
because his new script, was allegedly leaked
by a close associate. The script The Hateful
Eight was the follow up to Django Unchained
and was allegedly cancelled as the script was
leaked all over Hollywood and online. To say
he went bananas is an understatement, part
of the Tarantino public tantrum included
sending a takedown notice pursuant to the
DMCA to the Gawker website and then went
on to sue Gawker over the leaked script.
Gawker in turn attacked Tarantinos lawsuit

One of the others let their agent read it,

and that agent has now passed it on to
everyone in Hollywood. This was a damning
statement for QT to make and must have
seriously damaged not only the credibility
and integrity of the two actors, but also that
of their agents. The normal procedure is that
they, the actors and agents would be bound
by a strict NDA, a nondisclosure agreement
that protects both parties.
Of course, the casual observer may give
some consideration to QTs plight, other may
say, what the FU**K QT, man up and get on
with it bitch, write another Fu**ing script and
stop your bitch ass whining. No, this was not
to be; QT has decided to travel to snivel town
and wallow in the pretentious Hollywood
quagmire of public sympathy.
We would try and help put QT back on the
right track and ask him to remember, Rocky,
Rambo and the Expendables, by the great
genius director Sylvester Stallone, take a
page from his book. Get some kickass fight
back and stop behaving like a yellow bellied,
liver lilied snivelling pussy. (well this is
Hollywood ;-))
So, on a more serious note, Actors and Agents

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Issue 13 - 2014

names have now been dragged through the

mud by Tarantinos Titillating Tantrum. At this
stage, we can all say with absolute clarity
that when Tarantino made the statements he
could not have had definitive evidence about
who was actually responsible for leaking The
Crazy Eight script. Now you might call me a
little old fashioned, but where I come from,
theres a word for that, its called libel!.
Here are some of Tarantinos Bitch Ass
statements to the press:
1. Im very, very depressed, I finished the script,
a first draft, and I didnt mean to shoot it until
next winter, a year from now. I gave it to six
people, and apparently its gotten out today.

is a statement of opinion that was arrived at

based on accurate facts? it does not look like
this either. Was there Malice in Tarantinos
statements against the producer, the actors
or the agents?. If intentional malice can be
shown and/or proven in a court of law, then it
can qualify as defamation for damage to ones
reputation. Furthermore, if the statement has
done harm and were untrue, any one of the
group whose reputations have suffered may
still pursue this tort if they can demonstrate
loss of business or special damages. Were
Tarantinos statements libellous of the actors,
producer or agents? This is when defamatory
statements are published in print or broadcast
in the media. In addition, the publication of
such comments or statements, dont need to
be made to more than one person to qualify
as libel.

2. I gave it to one of the producers on Django

Unchained, Reggie Hudlin, and he let an agent
come to his house and read it, Thats a betrayal, Common-sense would dictate that QT was
but not crippling because the agent didnt end wrong by summarily judging (if that what
it was) or levying the allegations against
up with the script.
the actors, producer or agents, we can be
3. I gave it to three actors: Michael Madsen, reasonably certain that it cant possibly have
Bruce Dern, Tim Roth. The one I know didnt do been leaked by all of them. If it were indeed
this is Tim Roth. One of the others let their agent leaked by one of the actors, producer or
read it, and that agent has now passed it on to agents perhaps Tarantino should have waited
until he had definite evidence before he went
everyone in Hollywood.
on a public rampage blaming everyone in
4. I dont know how these fucking agents work, sight.
but Im not making this next. Im going to
publish it, and thats it for now. I give it out to six It remains to be seen if Tarantino will now be
people, and if I cant trust them to that degree, sued over his comments. More importantly, if
then I have no desire to make it. Ill publish it. Im any of the actors, producer or agents careers
done. Ill move on to the next thing. Ive got ten have suffered, will they be as eager to read
any of Tarantino scripts in the future? If there
more where that came from.
is another script leaked, then surely Tarantino
First thing that springs to mind is, boo, will again scream the same hysterical rhetoric
mother f**kin hoo, and off course Tarantinos and tar everyone with the same insane brush.
contrary comments that The Crazy Eight Could it be said that its just not worth running
film was being cancelled turned out to be the risk?
utter claptrap worthy of a whining assmonkey
biach; the project is now very much confirmed When all is said and done, If its all just a PR
as back on track. Was there ever any doubt? stunt or if it was Tarantino himself who turned
his script into a news story that generated a
Can Tarantinos comments be considered fair great deal of attention then alls well that
comment? it would not seem so. Was this ends well in the land of Hollyweird.

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Issue 13 - 2014

Groucho Club

Under Siege by Child Abuse Activists

Demo outside the Groucho Club over cover-up of Paedophile
network operating on their private members forum

Demonstration outside the Groucho Club

ondons infamous Groucho Club was

recently under siege by Child Abuse
activists who were demonstrating at
the cover up of a child abuse forum
It was a hot summers day in London, and
Abuse Activists came from as far as Australia
to demonstrate against the cover up of
the paedophile network operating on the
Groucho Clubs own members forum.
The activists represented many groups and
charities from all over the world. They lined
both sides of Dean Street, in Soho, London,
the home of the media haunt, The Groucho
Club. This was a well-planned and executed
static, silent demo. The protestors stood five
feet apart; they did not block the pavement
or the road and no disruptive behaviour
occurred.
However, there were several members of
staff of the Groucho Club, who attempted

to argue with the activists, but the activists

knew full well this was a probability, and this
was why it was a silent demo. The Police were
informed that the demo was taking place but
oddly enough there was no Police presence.
The Soho demo went off peacefully and
pretty much without a hitch. Support banners
we up high on the scaffolding on Shaftsbury
Avenue, out of the second-floor window of
the iconic French House Bar in Soho and later
activists went on to demonstrate outside the
House of Commons, Westminster Abbey and
Big Ben. The activists protested the cover
up that took place after the discovery of an
organised network of paedophiles operating

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Issue 13 - 2014

on Groucho Clubs private members

online forum. The network operated freely
and without recourse from the law or
management of the club for a year. The forum
had 42,000 members and 900,000 posts.
Much of the content was dedicated entirely
to videos and images of young children being
advertised for sex.
Robert-Charles Carwardine, a respected
campaigner and also runs the Come Clean
on Child Abuse campaign, said, no matter
where they hide or who they are, the campaign
to expose those who cover-up or hide child
abuse will continue. They are as bad as the
Paedophiles, who commit these horrific
offences and make it easy for them to continue.
The meeting in Soho square saw people from all
over Britain come together in London and unite
in a common cause. The message is simple, its
fair, its human, come clean on child abuse or
face protests.

Club) run by an elusive multimillionaire

conservative strategist and is bankrolled by a
billion Pound Corporation (Graphite Capital).
On the other side, there is a documentary
filmmaker and investigative journalist (Tyrone
D Murphy) who has proved time and again to
be a resourceful adversary in many ways.
Murphy successfully defended a libel action
as a litigant in person that was instigated by
the Groucho Club management in 2009. This
appeared to be a futile attempt to shut him
up. This was at a time when the libel laws in
the UK were an embarrassment to the Country
and considered by many to be backwards
and in the interests of big money. They also
instigated bankruptcy proceedings against
him for a costs order that was awarded based
on information provided to the courts that
could not have been true.
In addition to the court cases instigated
against him, he was under surveillance for
over a year, followed around the country
constantly, strangers were observed going
through his garbage bins. On another
occasion, he chased an individual off the
grounds of his property who was attempting
to bug his telephones. Murphy emphasises
that because of legal reasons he cannot state
the name of the organisation responsible.

After the discovery of the child pornography

network by a number of Journalists,
numerous complaints were made by one of
the journalists (Tyrone D Murphy) to CEOP
and the Metropolitan Police in London UK.
Apparently, the Police simply stood back and
The French House with banner on 2nd floor
did nothing. The same process was repeated
The story behind the Groucho Club affair is time and again.
a lengthy one and reads like something out
of a spy novel; it involves illegal electronic After being informed that the evidence
surveillance, a failed libel trial, a court case needed to be preserved as it was being
in Newport Wales, a bankruptcy petition, destroyed, the police did nothing, they were
rape that went unreported, a massive child simply not interested. Despite the discovery
pornographers network and sexual abuse in of a rape that had allegedly gone unreported,
again, nothing. Despite a lengthy statement
the workplace.
by an employee together with irrefutable
On the one side, theres a very powerful and video evidence of a sustained campaign of
wealthy Media Celebrity club (The Groucho sexual abuse and harassment by a superior,

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Issue 13 - 2014

again no action was taken. After twenty-four

e-mails, countless phone calls and letters
to the Metropolitan Police, Murphy finally
had enough and set about instigating an
inquiry with a number of British Members of
Parliament. At first some MPs were horrified
at the revelations. However, when one MP
contacted the police he received assurances
from the police they would act.

although the IPCC found that elements of the

Police report were inaccurate but because DCI
Graham Grant was due for retirement soon,
no action was taken against him.

The IPCC selected a senior high ranking Police

officer to investigate the cover-up and the
false report. The would seem like the norm;
however, the investigating officer was none
other than DCI Grant, the very same officer
who the head of the department he was
investigating and was the person responsible
for writing the false report in the first place.

Groucho Club Staff, harassing the activists

As far as the Groucho Club is concerned, the

managing director, Mr Matt Hobbs stated he
knew nothing about the paedophile network.
However, he later he said it was a spammer
while they were changing servers (just at that
The officer put in charge of the case was very moment a spammer got in) and then to
DCI Graham Grant, the head of Child Abuse the police he stated, that they had no security
Command for the Metropolitan Police in issues with their servers.
London. He contacted Murphy and assured
him that he was looking into it and to use him Hobbss different accounts cannot be true. The
as the sole point of contact within the Met spamming story appears to be completely
nonsensical as the abuse network was
Police.
operating for almost a year unchallenged. As
However, Murphy later discovered that DCI unbelievable as this story is, it would also infer
Graham Grants response to anyone, MP or that the other story Hobbss gave to the Police
otherwise, was to send a hastily drafted report that they had no security issues with their
that completely decriminalize and trivialised servers cannot be true or correct.
the whole affair while absolving the Police
and the Groucho Club of any wrongdoing.
Murphy obtained a copy of the report from
a friendly politician. After reviewing the
report, he realised that a cover up was taking
place. Murphy immediately made an official
complaint to the IPCC, the Independent
Police Complaint Commission which is the
UK organisation that investigates the police
in the UK.

DCI Grants report of the investigation was

predictable, Murphy appealed. Another
officer was then selected to investigate and
again the result was predictable, Murphy
Appealed again, and yet another review
of the investigation. The result being that

Despite all Hobbss different versions, there

has never been a denial by the management
of the club that the paedophile network was
operating on their on their members forum.
Perhaps it may be because they dont know
exactly how much evidence Murphy and the
other Journalists have uncovered; we are led
to believe, its quite substantial. Six months
after the initial report that the evidence was
being destroyed the police inspected the
Groucho Clubs computers, albeit with the
permission of the Groucho Management. So
at this stage, the reader most likely knows the

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Universal Film
Issue 13 - 2014

another individual discussing kidnapping and

forcing someone into the trunk of a car. The
employee said he was terrified by this. The
alleged rape was reported to the Police by
Tyrone D Murphy 2009 as soon as he became
aware of it. However, despite supplying the
Police, and later DCI Graham Grant with the
name of the victim, the alleged perpetrator
and witnesses, no arrests were ever made.
Again this formed part of the false report
circulated by DCI Graham Grant that absolved
Of course, its outrageous that in this day and all of any wrong doing.
age such a cover up could take place and to
date, not one person using the Groucho Clubs
Private Members forum was ever charged
with any criminal offence or even questioned.
Andy Preacher from Freedom Talk Radio said:
The Groucho club Soho demo was a wake-up
call to management; people will not lie down
and tolerate the cover up of child abuse in any
way shape or form.
answer to the next question, what did the
Police find on the Groucho Club Computers?
The Police found nothing, and this poses
some other interesting questions, firstly,
the evidence was witnessed by a number of
Police Officers, Journalists and Politicians. So
the obvious conclusion is where is it? Was the
evidence destroyed as Murphy stated before
the police examined the computers? If so by
whom?.

During the libel court case in 2009 that was

instigated by the Groucho Club against
Murphy a statement came to light by an
ex-employee of the Groucho club. Within
the statement, allegations were made that
a woman was raped in the basement toilet/
Manager Kent Olesen filming the demo
lavatory of the Groucho club as she lay
unconscious on the floor. The employee
immediately informed their superior who There was another rape in the dark corridors
allegedly told the employee to keep their of the Groucho Club in 2008, this was
reported to the Police but was never been
mouth shut.
solved. Murphy later attempted to track down
According to the statement, the superior footage from CCTV cameras that the Police
then followed the alleged perpetrator down may not have been aware of. However, the
the street after he left the club to hand Police showed no interest. This lack of interest
him his spectacles as the perpetrator had was despite information that came to light
forgotten them. According to this employee, in open court that the club had more CCTV
the perpetrator of the rape was the well the cameras in the club than they stated they did
known industry agent, Addison Creswell. The in statements before the court.
employees statement was made in 2009,
and Cresswell died in December 2013. The In 2010, an employee took an action in a
employee stated that Cresswell behaved like tribunal against the club over an alleged
an animal in the club, and whenever he went campaign of sexual assault and harassment
too far, he simply splashed some cash about. by a superior. This claim was backed up by
The employee also said in his statement that irrefutable video evidence from the clubs
he overheard Cresswell on the telephone with CCTV cameras and was presented to the

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Issue 13 - 2014

tribunal. The employee and his superior

cannot be mentioned by name. This is because
the employee faced four specialist barristers
in a routine hearing at the tribunal where the
employee acted as a litigant in person. The
Groucho Club legal team argued over and
over with the court that the names of the
alleged perpetrator and his victim should not
be named in public. In addition, the former
employee called two other employees from
the club as witnesses to the behaviour of the
superior.

Hunt substantial amounts of money to go to

New York to meet with the Murdoch family.
Jeremy Hunt in his role as Cultural Secretary
embarked on the paid trip to meet with the
Murdochs to discuss the Newscorp bid. This
trip was bankrolled by Mr John Lewis of
Dorset. This is misleading; his correct title is,
John H J Lewis OBE, and he is, in fact, based
in London.
He is a multimillionaire Tory strategist and
is the head of The Groucho Club. Hunt told
the Commons Committee he has given full
disclosure of his Newscorp communications
and admitted that he had meetings in New
York with the Murdochs. He withheld the fact
that he spoke almost entirely to Newscorp
and that he has business interests with the
Murdochs that go back years. In addition,
Hunt failed to disclose correspondence of
over a hundred emails.

These employees were later dismissed from

their positions; one was told, after years
of loyal service, that he did not fit in. The
employee who was the alleged victim was
quoted as saying; I was intimidated and
frightened and had to back off. Any normal
person may ask, why would the management
of the Groucho Club go to such drastic lengths
to protect an employee despite irrefutable
Hunts reputation has at times has been
evidence of sexual abuse and assault.
questionable, to say the least, but he has
A dossier was sent by Journalist Tyrone D been steadfastly protected and promoted by
Murphy to the owners of the Groucho Club, a grateful Prime Minister. So we now know
Graphite Capital. It listed all of the evidence the John H J Lewis is a Tory strategist and
mentioned in this article and much more. Mr head of conservative tourism and has some
Rod Richards, the CEO of Graphite Capital, serious political connections. Would this be a
stated in his reply that he was satisfied with good enough reason to deter the Police from
the Groucho Clubs management and their investigating the Groucho club?
handling of the clubs affairs.
Cathy Fox, a well know child abuse activist
The Groucho Club seems impervious to the and Blogger said, Politics is about power.
Law as any normal person would understand The people that want this power so much are
it; one could even say that this organisation the ones that should have it the least. Powers
is entirely above the Law and immune from lowest common denominator appears to be a
precaution. How could that be? Well, perhaps cesspit of drug abuse and child abuse. The full
it may have something to do with the political truth over the child abuse and its cover up will
continue to trickle out until such time as the
clout the club enjoys.
Groucho Club decides to come clean.
A number of high-ranking politicians
regularly frequent the Groucho Club, among The former head of the British Metropolitan
them, is Jeremy Hunt, who at the time of the Police, Sir Ian Blair stated that hed happily raid
expose of the child abuse network was the the Groucho Club, and implied that cocaine
Cultural Secretary. He is a friend and cohort use at the Groucho Club was equivalent
of John H J Lewis OBE, who is the chairman to buying oranges from apartheid South
of the Groucho Club. Both were embroiled Africa or taking a holiday in Burma. Rather
in a scandal that saw John H J Lewis pay Mr predictably, The raid never happened.

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Issue 10 2013

Universal
Film Film
Universal

MOVIE MONEY
e
n
i
z
a
mag
Issue
6 of 2012
Issue 13
- 2014

All about

FILM FINANCE
Free
Issue of
Movie Movie Magazine

www.moviemoneymag.com
17

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www
ww
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w.uf
ufma
mag
g.bi
bizz
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Universal Film
Issue 13 - 2014

5000 FILM PROCESSING DEAL

MOMEDIA SECURES 5000 FILM PROCESSING DEAL FOR LOOPR VoD SERVICE

by Amanda Ford

oMedia TV, a leading digital media

company and provider of VoD
services, has secured a deal to
process 5000 Films with Infostrada Creative
Technology, Holland.

the cost. We aim to lower the barrier to entry

and give more money back to rights holders
said Lucas Bertrand, CEO, MoMedia.

Loopr is already distributing shows from

local language rights holders of Hollywood
productions including Dallas Buyers Club;
The Blood Ties; Hercules Reborn and Frank,
as well as award-winning local language films
such as The Great Beauty and Dogtooth.

As part of the deal, Infostrada will provide all

content processing and asset management
of the 5000 films. Evert Larooi, Sales Director
Content Distribution Infostrada says: Loopr
is disrupting the market and enables content
distributors to both simplify and maximise
exploitation of their properties. We are,
therefore, delighted to partner with MoMedia
on this deal.

With the explosion of VoD devices &

platforms, there is a real opportunity for
rights holders to monetise their content
The deal enables its Loopr VoD service
VOD
to deliver substantial discounts to Distribution from digital sales. However, managing
with no
the complex variety of metadata,
rights holders wanting to distribute
middle
windowing, pricing, currency and
VoD onto services including iTunes,
men
technical information is expensive,
Google Play, Amazon, Samsung,
and time-consuming to handle. Loopr
and Xbox amongst others. Focused on
aggregating localised content for the major resolves this complexity by providing rights
global & local VoD platforms, Loopr provides holders with a centralised way to manage
a cost effective and efficient solution to their transactional VoD distribution, and we
can offer up to 90% savings.
digital distribution for content providers.

With this new deal, Loopr will be able to

disrupt the cost of getting content licensed,
processed and marketed on VoD services. It
can cost thousands of dollars to get a feature
film onto these services with very high
technical requirements, including closed
captioning and localisation files that drive up

Loopr initially focused on the major global

VoD players but is now targeting the major
local platforms that are looking for new
release and quality library titles.

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Universal Film
Issue 13 - 2014

CANADA HOSTS

THE NIAGARA INTEGRATED FILM FESTIVAL

Set amongst the breathtaking backdrop of

the Amazon rain forest, Ribbit tells the tale
of a frog with an identity crisis. Unlike other
frogs, he hates hopping and has a strong
aversion to water. Feeling a misfit, he is full
of questions about his life. So, together
with his best friend he embarks on a
Canada soul-searching journey in his quest for
the truth and his rightful place in this
On the bill featured at NIFF was
2014 world.
Malaysian animation Ribbit.
The
world-wide premiere stars the voices
of Hollywood legends Sean Astin, Russell This is just the start of what KRU International
Peters and Tim Curry and was shown for the plans to accomplish. The company already
has five 3D animation films and three
first time to a live audience in 3D at NIFF.
animation TV series in development. We
Written and directed by Chuck Powers, want to show that a Malaysian company can
Chief Creative Officer of Kartun Studios; the produce shows that can play in international
animation division of KRU International. markets and do well. We want a production
Ribbit takes Malaysian animation to the with universal appeal. Thats the key for us
next level with this world - class animation, says Powers.
featuring some of Hollywoods biggest
heavy hitters. Ribbit tells the story of a Ribbit is KRU Internationals first step into
beautiful heart-warming adventure that the animated feature film industry and has
relates to both parents and adults alike; already garnered sales to over 80 countries
coupled with visually stunning graphics and worldwide including UK, Germany, Australia,
action-packed scenes it is truly a movie that Japan, China and Brazil. The movie is slated
to be released worldwide in the fall of 2014.
the whole family will enjoy.

anada palyed host to the inaugural

launch of the Niagara Integrated
Film Festival (NIFF). The festivals
showcase to the world was a spectacular
film festival experience featuring a handpicked selection of the industrys finest
premiering movies.

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Universal Film
Issue 13 - 2014

Roaring Currents
2014

sias leading contents company Kim Han-min conducted extensive historical

CJ E&M is distributing the mega- research over several years; for instance, eight
scale naval action film Roaring ships were built using authentic materials.
While many sequences were filmed at sea,
Currents, portraying the historic Battle of
several action and other dangerous
Myeongnyang on the southwestern
coast of the Korean peninsula. The Produced shots were filmed on land. For the land
shots, a special massive gimbal was
by Big
film is produced by Big Stones
Stone
created in order to simulate 30m long
Pictures and will hit Korean theaters
on July 30th, followed by theaters Pictures ships swaying on dangerous tides and
in whirlpools. Giant green screen panels
in the United States and other Asian
were also utilized, covering all areas of the
countries.
ships so that CG elements could be seamlessly
The film stars veteran Korean actor Choi integrated into the shots.
Min-sik (Oldboy; Lucy) as Admiral Yi, and
Ryu Seung-ryong (The Target) as Japanese Director Kim Han-min previously created the
general Kurushima. Commanded by authentic historic war film War of the Arrows,
Admiral Yi Sun-shin, the Joseon Dynasty which was the biggest hit among local films
won the Battle of Myoengnyang which in Korea in 2011 (7.5 million tickets). Through
occurred during the Imjin War against Roaring Currents, he aims to vividly present
the historical war between Joseon Dynasty
Japan in 1597.
and Japan, as well as portray the life of a fabled
In order to realistically re-create the battle admiral, normally viewed as a fantastic and
in which 12 Joseon ships defeated 330 mythic figure as a human haunted by personal
Japanese ships in eight hours, director demons.

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Universal Film
Issue 13 - 2014

FLANDERS/BELGIUM

@IBC AMSTERDAM
WITH FLANDERS INVESTMENT & TRADE

SEPTEMBER 12-16, 2014

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Universal Film
Issue 13 - 2014

Korean Films in Foreign Markets

Make Your Move

Sold to 54 Countries for USD 6.3 Million
Co-produced by CJ E&M, SM Entertainment,
and Robert Cort Productions, the dance
romance film Make Your Move, starring
renowned K-Pop artist BoA, has been sold
to 54 countries including France, Germany,
Australia, the Czech Republic, and across East
Asia for total sales to-date of USD 6.3 million.
Already released in 14 countries including
Belgium, the Netherlands, Hong Kong, and
Vietnam since July of last year, Make Your
Move will be released in North America by
High Top on April 18. CJ E&M will release the
film in Korea on April 17.
Make Your Move is directed by Duane Adler
and tells the story of Aya (BoA) and Donny
(Derek Hough) who although from different

worlds grow to understand and fall in love

with each other through the common
language of dance. The film also marks the
Hollywood debut of BoA.
Winning attention from buyers around the
world, particularly in Europe, which accounts
for 70% of pre-sales to-date, were excited
at the model of global collaboration Make
Your Move provides to advance Korean films
into foreign markets, said Steven Nam, CJ
E&Ms Senior Vice President of International
Film Financing and Production. As Make
Your Move hits theatres worldwide, fans
are in for a real treat with the film bringing
together Koreas representative pop star
BoA and Hollywoods advanced production
capabilities.

Purgatory New Actor

UPSOGUE PICTURES announces that actress
Jillian Murray has been confirmed as one of
the lead roles as the character of Danni in its
upcoming fantasy motion picture Welcome to
Purgatory.
Murray, who is best known for her roles in
Wild Things: Foursome (2010); Never Back
Down 2 (2011); The Graves (2009) and Bad
Ass (2012) opposite Danny Trejo, will star as
Danni, a young woman who suffers an
untimely death after an accident and arrives
in an afterlife in the midst of war. Murray will
star alongside a cast that currently includes
Nathan Jones (Troy, Mad Max: Fury Road),
Jack OHalloran (Superman, King Kong),
Tory Kittles (Olympus Has Fallen, Next)
and Stephen Marcus (Lock, Stock and
Two Smoking Barrels, Quills), and will be
executive-produced by horror-legend Scott

Spiegel, and directed by British director Gene

Fallaize.
Welcome to Purgatory follows three new
arrivals Willis, Taylor and Danni - as they
navigate this fresh vision of the Afterlife,
helped along the way by trusty Guardian Paul.
They find the afterlife in ruins amidst a growing
war between Good and Evil. All the rules of the
Afterlife have been broken, and they must find
a way to make things right, before Heaven is
ruined for the rest of time.
Scott Spiegel, Tony Cook and Victoria Fallaize
will be producing the picture for Cupsogue
Pictures, which was written by Tony Cook,
Gene Fallaize & Marcus Ako, and Gene Fallaize
will be directing. Filming is due to commence
on Welcome to Purgatory at the end of 2014
at Pinewood Studios, England, ahead of a
theatrical release in 2015.

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Universal Film
Issue 13 - 2014

NIPROS

CAMERA SYSTEMIZATION TECHNOLOGY

by Amanda Ford

ollowing a successful NAB 2014 and As founder of Montreal-based dpartment

sales in the US, Samaserve, the Nipros camra, one of Canadas major rental houses,
sales, marketing and service affiliate, Jacques Lamontagne has been familiar with
has announced the sale of five Nipros LS the Nipros brand for many years. Highly
750/850 GTS camera systemization rigs
positive early reports on the Nipros
to leading Montral and Toronto-based
LS 750/850 GTS camera system, led
NAB
production rental/firm dpartement
Lamontagne to make a special point
Show
camra. We held a number of
of visiting the Nipros/Samaserve NAB
Camera
extremely positive meetings at NAB,
booth.
Sales
Mel Medina, Samaserve CEO, states.
The fact that dpartement camera
We provide production technology
to a wide range of TV, feature film and
has made this decision, underscores the
flexibility and cost effectiveness of the documentary production companies, and
we have been looking for a highly flexible
Nipros Systems.
system, capable of working with virtually
The camera-agnostic, Nipros LS 750/850 any camera, Lamontagne said. Nipros has
GTS systems, HDS 300 camera system build- developed the most versatile camera system
up rigs; HDF 700 SK monitors, and related weve seen. It enables us to maximize the
accessories, will provide dpartement potential of every camera in our inventory,
camra with the ability to maximize the from Sony to Canon, ARRI and RED. The fact
potential of virtually any camera for literally that the system is 4K-ready now, makes it an
any type of shoot, including simultaneous, even stronger long-term investment.
uncompressed 4K and HD projects. These
Nipros systems will benefit our customers, Mel Medina reports that a second Canadian
and their clients, with significant savings sale of multiple Nipros camera systemization
in time, flexibility and by extending the rigs will be announced soon.
productive life of their existing camera
investments, Medina added.
NAB Show is a must: UFM

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Universal Film
Issue 13 - 2014

Kay Tennemann

Discover an all new workow

with CINEMA 4D Release 15.

Faster. Easier. More Powerful. CINEMA 4D Release 15 delivers

outstanding enhancements to many aspects of your 3D workow.
From text creation and modeling with a powerful new bevel tool
to advanced rendering optimizations and an all-new network
rendering solution called Team Render.
Release 15 contains much more than just new features it pushes
one of the most powerful and versatile 3D tools to a whole new level.
MAXON remains focused on providing exceptional stability and
performance, unmatched integration and a straightforward, efcient
and exible interface.

To nd out more, visit us online.

25

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Universal Film
Issue 13 - 2014

EXPENDABLES -3
HE EXPENDABLES 3, Barney
(Stallone), Christmas (Statham)
and the rest of the team come
face-to-face
with
Conrad
Stonebanks (Gibson), who years ago
co-founded The Expendables with
Barney. Stonebanks subsequently
became a ruthless arms trader and
someone who Barney was forced to
kill or so he thought. Stonebanks,
who eluded death once before, now
is making it his mission to end The
Expendables -- but Barney has other
plans. Barney decides that he has to
fight old blood with new blood, and
brings in a new era of Expendables
team members, recruiting individuals
who are younger, faster and more
tech-savvy.
The
latest
mission
becomes a clash of classic old-school

style versus high-tech expertise in

the Expendables most personal
battle yet. The most star-powered film
franchise in history raises the bar to
unprecedented heights with a dream
team of global superstars, explosive
stunts and mind-boggling weaponry
in The Expendables 3. For the first
time on film, Sylvester Stallone, Arnold
Schwarzenegger and Jason Statham
join forces with Mel Gibson, Wesley
Snipes, Harrison Ford and 11 more
legends and rising stars in an epic
adventure that introduces audiences
to a new generation of Expendables.
An assignment to stop a powerful
weapon from falling into the wrong
hands ends in a shocking turn of events
for Barney Ross (Sylvester Stallone) and
his crack team of mercenaries, known

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Universal Film
Issue 13 - 2014

as The Expendables. They discover

that the ruthless arms dealer they are
pursuing is none other than Conrad
Stonebanks (Mel Gibson)Barneys
former partner and Expendables cofounder, and a man he thought he had
killed more than a decade earlier.
The conflict turns personal when Max
Drummer (Harrison Ford) of the CIA
dispatches the new team to bring
Stonebanks to justice and the wily
weapons smuggler makes it his mission
to destroy The Expendablesincluding
his former partner. When the intricate
operation goes awry and the new team
is captured, Barney embarks on a noholds- barred rescue eort, aided by
his comrades-in-arms, Lee Christmas
(Jason
Statham),
Galgo
(Antonio
Banderas), Yin Yang (Jet Li), Doctor
Death (Wesley Snipes), Gunner Jensen
(Dolph Lundgren), Toll Road (Randy
Couture) and Trench Mauser (Arnold
Schwarzenegger).
For the third hard-hitting installment
in the franchise, Stallone reteams
with his partners at Lionsgate and
Millennium Films. Sly is a legend,
says Millennium chairman Avi Lerner.
He may be the only guy in the world
who has created and starred in three
successful film franchisesRambo,
Rocky and The Expendables. Hes a
great moviemakera writer, director,
producer, and star. The only job we
havent given him yet is craft services.
The filmmakers have guaranteed fans of
the adrenaline-fueled series that each
new episode of The Expendables will
take the franchises trademark over-thetop style to ever- ascending heights.
For The Expendables 3, that meant first
putting together a powerhouse cast that
would outstrip even the mind-blowing
rosters of screen legends assembled for
the first two installments.
To top the first Expendables, we
added a few more names to the second
film, explains producer Kevin King-

Templeton. On this one, we wanted to

find a way to keep the concept fresh and
excite audiences all over the world, so
we invited every action star we could
think of to join the cast.
Lerner, who has produced some of
the most successful action films in
history, leveraged a lifetimes worth
of relationships to assemble this cast.
I believe this is the best cast that has
ever been together in a movie, he says.
Seven of our stars have at least one
blockbuster franchise to their names.
Some, like Harrison and Sly, have two or
three.
The result is a star-spangled line-up
the likes of which audiences have
never seen beforeand will likely
never see again. The Expendables
franchise is extraordinary, says Jason
Constantine, head of acquisitions and
co-productions for Lionsgate. It takes
the whole idea of a star-driven action
movie to the next level. Slys script
about a group of mercenaries played by
the greatest action heroes of all time is
a wish fulfillment for the audience. The
Expendables is basically the fantasy
league of action movies, only its not a
fantasy. We bring the legends and icons
of the genre together in one scene after
another.
Initially, Stallone considered returning
to the directors chair. But you know,
the first movie was an experiment that
worked, he says. And I still havent
recovered from it. I was acting and
trying to run four units at once, so it
was a grueling experience. Instead, the
filmmakers put their faith in director
Patrick Hughes, based on his work on the
low-budget Red Hill. Patrick Hughes
previous movie resonated very deeply
with Sly, says King-Templeton. It
reminded him of First Blood. We thought
lets see what happens if we give this
guy bigger resources and a massive cast.
We were not disappointed.
by Amanda Ford

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Universal Film
Issue 13 - 2014

GRACE OF MONACO
CANNES 2014

by Amanda Ford

race Kelly is a huge movie star with

itinerary was what was hidden beneath the
the promise of a glittering career
surface. It resonated with my personal life.
when she marries Prince Rainier of
So GRACE OF MONACO is not a historical
Monaco in 1956. Six years later, with her
movie, even if it depicts real events. As a
marriage in serious difficulty, Alfred
filmmaker I was interested in telling how
Hitchcock offers her the chance to
a torn woman finds it impossible or
CANNES at least very hard to find the right
return to Hollywood to play the role
2014
of Marnie in his next film. But France
balance between her life as a wife, a
is also threatening to annex Monaco,
mother and a woman and her career. In
the tiny principality where she became
my opinion, GRACE OF MONACO reflects
the Princess. Grace is torn and forced to
these contradictions.
choose between the creative flame that still
burns within her and her role as Her Serene What elements did you change in the script?
Highness, Princess of Monaco.
I wanted to give the film a more adult, a more
mature and a darker feel while retaining the
INTERVIEW WITH OLIVIER DAHAN
glamorous aspect of the story, its princess
touch. I wanted to delve into the contrasts.
What did you find appealing about GRACE OF For example, I invented scenes about Graces
MONACO?
private life, as when Grace calls her
Apart from anything else, it is the fact that Mother on the phone. It allows us to get to
she was an actress and an artist who had to know
give up on her career. I was not interested in
making a biopic. I need to make films that Is it particularly difficult to direct an actress
resonate with me and my feelings. I would like her?
find it boring to have to depict facts only It is not. She is a great listener. She totally
focusing on the characters story. I always try dedicates herself to her work she hardly
to blend things and talk about myself too. And ever goes into her dressing room and she
I think that what touched me about Graces remains very collected on the set. On the set,

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Issue 13 - 2014

she is an actress who seeks solutions, works

hard, sometimes has doubts and is inspired.
She is one of the few contemporary stars
who is also and mostly an actress.
She took on Grace Kellys face and
demeanour, didnt she?
It is the role of an actress to inhabit
the character she plays and adapt her
appearance to her emotions. She altered her
voice, working hard on the accent because
Grace Kelly had invented her own accent.
Then the make-up artist helped to finetune Nicoles appearance. Nicole had to do
her homework on several things, like Grace
Kellys voice, demeanour, posture, poise
and mindset in order to be able to get in
character. Then with the make-up and the
character in a more personal way. I intended
first and foremost to make a film about a
woman who is an artist, but who must give
up an important part of what she is in order
to be able to keep her family together. This is
the linchpin of the film.
Did you have Nicole Kidman in mind when
you started working on the project?
Not in the beginning. Ive been a fan of
hers since DEAD CALM, but I didnt at first
visualize her in the role. Actually, I didnt
visualize anyone. Then, we talked via Skype
for a couple of hours. Thats when I started to
have a change of heart. She seemed like an
obvious choice. I went back to Los Angeles,
and we met up three or four times. Her
motivation to portray the character came
from within, as though she was telling things
about herself in the movie. It resonates with
things she has experienced in her own life
Her intuition matched mine instantly

enjoyed mixing them up and working with

each of them.As for Frank Langella, he is an
actor whom I have loved since I was a child,
and enjoyed watching in many movies. Hes
just perfect.
Tim Roth is a wonderful performer. His acting
is subtle and outstanding. The character he
plays is not an easy one. On the set he listens
very carefully to the directors instructions,
is always eager to work hard and give the
best of himself. He did a lot of rehearsing
prior to the shoot and worked hard to come
up with the right tone and accent. When
hes away from the set, he keeps working
to improve the quality and the complexity
of his performance. He definitely created,
and rightfully so, a character that is more
romantic than fact-based.
What was the importance of editing?
It is a very long phase which lasted a whole
year. It takes me more and more time to edit
the film. I spend a lot of time editing and reediting my films because it is the only way to
find the best pace and fluidity. It is a bit like a
Rubiks Cube! And it took me a whole year to
arrange the six faces. I had to highlight such
and such a sequence and the film has plenty
of psychological variables and subplots,
so finding the right balance and weaving
together all the stories did take a long time.

How did you choose the rest of the cast?

First of all I must say that I was very lucky to
direct all those actors! I love all of the cast
members. Paz did a wonderful job. Derek
Jacobi is an outstanding Shakespearean
actor, and it was an honour to work with him.
Parker Posey, Jeanne Balibar, Yves Jacques,
Milo Ventimiglia, Olivier Rabourdin they
all come from different backgrounds, and I

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Universal Film
Issue 13 - 2014

Panasonic

by Amanda Ford

extends its portable LCD projector lineup

anasonic has expanded its business

projector line-up, with the launch of
the PT-LB360 series a new range
of portable projectors with up to 3,600
lumens of brightness. The series features
four models*1 that offer an easy and
simple projection solution for education or
corporate environments.
The PT-LB360 series feature a compact body,
brightness ranging from 2,800lm to 3,600lm
and a high contrast ratio of 5,000:1, ensuring
images are clear, bright and easy to view.
With a long lamp life replacement cycle of
up to 8,000 hours in Eco mode and 5,000
hours of filter life, these models promise low
maintenance and hassle free operation.
The series is designed with Panasonics
original Daylight View Lite function, which
allows total control of image brightness,
even in a brightly-lit room, for comfortable
viewing. Hartmut Kulessa, Marketing
Manager at Panasonic, said, The PT-LB360
series offers reliable performance in an

extremely compact body (less than 3 kg in

weight), eliminating cumbersome set up.
These projectors are ideal for presentations
in meetings, lectures and classrooms. With
extremely low-maintenance set-up and
operation, the user can focus on the job in
hand.
The PT-LB360 series is equipped with both
vertical and horizontal projection, with
corner keystone*2 as well as a 1.2x zoom lens.
Additionally, by using the Curved Screen
Correction feature*2, images can be easily
adjusted and projected onto a curved screen.
The Memory Viewer function enables PCless presentation meaning users can project
PDF files by simply inserting a USB memory
device. The built-in speaker and direct power
off are convenient and useful features in both
classrooms and meeting rooms.
For further information, visit:
business.panasonic.co.uk/visual-system.

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Universal Film
Issue 13 - 2014

Spark New Zealand

selects OTT platform provider, Xstream

park New Zealand, a New Zealand- wide

communications and internet service
provider, has selected Xstreams award
winning professional video management
platform, Xstream MediaMaker, for delivery
of their new OTT video service.
Lightbox is the new OTT video services by
Spark New Zealand. At launch the service will
be available as a subscription based video
on demand service (SVOD) with more than
5000 hours of insanely good TV available to
all New Zealanders. The service can be used
across multiple devices, including laptop,
desktop, iPad and Airplay on Apple TV. With
Xstream MediaMaker and a set of RestFul
APIs, Xstream has had a leading role in
creating the OTT service.
Xstream comes with a proven technical
strength, an impressive track record of
managing high-end, customized OTT and TV
Everywhere services and a software that truly
sets the company apart from others, enabling
us to take our service to the next level today
and tomorrow. said Mike McMahon, CTO at
Spark New Zealands OTT service, Lightbox.
Xstream has met all our rigorous demands
for high-quality and flexibility. Their cloud
based video management system, Xstream
MediaMaker, is one of the most complete
and flexible OTT platforms weve seen in the
market, including everything one need to
create and manage a complete OTT solution.
Were thrilled to be working with one of the
worlds most innovative Telcos on creating
and deploying their OTT solution. said
Frank Thorup, CEO at Xstream. Xstream
MediaMaker is designed to work in parallel
with legacy TV systems, leveraging existing
infrastructure investments while, at the
same time, be flexible to integrate with any
other third party solution and to enable
customers to deploy complete end-to-end

by Amanda Ford

OTT solutions like Lightbox.

Some core features in the OTT solution
powered
by
Xstream
MediaMaker
includes advanced voucher integration and
functionality, advanced parental control
where the entire frontend has a dimension
thats controlled by parental guidelines
enabling parents to filter out content
playback according to rating. Xstream
MediaMaker also provides an easy and
transparent workflow management for
content ingest including a OTT loading
dock service with screener application,
which is integrated with Gracenote and
Technicolor, assets management, automated
and scheduled publishing across devices,
subscriber management, Shop and Payment
module enabling Lightbox to create and
manage multiple business models.
The in built device management allows
Lightbox to set up rules on number of
devices registered to each Lightbox account
as well as control concurrent streams, a
service that enables Lightbox customers to
use one account to watch different content
on different devices.
Were delighted to partner up with a
company like Xstream who truly understands
the complicated OTT/TV Everywhere
ecosystem said Simon Hoegsbro, Xstream
offers more than just an online video
platform/video CMS, they offer a cloud based
platform with a wide palette of capabilities
and features that we see as cost-effective and
flexible. Importantly, Xstream MediaMaker
is proven and future-proof, enabling us to
build a platform we can grow and develop
with as we move forward in a rapidly evolving
market place. We need to stay ahead of the
game and are relying on Xstream to help us
do exactly that

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Universal Film
Issue 13 - 2014

Cameragrip
Launch New Website
The new, bigger and better, cameragrip.
com website has finally arrived. Following
on from the global success of the original
site Cameragrip have continued to grow and
expand within the camera supports sector
both in the UK and abroad. The new website
pays testament to this with a wider variety of
products than ever before, carefully selected
from a variety of reliable brands.
Having developed a worldwide reputation for
their range of products and customer service
Cameragrip have ensured that the new .com
presence is a further improvement for their
loyal base of customers. Its new clean and

crisp look makes navigation easy and allows

you to focus on the products which are
now better displayed and incorporate more
pictures.
The new site is also mobile compatible and
incorporates a streamlined checkout process.
Customer accounts can also be created for
regular shoppers allowing you to manage
your orders, create duplicate orders and to
quickly make your purchases.
The new website is online now and can be
found at www.cameragrip.com.

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Issue 13 - 2014

ALTERED
Review of Kely McClungs film

hat a sick movie...Im gonna have

to watch that again. Thats the first
thing that popped in my head after
I had watched Kely McClungs ALTERED. You
know how it is...you go see a movie, really like
the special effects, the tough hero and the
beautiful yet vulnerable damsel in distress,
but thats about it.
Most movies dont leave a mark imprinted
in your brains.The Shining or Inception were
such movies; youre going to want to watch
them again, you need to, no, you MUST
watch them again. They are creepy and yet
you have to go back to that place and get
chills, although you know what will happen.
What came from director and writer Kely
McClungs mind is both disturbing and
morbidly fascinating. One can only assume
it is ether movie making or mental asylum
for Mr. McClung, there is just no other way
to describe the level of insanity this movie
carries.
Another big part of the movies fascination

is the main cast. Next to Kely McClung

himself starring in this picture, there are of
course Amanda Dreschler and Robert Pralgo.
Amanda is most known for Perception (2012)
and Lost Angels (2014). She is a rising star
on the silver screen and her performance in
ALTERED is breathtaking.
And it gets more in the person of The Priest
Robert Pralgo. Robert describes the filming
of ALTERED as being outside your own body
at times. And this is understandable. Coming
from shows like Vampire Diaries, which are
not mild on the creep factor, Robert has
about one hundred films under his belt, so he
knows what it is like to be in that spot.
But even for a seasoned actor like him,
ALTERED was a hellish experience. The Priest
is a bastard. A Demon. Satan in human
form. There are simply no words to describe
Roberts character; you have to go see it
for yourself. But bring a friend, you will be
terrified.

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Universal Film
Issue 13 - 2014

Boris FX
Announces Boris Continuum Complete 9 Units

by Amanda Ford

ounded in 1995, Boris FX is a leading The ability to purchase individual units

developer of VFX, compositing, titling, from a larger plug-in set is unique to Boris
video editing, and workflow tools Continuum Complete, notes Boris Yamnitsky,
for broadcast, post-production, and film Boris FX Founder and CEO. It allows us to
professionals. Boris FX products have
offer critical features to our customers at a
grown to serve over a million artists
much lower price point.
worldwide. The companys success lies BORIS
in its ability to tightly integrate and
The new BCC AVX Units are a welcome
FX
option for Avid users, drastically
leverage technologies through strong
partnerships with Adobe, Apple,
reducing the entry price for those
Autodesk, Avid, Grass Valley, Nexidia,
seeking to enhance their VFX options
in Avid systems, says David Colantuoni, Sr.
Sony, and other leading developers of video
editing software.
Director of Product Management for Creative
Apps and Storage. Support for Apple,
Boris Continuum Complete 9 (BCC) Units Blackmagic Resolve, Assimilate Scratch, and
are now available from Boris FX, the leading The Foundry Nuke will be added later this
developer of integrated VFX and workflow quarter.
technology for video and film. The sixteen
Units include new filters, features, and New Feature Highlights:
speed improvements from the recently
FX Browser
updated flagship product, Boris Continuum
BCC Film Unit.
Complete.

BCC Image Restoration Unit

BCC Keying And Composite Unit

Host Support:

BCC Lights Unit

The updated BCC Units are currently
BCC Perspective Unit
supported in Adobe and Sony applications,
BCC Stylize Unit.
and available for the first-time in Avid NLEs.

BCC Transitions Unit:

www.borisfx.com

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Universal Film
Issue 13 - 2014

Classic Film Reviews

by James Knight

DETOUR
Al Roberts (Tom Neal) is walking through
the streets of Manhattan with his girl Claudia
Drake, played by Sue Harvey. Ulmer inserts
a close up of a street sign telling us were on
Riverside Dr. The couple keeps on walking,
but then Ulmer inserts a second close up
of the Riverside Dr sign. Why? Because the
streets are engulfed with thick fog. Why?
Because Ulmer had no money and couldnt
afford to have any Manhattan exterior sets
made so instead used fog.
The scene in question is a flashback, Roberts
memory, with the fog giving the scene a
nightmarish quality. Roberts girl Claudia is
his reason for living in life, and the fog makes
the memory of her seem like an illusion, like
he dreamt it all. The nightmarish mood is
continued when Roberts later gives a ride to
hitchhiker Vera (Ann Savage).
Vera is a one dimensional character,
aggressive, angry and joyless, but her one
dimensionality adds to the nightmare as no
matter what he tries, Roberts cant escape
her vile velocity. Everything in Detour is told
from Roberts perspective, making the film
extraordinary because everything were told,
everything we see, is up for debate. It is one
thing to question what we read in literature
but its another thing entirely to question
what we see in front of us. Detour, like a
good Dylan album, is completely open for
interpretation. It is a film that has to be seen
not to be believed.
We first meet Al Roberts in a road side diner,
the song I cant believe you fell in love with
me comes on the jukebox and just like
Bogart in Casablanca his past comes flying
back at him. The story is solid in its simplicity;
whilst hitchhiking from New York to Los
Angeles, Roberts gets tangled in a web of
crime
and deceit after accepting a ride from
36

so called bookie, Charles Haskell Jr. (Edmund

MacDonald). Tom Neal carries the films
themes in his soul and his dejected eyes.
Hes on the road like Kerouac but without
the hedonistic lust for life and instead of
marijuana in his top pocket he carries his own
doomed fate with him, like a dead dog on a
leash. Emily Post outta write a book of rules
for guys bumming rides. Detour is an anti
road movie, a warning that you wont find
the American dream on the open highways.
Robert and Vera as characters of the road
are like zombies, with the harshness of
hitchhiking stripping them of their emotions.
Reportedly shot in just six days using only
three sets, Detour has made a cult following
for itself off the back of its anti studio system
feel and style.
But the style is cheap and grainy, and
aesthetically it doesnt quite hold up, with
the background screens instead of actual
highways jumping out as archaic. The film
poses the important question; should
audiences allow leeway for mistakes because
a film has been made on the cheap? Simply,
no. Cinema has a library of films that were
made for next to zero and still manage
coherence and a visual beauty. Saying all
that, the positives in Detour vastly out punch
the negatives. The film is tight and breezes
along at a terrific racket whilst also being
void of any weighty and boring exposition.
Detour will not change your life, but its a
pretty good way to spend 67 minutes

GILDA
It looks like one thing then right in front of
your eyes it becomes something else. Thats
what Johnny Farrell (Glenn Ford) thinks
about a woman. The woman in question is
Gilda, played by Rita Hayworth. As the title
suggests the film is about her, but its told
entirely from the perspective of the male
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characters. Is it misogynistic? Possibly. But its

also brutally honest; Vidor never tries to hide
the truth. As Farrell says, I wanted to hit her.
Her being Gilda.
Rita Hayworths entrance as Gilda is one of
the great moments of American cinema. The
moment she bursts into frame, flinging her
hair from her face to reveal a smile that could
start and end wars, we know we are looking
at a true movie star, and also a director that
knows how to shoot one. Hayworths Gilda is
a tease with a soul; she says at one point, Its
so crowded yet so lonely. What shes referring
to is the crowd at her husbands casino,
where the majority of the film takes place.
Vidor creates a wonderful stillness steaming
from the solitude of casino gambling. He
also manages to brilliantly capture the way
people interact differently in both public and
privacy. The story is told in subtle looks and
steamy glances with silence almost acting as
a supporting character.
Before De Niro in Casino, before Alec Baldwin
in The Cooler, there was Glenn Ford as Jonny
Farrell. Farrell, a small time gambler, talks his
way into a job at Ballin Mundsons (George
Macready) Buenos Aries casino. He then
meets Mundsons new wife, none other than
Gilda, but unbeknown to Mundson, Farrell
and Gilda already know each. They play nice
for appearances, but their past and their
hatred for each other soon springs to the
surface.
Gilda is an intelligent film and a film of
technical significance with Vidor creating a
consistent tone and mood through unique
scene framing. Sidney Lumet once remarked
that he didnt much care for the use of
camera zooms in cinema; well Gilda is the
opposing argument. Vidor decorates the film
with sumptuous zooms that scream talent.
Gilda must be praised for its little use of score;
instead Vidor focuses on character gestures
instead to tell the story. When there is score
however, it is not obvious and didactic, but
rather cool and sultry and is the type of
music that directors of the French New Wave
wouldve been more than happy to use in

their own films. The costumes sparkle and

Rudolph Mates cinematography glows with
glory. Theres one marvelous scene where
Mate shoots George Macready in complete
shadow, making him look like a noir ghost.
Despite its overall effectiveness, there are
some blunders along the way, most notably
in the final act. The story for the most part has
the beautiful simplicity of a well crafted short
story but then suddenly becomes complex
and overweight, like an unpublished amateur
novel. There are just too many turning points
in the final moments.
Gilda focuses on human flaws played out
under the cover of glitz and glamour. Vidor
lingers on his characters expertly, forcing
them to reveal their true selves. It is a film
that somehow manages to be both of its
time and ahead of its time. It is a film of iconic
moments, no more iconic than Hayworths
two contrasting performances of Put the
Blame on Mame, which just have to be seen.

MURDER MY SWEET
The first image in Murder, My Sweet is that of
a light bulb, giving us the hope that maybe
this is a film of bright ideas. We immediately
meet Chandlers Phillip Marlowe (Dick
Powell) as hes interrogated by the police. The
interrogation room is engulfed by darkness
giving us some of the most breathtaking use
of shadow cinematography in all of cinema.
Jean Renoir was so impressed with Harry J.
Wilds cinematography that he hired him to
shoot The Woman on the Beach.
Marlowe is in the middle of telling the story
of how he came to be temporarily blinded.
Dmytryks camera then looks out of the
window onto a sparkling Los Angeles strip, a
night exterior shot to rival those of Broadway
and Times Sq in Sweet Smell of Success. Were
now back in time and looking in through
the window of Marlowes office. Inside,
Marlowe sees Moose Malloy (Mike Mazurki)
standing behind him in the reflection of his
window, again another genius shot from the

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cinematographer. Not too long after, we find

ourselves on a job with Marlowe. Marlowe
treks cautiously through a secluded wooded
canyon, theres the sound of a twig snapping,
he turns and its that old movie adage of a
deer and not a man with a gun. Despite this
awful clich its still utterly intriguing, but
somewhere in between the introductions
of phony reporter Ann Grayle (Anne Shirley)
and Claire Trevor, who played the femme
fetal Helen Grayle, everything that was
intriguing and compelling gets lost in foggy
weather and becomes all but a rumor, just
like the disappearance of Glenn Miller in the
very same year of the films release.
One of the main problems restraining Murder,
My Sweet is Dick Powell. A perfectly fine actor
yes, but he has one major disadvantage,
hes not Humphrey Bogart (Bogart played
Marlowe in Howard Hawks The Big Sleep).
He may however though, fit the bill of a
private detective better than Bogart. Powells
face is nondescript; he disappears into
backgrounds.
He easily passes as the guy at the bar who
you pay no attention to but whos been
following you all night. Then again, Bogarts
weathered looks can tell a story better than
most screenwriters. Where Bogart was
flamboyantly charismatic, Powell was the
complete opposite, in Murder, My Sweet hes
dull and instantly forgettable.
And now we get onto plot. Like most films
steaming from the works of Chandler it
becomes death by plot suffocation for the
viewer. Roman Polanskis Chinatown, still
remains to this day the greatest plot/mystery
noir of all time. Why? Because its a wonderful
marriage of plot and character. Here, all we
get is plot, plot, plot, plot, plot, plot, plot,
plot, and messily handled plot at that. Simply,
take away plot and this film would cease to
exist, and so too Chandler for that matter.
There are some good things along the way
mind, Ive mentioned the cinematography
but its worth mentioning again. Theres just

something about black and white, and men

in sharp suits, and women in glamorous
gowns, and cigarettes, plenty of cigarettes,
that looks so beautiful on screen, and Wild
captures this beauty better than most.
Theres also a wonderful dream sequence,
where we see Marlowe falling through the
vast blackness. A sequence where Dmytryk
manages to capture the insecurity and the
vulnerability of the dream state, only to
almost go and spoil it by then covering the
camera lens in cobwebs, which just looks like
a cheap amateur trick.
Dmytryk does manage to create a world
that is cynical and interesting; a world of
blackmail and humans as islands, but even
that becomes tainted with the final scene
that can only be described as a Hollywood
cop out. The direction from a technical
standpoint also follows a similar pattern.
After a promising first act, the camerawork
then becomes tepid and mild and littered
with reaction shots straight out of the
Directing for Dummies book.
The great American short story writer
Raymond Carver once wrote that he didnt
much care for tricks in stories. Murder,
My Sweet is one trick after another, but as
viewers weve already seen whats behind the
magicians curtain.

OUT OF THE PAST

As viewers we know immediately realize that
were in good hands, opening with a car shot
like no other with the camera on the back seat
of a moving convertible, Tourneur is telling us
were going to be taken for a cinematic ride.
Its clear from the off that this is a film noir
all on its own. Were greeted with greenery
and mountains and wide open landscapes
which gives the film an authenticity missing
from studio back lot noirs (Later Tourneur will
frame a shot with the steep San Francisco
hills and the Golden Gate Bridge as the back
drop). Out of the Past is told almost entirely

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in flashbacks and voice over, but Tourneur

manipulates time so well that the film feels
like its constantly moving forward rather
than back, just like Harold Pinters Betrayal.
A cinematic technique which culminates
in a shot of Jeff Bailey (Robert Mitchum)
sitting alone at a Mexican bar, where in
one continuous take, Tourneur pans from
Mitchum at the bar to Mitchum sitting on the
other side of the room to demonstrate the
passing of time. But before that moment of
genius, were in a moving car with Jeff and his
girlfriend Ann (Virginia Huston). Opening in
a two shot, Jeff delves into his murky history,
the camera pushes in onto his face and were
suddenly into the past.
Jeff tells the tale of his former life as a private
investigator in New York where he was hired
by Whit Sterling (Kirk Douglas) to track down
his girlfriend Kathie Moffat (Jane Greer) who
apparently shot him on her way to stealing
$40,000. The two shot in the car of Ann and
Jeff is significant because it demonstrates the
subtly in acting that is so evident throughout
the film. Virginia Hustons face remains
almost expressionless and her feelings are
kept inward as Mitchum recalls his history
which he long hoped to forget.
Like most of his films, Mitchum ends up
playing Mitchum and the film is better for
it. Mitchum was always fearless when it
came to letting his own personality shine
through, he never hid, and his performance
here highlights why he was so popular and
so successful, we see his wit, his charm and
the demons behind his eyes. Jane Greer gives
a complex and misleading performance; we
never know which Kathie will show up from
one scene to the next, whilst Kirk Douglas
ranges brilliantly from a cunning Cheshire cat
to a tough no blinking gangster.
Tourneurs subtle direction helped bring
these wonderful performances to the
forefront of the picture. As a director he was
less interested in surroundings and more
interested in characters, thus evident in the
vast majority of his scene framing, and for

better or worse (I think worse), the film is

void of any symbolism that populates the
noirs of Fritz Lang. The realism in the acting
marries well with the realistic dialogue.
The characters talk slowly and normally
with the occasional thought provoking one
liner thrown in for good measure. This all
comes as a relief compared to the frenetic
and frantic dialogue that engulfed the noirs
that steamed from the works of Raymond
Chandler.
Jeff says at one point, Nothings any good if
you cant share it. Out of the Past can today
be seen as an expansion on the hardboiled
novels of Chandler and James Crumley. The
film is philosophical with a strong humanistic
edge and is taken to another level by
the sharp black shadows of the moody
cinematography. The majority of Tourneurs
camerawork here however is unimaginative
as he employed a mostly static camera
that seems almost lifeless compared to the
camera of Max Ophuls in his film noir, The
Reckless Moment, released two years later.
The score is sometimes overwrought and
soppy but there is a nice balance between
plot and story, though occasionally plot takes
over and Tourneur briefly loses control of the
reigns.
Tourneur has to be commended for a
wonderful use of silences, most notably
exhibited in a sequence in a San Francisco
apartment where Jeff attempts to hide a
dead body. Tourneur spreads the action out
sporadically and gives the characters space
to breathe.
The most notable action sequence is a fist
fight between Mitchum and Steve Brodie
that is worthy of Raging Bull.
Mitchums Jeff encapsulates the general
tone of the film brilliantly. Hes mysterious,
melancholic and shelters himself from the
above cloud of doom with an umbrella of self
denial, but deep down, like most noir antiheroes, he knows he cant escape his own
fate, or his own past.

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SECRET CINEMA

by Amanda Ford

BACK TO THE FUTURE FINISHES WITH OVER

75,000 ATTENDED CHANGING THE WAY
AUDIENCES EXPERIENCE CINEMA

ecret Cinemas Back to the Future

was a truly amazing experience, and
exceeded my expectations on every
level. The recreation of Hill Valley was
wonderful, the cast was outstanding, the bands
were terrific, and the enhanced presentation of
the film was awesomeMy hat is off to Secret
Cinema for pulling off this glorious, magical
tribute! Bob Gale
Secret Cinema broughtRobert Zemeckis,Back
to the Future back to life in the Queen Elizabeth
Olympic Park, Stratford from the 31st July to
the 31st August 2014 with an audience of over
75,000, making this the biggest live cinema
event of its kind to date.
The audience, having left their mobile phones
at the door, entered Hill Valley through Otis

Peabodys ranch and became residents of a fully

functioning town, exploring over 20 shops
created from the film including Lous Caf, a
suburban street, the High School featuring the
famous Enchantment under the Sea Dance, Dr.
Browns mansion and a massive reconstruction
of the Town Hall with its famous clock tower.
The film was screened on the wall of the Town
Hall with the world coming to life around
the audience in the central green 80 actors,
several vehicles, including 2 Deloreans, and a
series of stunts created a magical atmosphere.
Audiences stepped inside this world from
the moment they bought a ticket, registering
on an especially designed website, www.
hillvalleycalifornia.com, where they were
each given a new character, had access to a

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Universal Film
Issue 13 - 2014

telephone and left over 100K answer phone

messages. As part of the pre-event narrative,
the audience could visit Secret Cinemas popup vintage store and caf, The Hill Valley
Stores on Hackney Road, London. The town
of Hill Valley had its own live radio station,
a broadcasting studio where the audience
produced short films, a functioning print
press and newspaper, as well as Mr. Peabodys
farm, complete with live animals. Three live
music stages hosted over 20 bands with guests
including Jarvis Cocker, Alex Kapranos of
Franz Ferdinand, Happiness, Ekhah, Money
for Rope and Avecsans.
Secret Cinema engaged a cast of 74 actors with
200 members of crew to build Hill Valley. Over
40 of the crew were employed as part of the
Newham Workplace scheme, as part of Secret
Cinemas local recruitment initiative. Over 20
different food stalls brought the taste of 1950s
America to the audience and the four main
bars provided bespoke cocktails to fit in with
the mood of the film.
Secret Cinemas biggest experience to date
has reinvented the way audiences experience
Cinema whilst catapulting the film back into
the Top Ten box office, for the first time since
its original release in 1985. Customers affected
by the cancellation of the opening weekend
were offered to reschedule or obtain a refund
on their tickets, and those eligible to travel

on Virgin Trains were offered complimentary

train tickets to travel back to Hill Valley at a
later date, courtesy of Virgin Trains.
Bob Gale, the films writer, visited the show
on several occasions during a trip to the
UK, and says: Secret Cinemas Back to the
Future was a truly amazing experience, and
exceeded my expectations on every level. The
recreation of Hill Valley was wonderful, the
cast was outstanding, the bands were terrific,
and the enhanced presentation of the film was
awesome. And lets not forget the audiences:
they were fabulous, and their enthusiasm, love
and passion for the film pushed everything
over the top. I had an absolute blast all 3 times
I attended, and I cant imagine a better way
to kick off the films 30th Anniversary. My
hat is off to Secret Cinema for pulling off this
glorious, magical tribute!
Fabien Riggall, Founder and Creative Director
says: We looked to build the most epic
and detailed experience of this classic and
wonderful film. I feel we have delivered this
and reinvented how films could be experienced
in the future. Audiences are looking for
something different; they want to be part of the
story and take part in an adventure through the
films and music they love. We shall continue to
push the boundaries of what we do to allow for
another way of experiencing culture.
Secret Cinema is making plans to launch

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Universal Film
Issue 13 - 2014

CBFF is an honest and transparent festival

QUALIFYING
BAFTA
CYMRU/WALES FILM FESTIVAL
The festival will be held in the coastal town of
Llanelli, Carmarthenshire in Wales, UK. 2015
will be its biggest year yet with submissions
flooding in from all corners of the world!
CBFF support the UFFO
remit of Best Business
Practices for film festivals
www.uo.org

Films judged by Industry Jury

Widely promoted Film Festival
Committed to transparency
BAFTA Cymru Qualifying Festival

TEL: + 44 (0) 2921 28 0162 | admin@carmarthenbayfilmfestival.co.uk | www.carmarthenbayfilmfestival.co.uk

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Universal Film
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THE $1.5 MILLION MOVIE

THE FILMMAKERS NEW EQUATION
FOR BIG SUCCESS!
WRITTEN BY: NEIL GORDON
the way we entertain. More important, this
began the melding of the movie and TV
businesses into one industry, with both media
competing for the same mega-dollars....And It
All Revolved Around One Huge TRILLION
DOLLAR Discovery About Human Nature:

ntil Just A Few Years Ago... the movie

and TV businesses were, by every
standard, very separate and quite
different industries. Movie people shot
features on film, edited them by hand, spent
an average of 20 to 80 million dollars per
project, and took one to two years to complete
each film. Television, on the other hand,
was run like it had been from its inception-like the old radio networks of the 1940s. TV
was produced quickly and comparatively
inexpensively while film was slow and much
more costly. But the revenue streams were
different for each so profits were made, and the
economics of each industry worked out..
Eventually, The Inevitable Began To Occur.
As technology progressed, new forms of
distribution entered the market, and virtually
all of them encompassed both film and
television. DVDs, blu-ray, cable, satellite,
tablets, smart phones, etc. The new products
released in the last ten years comprise a
revolution, and have irreversibly changed

Film industry executives, who long worried

that the public wouldnt go to the theater if
they could watch the same movie at home,
have now learned something astounding. The
public not only still flocks to theaters to watch
movies, they also buy the same movies on
DVD, blu-ray, and cable and Netflix! The same
applies to TV. People who watch their favorite
television shows on live TV still clamor to buy
the same shows from all the various outlets,
purchasing boxed sets of everything from
Seinfeld to National Geographic. Over night,
start-up ancillary businesses, exploded into
mega-industries generating huge revenue
streams and opening new markets for more
products to utilize. As quickly as technology
is progressing in distribution, its moving even
faster and more dramatically in production!
Technology also fused the movie and TV
industries together when, for the first time in
history:
MOVIES --that had previously been edited
by physically cutting the film. AND TV --that
had previously used magnetic tape transfer
to edit... BOTH - began editing on the same
systems (AVID and FCP. )
What finalized the fusion of the two was when
movies, which had always been shot on film,
and television, which was principally shot
on tape, both abandoned those mediums
for digital format. Now, for the first time,
the same technology currently supports

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BOTH industries -- but strangely, the film

industry is still doing business based on their
old economic models. Though now movies
are produced using new state-of-the-art
technology, capable of much faster production,
they are still moving at their old outdated, slow
time frames with expensive production costs.
THE NEW REALITY IN MOVIES:
Now, you can create and shoot a full quality
feature film on a television timetable and
budget, and release it theatrically in direct
competition with a film costing millions of
dollars more. Additionally, these mega-million
dollar movies with their huge advertising
budgets, attract large paying audiences to
their theater complexes which simultaneously
play your low budget film. Giving you the
opportunity to receive the same revenues as
the mega-million-dollar film.
The major studios have a history of ignoring
economics when they smell profits, which is
why they limit their own profit potential. Take
the movie Paranormal Activity which was
independently produced for under
$1million. It was bought by DreamWorks/
Paramount which, according to the producers
published press notes, originally planned to
shelve the low-budget film and re-make it with
bigger stars and a much higher budget.
Then pressure from the producers caused
them to acquiesce to a small release. With
social media, word of mouth spread, the movie
caught on and, to date, the film theatrically has
generated $194,183,034.00.
The movie studios first instinct was to try to
re-make the film and drive their own costs
up, rather than how to make the biggest profit
with the least risk. Creating quality work for
less and targeting your best customers is a
plan thats foreign to Hollywood, but its now
time they start exploring that plot line. Studios
used to be able to sell tickets and DVDs even
for duds. Now social networks and fan sites
ensure that bad reviews spread quickly, sinking
a films reputation faster than a director can
shout cut! When costly movies flop, the
losses are scary. As widely reported in multiple
read magazines, Disney took a $160 million
dollar write-off after the failure of John

Carter,a confusing space adventure. Lets look

at business as usual in the film industry, to
better understand how costs inflate. Today
to shoot, edit, score and complete a feature
length script for a live-action, minimal special
effects film like When Harry Met Sally,
before adding all the Hollywood Extras, it
would cost an experienced, budget conscious
producer, about $1,500,000.00.
That same script, shot as a mainstream
major studio film, with all the Hollywood
Extras would increase by approximately
$40,000,000.00.
Why? Lets look at just
some of the published A-List rates for these
Hollywood Extras.
BEFORE PRODUCTION:
Rights- An already successful book, play, video
game, etc. $500,000.00 - $2,000,000.00
Script Writer: $250,000.00 $ 5,000,000.00
Director: $500,000.00 - $10,000,000.00
Big Name Talent: $10,000,000.00
$20,000,000.00
But those large numbers dont even begin
to cover the ripple effect they trigger during
production and beyond. Lets look closer at
each of these and you can see how they escalate
a films cost into Mega-Ridiculous!
DURING PRODUCTION
Story Rights ($500,000 - $2,000,000.00) is
just the upfront money. Add to that profit
participation, plus a guarantee to have
approval of certain elements in the production
of the movie, and youve not only just added
possibly several million dollars to the basic
budget, youve also added costs by slowing
down the entire production schedule. Script
Writer Double the above as all of it applies to
the writer as well!
Director: When you place a top director in
control, there is a mistaken belief that, the
more time and money used, the better the film.
That misconception has cost Hollywood more
wasted dollars than any other single element of
movie making!
Talent: Star power can enhance pre-sales and

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Issue 13 - 2014

stimulate interest in a film, but aside from the

Mega-Millions it adds to the cost of the film
in salaries and percentages, every time you put
another big name in front of your camera, you
have to add their personal (and inevitably much
higher priced) makeup, hair, and wardrobe
people. In addition to drivers, more expensive
meals, longer shooting schedules with shorter
days, all kinds of costs that inflate and distort
your films budget, but have nothing to do with
the hard mechanics of making your film-except for the fact that all the crew and other
cast members add the same grossly inflated
hours to their time cards as well!
So, if you add the potential pre production
costs, along with the inflated additional crew,
support, and scheduling costs, its not hard to
see how the film made today can run
$40,000,000.00 to $60,000,00.00 and its also
not hard to see that the same script can be
made into a competitive theatrical feature film,
and enjoyed by a huge audience, much less
expensively.
Remember that Mistaken Belief I mentioned
above? (The more time and money, the better
the film.) The opposite is true. The less time
and money you have, the more prepared a
director has to be in advance, the more he has
to visualize and lock in BEFORE he ever gets
to the set. THAT TYPE OF PRE-THOUGHT
AND ATTENTION TO DETAIL IS THE BEST
CHANCE A DIRECTOR HAS TO ACHIEVE
A HIT MOVIE, and its the best chance todays
filmmakers have at cashing in on the next big
wave of success. But beware, it takes skill and
experience to prepare and deliver a Hollywood
quality film on a shoe string budget. Here are
some of the tricks of the trade for lowering your
budget without compromising the production;
USE PRACTICAL LOCATIONS STAY AWAY
FROM SOUND STAGES AND STUDIO
BACKLOTS. Instead of building an apartment
set use a real apartment. This saves thousands
of dollars.
USE UNKNOWN ACTORS. Hollywood is
filled with terrific actors, most of whom will
never get the opportunities their talents merit.

These actors are plentiful and very affordable!

American Graffiti is a great example both of
the above. It was all shot on
location in Stockton California. They used
primarily unknown actors, many of whom
went on to become box office stars.
NEVER PAY RATE-CARD FOR YOUR
PRODUCTION EQUIPMENT
All rental houses have rate cards they
prominently display in their literature and on
their wall. Most people just assume those are
the prices and pay them. If youre renting for
more than a day, virtually all will be willing to
negotiate a reduced fee and were
not just talking about chump change here!
Charging a client for a 2 day rental then giving
them the rest of the week at NO CHARGE is
very common.THIS SAVES THOUSANDS
OF DOLLARS!
PRE-PLAN EVERYTHING! DONT CREATE
WHEN YOU ARE SHOOTING. Very
Important- when you are shooting a movie,
you are executing a business plan. Know
EXACTLY what you are going to do and get
it done.
MAKE SURE THE SCRIPT IS RIGHT FOR
THE TYPE OF PRODUCTION YOU ARE
ATTEMPTING. For low budget productions,
I like comedies. A good comedy is box
office gold. If a script is genuinely funny,
the characters fresh, and you can make
the audience laugh, for a budget of under
$1.5million, youve got all the elements for
success!

MM

oney
agazine
M
Movie
www.moviemoneymag.com

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Issue 13 - 2014

IBC-2014
Wowza Shares Benefits of Cloud-Based Video Streaming
at IBC2014 and Announces Expansion of Partner Program

ice President of Product Management

Mike Talvensaari and Senior Product
Manager Philipp Angele are among
the video experts from Wowza Media Systems,
presenting at IBC2014 set to take place
September 11-16 in Amsterdam. The session
will discuss how cloud-based streaming
solutions enable broadcasters and content
creators, like Camcast, to reach their audiences
through relevant streamed content.
Media and entertainment broadcasters are
challenged to engage growing audiences
with high-quality video content both
live and on-demand. Today, cloud-based
streaming solutions have streamlined the
process bringing affordability, scalability
and reliability to broadcasters. Wowza video
experts will share how customers are using
the cloud to efficiently broadcast to their
audiences through relevant streamed content.
In addition to presenting during IBC, Wowza
also announced a new partnership with JVC,
developer and manufacturer of professional
video camcorders. JVC joins the Works With
Wowza partner program, expanding the
ecosystem to include video capture sources.
Together, JVC and Wowza will give content
creators the ability to instantly stream video
from live events including breaking news,
corporate events, concerts and sports. With
streaming capability built into JVC professional
camcorders, joint customers can now stream
over both LTE and Wi-Fi networks, providing
powerful live video experiences while on the
go. Wowza is an industry leader in streaming
technology and we are pleased to announce
integration between JVC cameras with

streaming capabilities and Wowza Streaming

Engine server software, said Edgar Shane,
GM Engineering at JVC Professional Products
Company. Through this partnership content,
creators can bring live video to end users
anywhere, on any device. This opens up new
opportunities for content development, as
broadcasters are able to deliver real-time video
directly to their viewers. As a result of this
partnership, joint customers will experience
tighter integration from camera to streaming
server, so those who want to transmit content
directly from their professional cameras can
easily connect to Wowza Streaming Engine
server software.
Broadcasters and other content creators can
now economically transmit high-quality HD
video from wherever they are to broadcast live
on the air or online. JVC is associated with the
very best in video technology, and were pleased
to partner with them to transform live event
experiences, said David Stubenvoll, CEO and
co-founder of Wowza Media Systems. The
demand for live video streaming is growing,
and end users expect to see high-quality, realtime video, and this partnership helps deliver
on those expectations.
The Works With Wowza partner program
simplifies streaming by providing customers
with tested, integrated, and supported endto-end streaming components. Works With
Wowza partners provide industry-leading
technology needed for robust, flexible and
scalable streaming to any device. For more
information on Wowza Media Systems and
their solutions, visit www.wowza.com.

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Universal Film
Issue 13 - 2014

THE HOUSE THAT

LATINO LOVERS
BUILT
by IDA ALWIN

DA ALWIN is a Los Angeles-based

Producer of the film, THE ART OF
LIVING, starring Jimmy Smits, Edward
James Olmos and Efren Ramirez. In this
article, she explores how independent film
can rally a floundering domestic US market by
doing what it does best.
This year the Hispanic population became
the largest ethnic group in California. This,
of course, is no surprise. The US has steadily
been going through a relatively rapid period of
Latinisation, everything from Food, clothing
and news through to politics are being
influenced by the USs Hispanic population
and culture. The entertainment industry has
fallen short in mirroring this dynamic social
shift, possibly to its own detriment at time of
great flux and uncertainty. A study by the USC
Annenberg School for Communication and
Journalism found that Hispanics represent less
than 5% of all speaking roles on-screen, and
with more and more US Hispanics itching for
content that is relevant to their experiences, the
entertainment industry is failing to service this
all important and growing domestic market.
Not only that, but they are managing to do it
against all the odds.
Hispanics have a considerable online presence.
As a general rule of thumb they utilize social
media to a greater extent than non-Hispanics.
Pew Research put the number of Hispanic
adults online at 80% vs. 72% overall for the
country. In addition, Hispanics spend more
time online so it follows that as a group they
are twice as likely to click on and share content.
This considerable and continued growth of an
online Hispanic presence can be accredited
to the fact that social media lends itself to the
word-of-mouth approach that defines Hispanic

consumerism. For an industry like film, which

is going through a digital renaissance of its
own, Hispanics are a key focus for the online
marketing of goods and services, and so they
should be. Studios and media outlets are not
completely blind to this extraordinarily active
market, and there have been many bespoke
online initiatives, such as Fandango Cine,
an online ticketing service playing host to
content pertaining to new film releases aimed
specifically at Spanish speakers. These kinds
of platforms aid in the continued success of
traditionally well performing products such as
animation blockbusters, which are known to
attract Hispanic audiences specifically because
of their appeal to the whole family.
Despite these efforts in targeted promotion
and the fact that Hispanic moviegoers makeup
25% of all ticket sales at the box-office, there
is still something missing in the approach
to capitalise on this continually growing
market. The big white piata in the room is
that the product being pushed out there is
conspicuously lacking in the Hispanic talent
area. This is very strange indeed, as we can
see from reports as far back as 2011 that there
would be a demand for something meaningful
in the dramatic Hispanic realm.
Back then The Maximo Report revealed that
50% of New Generation Latinos want to see
their lives, entertainment interests and issues
authentically represented. It would seem that
no serious attempt has been made by the film
industry to engage this demographic outside
of the catchall strategies already working for it.
What is fascinating is that this is a demographic
that repeatedly oversamples in movie-going
versus their population proportionally, and
yet Hollywood is doing very little to court the

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Hispanic footfall with consequential content.

To put this in a historical context, content
aimed specifically at Hispanic audiences has
been difficult to hone due to the heterogeneous
nature of the Hispanic and Latino communities
in the US. Politically, socially and culturally
first-generation Hispanics and Latinos
identified with their country of origin rather
than a generic Hispanic culture, which
naturally led to stereotypical and generic
representations of the community. Outside
of the stereotypes, studios stayed away from
developing any strategy that would attempt to
cater seriously to this fractured demographic.
Investing in indefinable audiences goes against
the grain of successful marketing 101. But
with the advent of a New Generation Latino,
a second generation of Hispanics who are born
in the United States to one or both immigrant
parents, this previously unmarketable group
suddenly became an ideal consumer group:
Young, bi-lingual, tech-savvy Americans with
a disposable income and vested interest in their
ethnic roots. Commercially, Hollywood had
an in.
The continued reluctance to engage on any
meaningful level with this demographic has not
gone unnoticed. One area the industry seems
to be doing very well is in garnering criticisms
from the media on their portrayal, or lack
thereof of Hispanics on and off screen. Among
other things, the media have recently reported
on studies that reveal that in addition to very
little on-screen representation, the Hispanics
that are featured are more likely than their
non-Hispanic counterparts to be portrayed
partially dressed, nude and/or sexualized.
Hispanic actors complain that the only
substantive roles offered are parts playing the
struggling illegal immigrant or maid. This
does nothing to improve upon the stereotype
of yesteryear and besides which doesnt these
days perform particularly well at the box
office, which begs the question why we still
see these caricatures developed at all. Even
when doing the rounds in the development
of our own film THE ART OF LIVING, a
film with a lead Hispanic protagonist who is
not a) illegal, b) an immigrant, or c) dancing

and / or partially clothed, we were repeatedly

told by studio executives that our true-story
drama would be too complex for Hispanic
audiences.
So whats next for an audience
that is telling the entertainment industry that
they no longer want patronizing storylines and
stock characters? There is a possibility here
that the disconnect between the consumer
and producer lies in the nature of the corporate
complex. Studios are like giant super tankers
that require 6 miles to come to a complete halt
and change is slow for corporations that can
only evolve by committee. Navigating longestablished hierarchies and political nuance is a
task in itself that must be successfully executed
before any change can even be debated. To
expect these entities to react in a significant
and timely way outside the parameters of
established corporate strategy is unrealistic.
Evolving past stereotypes so embedded in US
popular culture could mean sticking it out for
a mile or so it takes for these super tankers to
change course.
Independent film, on the other hand, has a great
tradition of unearthing the new and embracing
the unexplored. There is a reason the late 90s
sparked a shopping spree by conglomerate
media corporations for independent film
studios. With their turn on a dime ability to
tackle provocative subject matter and bravely
employing emerging talent to do it, they were
the frivolous proxy sent out to engage a market
that was looking for something to challenge the
studio conventions. From the movement that
brought you Matt Damon, Jennifer Lawrence
and Jake Gyllenhaal, Clerks, Sex, Lies and
Videotape and Reservoir Dogs, its time for
yet another innovation and renovation of the
broken elements of this barrier to enlightened
entertainment.
The U.S. Census Bureau projects that by 2025
nearly three-in-ten children in the US will
be of Hispanic ancestry. Couple that with
an industry that is having to look to foreign
markets to make up the shortfall in the
domestic one and you get an equation that is
hard to ignore. Being out of touch in the age
of technology and information will have dire
consequences for those unwilling to adapt.

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Alan Parker, guest of honour at

the BRUSSELS FILM FESTIVAL

he 12th BRUSSELS FILM FESTIVAL

took place from the 6th to the 14th of
June, 2014 at Flagey and Cinematek.
After the success of the previous edition, the
festival, under the guidance of Ivan Corbisier,
worked hard to provide the audience this
year with an even more prestigious edition.
The look of the festival has undergone a
facelift with a new site, a new logo and new
posters. The programming was dedicated
to European films, premieres, retrospectives
and several discoveries, but also with cineconcerts, meetings and exhibition. After the
French filmmaker Bertrand Tavernier, last
year, the Brussels Film Festival was delighted
to receive an equally prestigious guest this
year: the English director Alan Parker!
The Brussels Film Festival pays special
attention in its program to music, with our
cine-concerts and meetings devoted to
music in cinema. So it is with great joy that
the festival may welcome this filmmaker, who
successfully connects music and cinema.
Alan Parker will open the festival on Friday,
June 6th at Flagey. The next day, he gave a
lecture on film at Flagey and an evening
masterclass in Cinematek.
Screenwriter, director, producer and
composer Alan Parker (London, 1944) made
his first feature film in 1976, the famous
BUGSY MALONE, a parody of gangster
movies played by children, including ...
Jodie Foster. The film was presented in the
official competition in Cannes, received two
nominations for the Golden Globes and
won three Bafta Awards. Two years later he
scored again with MIDNIGHT EXPRESS, the
tragic story of an American tourist who is

imprisoned in Turkey for drug possession.

This film competed in Cannes, received two
Oscars, and 4 Golden Globes/
In 1980 Alan Parkers FAME, an American
musical film that soon gained cult status, was
crowned with two Oscars and nominated for
a Cesar for Best Foreign Language Film. In
1982, he paid homage to one of the greatest
rock bands of all time with PINK FLOYD THE
WALL, based on a screenplay by Roger
Waters himself. That same year, he shoots
SHOOT THE MOON, a drama outstandingly
played by Albert Finney and Diane Keaton.
Two years later, the British filmmaker returns
with the cult film BIRDY, with Matthew
Modine and Nicolas Cage. It was praised for
the unforgettable soundtrack written by
Peter Gabriel and was awarded the Grand
Prix du Festival de Cannes in 1985. In 1986,
he made ANGEL HEART, a fantastic thriller
in which Mickey Rourke performs one of his
best roles alongside Robert De Niro. Two
years later he directs MISSISSIPPI BURNING,
an American thriller about the Ku Klux Klan
for which Gene Hackman won a Silver Bear in
Berlin for Best Actor and an Oscar.
www.brusselsfilmfestival.be
www.brff.be

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Universal Film
Issue 13 - 2014

NATPE EUROPE ANNOUNCES

POLISH PROGRAMMING FOCUS

ATPE||Content First President and CEO

Rod Perth today confirmed plans to
turn the spotlight on Poland and its
diverse television industry in a Showcase
event at the upcoming NATPE||Europe.
The event will place specific focus on the
outstanding television programming being
produced in the region alongside Polands
fast growing and fiercely competitive
TV landscape. With 80% of homes now
accessing pay TV via cable or satellite and
more than 20 DTT channels available, Poland
is now one of Europes largest TV markets.
Sponsored by leading Polish companies TVN,
ATM Group and Monolith Films, the spotlight
on Poland will take place at a Showcase event
on Wednesday, June 25 at the Cloud 9 Sky Bar
& Lounge at the Hilton Prague Hotel. All three
sponsoring companies will also participate as
exhibitors in the Polish Programming Pavilion
on the NATPE||Europe Market Floor.
Rod Perth commented, This is another clear
example of our commitment to supporting
and promoting the program industry in
Europe. With DTT and VoD making gains,
local films and shows are now the primetime
schedule drivers of Polands largest channels,
with localized formats the mainstay of
entertainment output along with factual
entertainment and scripted reality. The
growth and development of Polands TV
industry represents a host of opportunities to
the international market alongside a wealth
of valuable experience for its neighboring
regions and were delighted to present this
must-attend event in Prague.
TVN continues to successfully expand its
prosperous portfolio of locally developed
productions, as well as renowned global
television formats adapted domestically.
Therefore, we are glad to have the
opportunity to bring our impressive
accomplishments closer to the worldwide
television community and all event attendees

at NATPE||Europe, said Piotr Korycki, TVN

Management Board Member.
Selling formats is the primary goal for
ATM Group at NATPE||Europe in Prague.
However, with the increasing quality
of local Polish production and growing
interest in this part of Europe, we believe
that finished programming from Polish TV
is now increasingly in demand, continued
Andrzej Muszynski, President & CEO,
ATM Group. Some of our current new
productions, commissioned by HBO Europe,
FOX International Channels or Discovery
will be distributed internationally. We are
also looking to move into multinational coproductions where, with shared costs across
all parties, high-quality series with strong
talent can be created in the region. Due to
strong production values and internationally
renowned filmmakers and stars, Polish movies
have outperformed locally, and they are now
poised to bring quality entertainment to
foreign TV markets, says Mariusz ukomski,
president and founder of Monolith Films.
NATPE||Europe is set to launch for the first
time in Prague where the facilities of the
Hilton Prague Hotel will enable the market,
screenings, special events, networking and
social events to take place under one roof.
NATPE||Europe replaces NATPE Budapest the
long running event which was previously
known as Discop and offers buyers and
sellers throughout Central and Eastern
Europe an opportunity to meet in a relaxed
atmosphere.

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Issue 13 - 2014

DPA Microphones
DPA Microphones Appoints Direct Imports as Its New
Zealand Distributor

PA Microphones is pleased to
announce the appointment of Direct
Imports as its distributor in New
Zealand.
Established in 1946, Direct Imports is a
leading importer and distributor of consumer
electronics, musical instruments and pro audio
products. The company is focused on providing
outstanding support and service to customers
and to its dealer network throughout New
Zealand.
We are delighted to have been appointed
the New Zealand Distributor for DPA
Microphones and honoured to have this
outstanding brand join our portfolio and
complement our current range of pro audio
brands, says Brett Dallas, Managing Director
of Direct Imports. DPA Microphones is a
natural fit to our existing product range and
a leader in its field. We are extremely excited
to be able to offer the DPA microphones range
to our existing customers and equally excited
to welcome the new opportunities that this
brand brings to our company in other sectors
of the NZ Market. We are focused to grow
the DPA brand and provide outstanding sales
and service support to existing and new DPA
Microphones customers in New Zealand.

Ken Kimura, DPAs general manager for the

APAC region, says: Direct Imports were
the obvious choice due to their extensive
distribution network in New Zealand and
their professional approach to client service
and support. Furthermore, our array of quality
condenser mics for body worn, vocal and
instrument applications, whether on stage or
in the studio, was a great fit with the brands
they already represent.

The appointment of Direct Imports signals DPA

Microphones continued commitment toward
growth and customer service throughout New
Zealand. From its headquarters in Hastings,
Hawkes Bay, Direct Imports will carry a full
stock of DPA products for live, recording and
broadcast applications.

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Issue 13 - 2014

Suitcase TV - IBC 2014

showcasing integration and workflow capabilities at IBC

uitcase TV, a leader in media asset

management and compliance logging
will be demonstrating a wide range of
its products at IBC 2014 where the company
will be in hall 2 at stands C10 and C15. Besides
MediaStor, Suitcase TVs MAM, the company
will be exhibiting its Aqua series of software
modules, including TrakStak, MetaGenus,
and ShotLogger. Organisations involved in
live broadcasting will be interested in iphrame
Vision; a simple and easy to use software-based
video mixer that enables the user to make
simple edits and apply effects to an incoming
stream prior to output to an outgoing stream
with no managed delay. In addition, Suitcase
TV will demonstrate the ease with which its
products integrate with third party products
such as Vidcheck.
MediaStor is right at the heart of Suitcase
TVs product offering, organising media on
multiple servers, irrespective of physical or
geographical location, within a virtual file
system that makes it easy to manage. As well
as cataloguing content, MediaStor records and
manages the media metadata. Both technical
and rich metadata is organised and stored

using a hierarchical metadata model that is

configurable and flexible so that it can fit any
organisation. Even the metadata set is scalable
allowing the MAM to evolve and grow as use of
the system increases.
Aqua is a range of client applications for a wide
variety of uses such as ingest, metadata tagging,
legal and/or technical compliance, adding or
synchronising audio tracks, and edit decision
list (EDL) publishing. At IBC 2014, Suitcase TV
will highlight several Aqua modules including
TrakStak, MetaGenus, ShotLogger, and Splice.
TrakStak facilitates the addition and
adjustment of audio tracks for broadcast. It is
not uncommon for additional audio tracks to
arrive after content has been ingested, meaning
each time a new language track arrives from
the dubbing house, another time-consuming
ingest must be performed. With TrakStak, the
new audio track is appended to the asset at up
to 80 times real-time, without the need to reingest the video.
MetaGenus
MetaGenus gives users the facility to edit

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Universal Film
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metadata associated with a programme or

series without having a view of the media. This
is useful for organisations to fill in information
about an asset before it has been ingested, or
where users dont need to see media to make
changes.
ShotLogger - As the name suggests, ShotLogger
is a tool that offers the ability to mark points
of interest in video, capture information about
those events and then store it all for future
use on a database. It is perfect for marking up
goals and penalties in football, crashes and
overtaking in F1 racing, speeches at political
party conferences, special events in newsgathering, flashing lights, as well as nudity,
violence, and profanities for film and TV
compliance.
Splice - Powerful but easy to use, Splice is ideal
for creating EDLs or for performing simple
edits of video content. Because it is a desktop
application, performing pre-edits using Splice
reduces the cost of craft editing.

At its stand at IBC 2014, Suitcase TV will

recreate an existing workflow and will show
how Aqua can simplify and automate a
given process. The workflow will highlight
integration with Vidcheck as well as the ease
of importing and exporting to and from
Avid. Language and promo workflows will be
showcased along with a variety of metadata
templates based on how other customers use
ShotLogger and MetaGenus.
iphrame Vision - There will be an iphrame
Vision workstation with Dektec card at IBC,
and visitors will be able to see demonstrations
in a variety of configurations based on the
markets for the products. These will include a
single input with a delayed version, a 2 camera
demo and a live event vision mix with 4 inputs.
Suitcase TVs stand at IBC - For further
information about Suitcase TV, email info@
suitcasetv.com, or call +44 1473 258251.

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Issue 13 - 2014

RYUJIN MABUYER
JAPANESE SUPERHERO COMES TO MALAYSIA

rom the highly successful and popular The story begins as our hero Andil, an
adaptation of Ryujin Mabuyer unsuspecting batik painter discovers that
emerges Malaysias very own original he has been chosen as the warrior and must,
superhero, Ryujin Juwara. Tokusatsu fans therefore, defend the peace and tranquillity
and fans already familiar with the
of Kampung Batik and the legendary
popular Japanese drama series will
Mabui Stones.
Super
not be disappointed with the thrilling
and action packed adventure of the
The young and talented cast of Ryujin
Hero
Malaysian adaptation Ryujin Juwara.
Export Juwara are made up of the best of
Malaysias rising stars. Iedil Putra that
Ahmad Izham Omar CEO of Media Prima
plays Andil, the main protagonist of the
Television Networks (MPTN) said, Were
show is famous on the local arts scene for
the first to bring this type of Japanese format his live performances and roles in a number
to the market, and I believe Malaysia is ready of local movies. Joined by his two other coto take our production to the next level with stars Faralyna Idris who plays his best friend
this series. Utilising our local talent, weve Maya and Ali Alasri that plays Shafiq, a fellow
developed a great Malaysian adaptation superhero that discovers his powers.
of the superhero Ryujin Mabuyer. He also
added that as the number one television The returning season brings on more
network in Malaysia, TV3 is always ready to cunning plots from the Majimun Army as
offer fresh and exciting content to meet the their plans grow every more distortedly.
demands of its audience.
Follow the action, drama and adventure
as we introduce new superhero Ryujin
The Malay TV drama series shot in both Gelora, who is none other than Maya and
Japan and Malaysia has been adapted for Andils friend Shafiq. Together they team up
the Malaysian audience. Primarily spoken to guard the Mabui stones that bring peace
in Malay, the series also offers a modicum and harmony to the land. Set in the beautiful
of the English and Japanese language. landscape of Malaysia and Okinawa, Japan,

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watch as Ryujin honours the Malaysian culture and

heritage and stands up for honour and justice against
the evil Majimun Army.
Ryujin Juwara is Malaysias first ever superhero drama
series, co-produced by Malaysian production house,
Double Vision Sdn Bhd with Japanese production
company, Yomiuri TV Enterprise Ltd and the Mabui
Stone Corporation. Yuichi Koyano, President of
Mabui Stone Corporation and Toshikazu Sugae, Vice
President of Yomiuri-TV Enterprise Ltd. Said, We are
excited about bringing Ryujin Mabuyer to Malaysia.
Fans can relate better to this local adaptation and
get more involved in the gripping storyline of the
tokusatsu.
Andil is an apprentice batik maker who is under the
tutelage of Tok Mantin. Every day he devotes himself
earnestly to his craft. Meanwhile, a hermit who lives
in a forest senses a crisis infringing Malaysia and
sends a message to the human world seeking a man
of valor who can overcome the crisis. At the behest
of the hermit, the hibiscus spirit Hibi sets out on a
journey to find a human who is able to understand
the hermits message. The Majimun army, villains
evolved from the animal kingdom, aims to steal
the Mabui Stones, which are symbols of Malaysian
culture and tradition. This is the crisis that the hermit
foresaw. The Majimun army manages to steal the
Batik Mabui Stone. As a result, the beautiful colours
of the batik fadeaway.
One day, Andil is attacked by Viper Jellyfish. Shiisa
puts a bracelet on Andil and a light appears in the
horizon. At this point, Andil transforms into Mabuyer,
the brave soul from Niraikanai. Mabuyer enters into
battle with the Majimun army at Okinawa and wins
an impressive victory. He exclaims, Now Im going
back to Malaysia to protect the village and the Mabui
Stones.
Having acquired Mabuyers power, Andil returns
to Malaysia as Ryujin Juwara and succeeds in
recapturing the Batik Mabui Stone from the Majimun
army. However, the Majimun army is not discouraged
by this loss and continues to steal other Mabui Stones.

REAL LIFE
STORIES OF
STRUGGLE
AND COURAGE
FROM
AROUND
THE WORLD

THIS IS OMAR, A TEENAGE

REFUGEE FROM SOMALIA.

A LIFE ON HOLD

IS A NEW FILM ABOUT

OMARS LIFE IN A REFUGEE
CAMP IN TUNISIA.
WATCH AT
AMNESTY.ORG/REFUGEES

CHILDREN OF
THE JAGUAR

AN INDIGENOUS COMMUNITY IN
THE AMAZON JUNGLE TAKE ON
THE COMBINED MIGHT OF THE
GOVERNMENT AND AN OIL
COMPANY IN ORDER TO SAVE
THEIR WAY OF LIFE AND THE
RAINFOREST THEY LIVE IN.

WATCH AT
BIT.LY/JAGUAR-TRAILER

Find out more:

avproduction@amnesty.org

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With over 25 years experience in color correction, DaVinci Resolve is the

worlds most loved high end color grading system! Only DaVinci Resolve is
designed to be real time all the time, so it keeps up with you when youre
working on demanding client jobs. With the most creative toolset and
highest image quality, its easy to see why DaVinci Resolve is used on more
Hollywood feature lms, syndicated network television series, music videos
and high end television commercials than any other system.

DaVinci Resolve includes more automatic tools such as

the 99 point 3D window tracker so youll rarely need
to manually track windows! You get automatic 3D eye
matching, auto-grade, auto stabilization, auto 3D color
matching, automatic XML, AAF and EDL conforming, real time proxies,
auto scene detection and much more!
Worlds Best Compatibility

Greater Creativity
With a massive toolset designed by colorists for
colorists! The innovative YRGB primaries and node
based design allow more creative grading and better
looking images. Combined with PowerWindows,
RGB mixing, curve grading, blur, sharpen, mist, keying, noise reduction and
32 bit oat quality, you get more with DaVinci Resolve.

No system supports more le formats in real time. Grade

from mixed format clips on the same timeline including bayer
format CinemaDNG, RED, ARRI and F65 raw, ProRes,
DNxHD, H.264, uncompressed and more. Get full multi
layer timeline XML, AAF and EDL round trip with editing built right into
DaVinci Resolve! If your edit changes, Resolve will automatically relink grades!

DaVinci Resolve Lite

Super Computer Processing

DaVinci Resolve uses a cluster of GPUs for real time super
computer performance. Simply plug in an extra common
graphics card (GPU) to get more performance. Add up
to 3 GPUs on Mac OS X or a massive 16 GPUs on Linux.
The freedom is yours, and there are no extra software costs! Simply plug in
GPUs when you need more power!

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Free

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DaVinci Resolve Software

655*
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Full Resolve with unlimited nodes and multiple GPUs. Use 3rd party control panels.

DaVinci Resolve

Full Resolve with colorist control surface for the most advanced facilities.

Learn more today at www.blackmagicdesign.com/davinciresolve

*SRP is Exclusive of VAT.

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Universal Film
Issue 13 - 2014

Abu Dhabi
the talk of Hollywood!

bu Dhabi, UAE twofour54, the commercial arm of the Media Zone Authority Abu Dhabi, and Image Nation, the
GCC leading content creator, have reinforced
the Emirates emergence as a global hub for film
and television production by showcasing its
expertise during panel discussions with major
studio executives in Los Angeles.
Senior delegates from twofour54 as well as Image Nation, discussed the growing potential of
Abu Dhabi as a production destination during
an event organized by the Aspen Institute at the
request of the United Arab Emirates embassy
in the United States.
The event coincided with the launch of Etihad
Airways non-stop service between Abu Dhabi
and Los Angeles, providing further opportunities for Hollywood studios to discover the
unique locations and growing production infrastructure available in the Emirate.
Abu Dhabi has made a tremendous impact
in the production sector attracting some of
the worlds largest and most successful movie
franchises, said Noura Al Kaabi, the Chief Executive Officer of twofour54, who participated
in the panel discussions. The success we are
experiencing is due to the infrastructure and
support we have established at twofour54,

the development of location talent, the overwhelming support of Government entities and
the Abu Dhabi Film Commissions 30 percent
rebate on production spend in the Emirate.
Mohamed Al Mubarak said: At Image Nation,
we have worked with a range of award-winning
production companies including Parkes/Macdonald, Hyde Park Entertainment, and Participant Media, which allows us to work with some
of the best of Hollywood whose experience and
knowledge has enabled us to grow the industry
in the UAE.
During the event, Mohamed Al Mubarak discussed many of Image Nations upcoming productions, as well as its current co-production
with twofour54, From A to B, directed by Ali
F.Mostafa. Ali treated guests at the event with
an exclusive first look at the film, which is slated for release at the end of the year.
In the past 12 months is has attracted major
international films including Star Wars: Episode VII and Fast & Furious 7, Deliver us from
Evil, the Bollywood feature Bang Bang and
television shows The Bold & The Beautiful and
BBCs Top Gear.

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Issue 13 - 2014

Synchronisation
The next stage in video consumption!
The past few years have seen the TV industry
reshape itself around the second screen, a
new phenomenon that enables broadcasters
to tap into viewers habit of switching screens
from one second to the next, both during
programming and the ad breaks. After a
period of trial and error, the second screen
is now widely adopted, and deployments
can be found in every corner of the globe.
Broadcasters, content producers, advertisers
and brands now consider companion
devices as an intrinsic part of TV distribution.
Meanwhile, end users increasingly take
to their mobile devices as soon as their
favourite program or sport event starts, and
often before. This has led many broadcasters
to develop second screen apps blending
original content and social media integration,
radically transforming the way audiences
interact with programming.
Examples of dynamic second screen apps
include broadcasting live events, such as the
Grand National race on Britains Channel4
and extended via the Horse Tracker app;
game shows catering for all audiences,
including children as advertised by Italys
SuperTV channel and its Super! app or the
Chinese Idol app by Shanghai Media Group.
These enable viewers to better engage with
content, allowing broadcasters to reduce
churn and increase their ratings as more
and more viewers shift their interest to other
activities.
The film industry has also tapped into the
hidden potential of the second screen
through App the Movie, the first film that
encourages viewers to use their smartphone
to decide the outcome of a movie, or Warner
Bros. France with its My Warner second
screen app, which synchronizes with all
Warner content delivered to the TV screen
including time-shifted, Blu Ray, VoD content

and a number of DVDs including Academy

Award nominated movies The Hobbit and
Gravity. In addition to providing a fully
immersive experience that re-engages
consumers with the TV screen once more,
content synchronisation can be extended
to synchronize ads across multiple screens.
For example, Civolutions SyncNow enables
the automatic identification of content
being played on the main TV screen and
synchronises it with the app in real-time,
offering consumers a deeper engagement
with their favourite TV shows and channels.
Civolutions TV-synced ad solution has been
deployed by Brands Networks on Facebook
and Twitter, demonstrating a strong lift
in consumer click-through rate (+60% on
Facebook and up to +250% on Twitter),
showing that consumers are ready for a
number of screens to become part of the
advertising experience.
As broadcast reshapes itself to tackle the
time-shifted consumption challenge, being
able to target consumers on every screen is
crucial. Broadcasters and content owners can
utilise a variety of solutions leveraging the
second screen to bridge the gap between
linear broadcast and consumers attachment
to their mobile devices, creating real-time
cross-screen experiences leading towards
a new advertising and programming
revolution; and this is only the beginning.

MM

oney
agazine
M
Movie
www.moviemoneymag.com

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Captures historic moment in at the coronation of Filipe IV

ing Felipe VI was born in 1968 as heir

apperent, until the abdication of his
father King Juan Carlos, he held the title of Prince of Asturias. He succeeded to the
throne of Spain on 19 June 2014. The recent
4K production of this historic m
oment at the coronation Filipe IV was a collaboration between Sony, TVE, Xeltec and
Fujinon. On site there were two Sony F-55
equiped with Fujinon Cabrio ZK4.7x19 and
ZK3.5x85 4K UHD lenses at the Hall of Columns at the Royal Palace of Madrid.
The 4K PL-mount 19-90mm Cabrio (ZK4.7x19)
and 85-300mm (ZK3.5x85) feature an exclusive detachable servo drive unit, making
them suitable for use as standard PL cine
lens or as an ENG-Style lens. The ZK Series
also feature flange focal distance adjustment,
macro function, and are LDS (Lens Data System) and i/metadata compatible. With focal
ranges from 14.5 to 300mm the ZK-Series are
extremly light-weight starting at only 2.7kg
including servo motors and drive unit, the

lenses have the longest focal range available

in their class. Videographers used to shooting video in a typical ENG-style will be very
comfortable with the full servo function; as
all ZK-Series (Cabrio) lenses can be controlled
using standard Fujinon control kits or cinema industry standard wireless controllers for
zoom and focus functions.
Nowadays Fujifilm entities operate in about
50 group companies in Europe and employ
approximately 5,000 people engaged in R&D,
manufacturing, sales, and service support.
Throughout Europe they serve a range of industries including medical, chemical, graphic
arts, electronic materials, optics, recording
media and photographic technologies. FUJIFILM Europe GmbH (Duesseldorf, Germany)
acts as Strategic Headquarters for the region
and supports its group companies in Europe
by formulating marketing and corporate
strategies.
www.fujifilm.eu/fujinon

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Film Production & Co-Productions

Film Productions/Co-Productions
Post Production/Special Eects
Crew/location scouting

CLASSIC MEDIA ENTERTAINMENT

An award winning production company
62 CMEFILMS | e-mail info@cmefilms.co.uk | www.cmefilms.co.uk
Skype:
www.ufmag.biz

Universal Film
Issue 13 - 2014

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Issue 13 - 2014

Cardiff Independent Film Festival

Now a BAFTA qualifying Film Festival

Judge Mark Foligno (Exe Producer The Kings Speech)

ardiff Independent Film Festival,

which held its first event early this
April, was a long time in the planning.
Since the demise of the old, Arts-Council
funded Cardiff Film Festival in 2006, I
had entertained outlandish fantasies of
replacing it but never got any further than
pitching the idea to more organized and
accomplished friends who I failed to enthuse
with the daunting task.
It wasnt until summer 2012 that Anthony
AJ James and his formidable wife Sonia aka
Panik Attak Productions (whose continued
recognition of my editing skills has kept me
in soup for many years) agreed to entertain
my plans, and we soon found a willing band
of companions. Quickly, a constitution was
agreed upon, a schedule of events was
drafted and we approached Chapter Arts
Centre. They are not short of films to show,
with several festivals throughout the year
as well as their usual excellent programme
of films but we got their tentative approval,
and CIFF was good to go.

Masterclass by John Giwa-Amu (Producer Machine)

Chief amongst our paperwork was a copy

of the UFFO Code Of Conduct. We are
filmmakers at CIFF and have been all over the
country to festivals, some great, some good,
some terrible (and being from South Wales;
Ill allow you to draw your own conclusions
there). We wanted to treat filmmakers the
way we wanted to be treated and if we
didnt have the big money we could make
up for it by treating them with respect. We
were going to do this properly, and this code
of conduct seemed a good place to start.
A packed out launch event at Halloween
confirmed there was local demand. But we
still feared that a first time festival would
want for entries. We were, in fact, very happy
to receive nearly 200 films in total, including
27 features, from a total of 35 countries.
We watched every last one of them, voting
as we went along and ended up with our
selection of five features and ten shorts
in competition. The quality, especially in
short films, was such that we were able
to hold a series of out-of-competition
events including a riotous Q+A with local

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filmmaker Marc Price following a screening

of his Magpie, which set us up for the main
event at Chapter.
Kicking off with a popular masterclass with
local success story Red and Black Films
(The Machine), our screenings were wellattended and we were delighted to welcome
filmmakers from as far afield as India, Spain,
Ibiza and Belgium who mingled with
filmgoers (we dont like festivals that put up
barriers between people) as well as our special
guest and judge Mark Foligno (The Kings
Speech, Moon). We also proudly premiered
local director Keri Collins star-studded debut
feature Convenience which complimented
the international fare perfectly and attracted
our biggest crowd of the weekend.
Plans are already in place for next years
festival our aim in the medium term is for
the festival to grow slowly but surely. Part
of our success this year was keeping things
manageable, sticking to our principles and
doing the small things right, so we wont
be overreaching ourselves next time. In the
longer term, our aim is to eventually establish
an integrated film and music festival with a
film market. In the meantime, we are bracing
ourselves for another batch of submissions,
which will open in September.

Winner: Ada Ballmann (Best Actress)

Dave Beynon (CIFF), Phil Brookes (Best Short), Ally Parkhurst (CIFF), Ada Ballmann (Best Actress for The
Extraordinary Tale), Anthony James (CIFF) and Vivek Budakoti (Best Screenplay, Pied Piper).

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Universal
Film &
Festival
Organization
Best Business Practices for Film Festivals
No 1: Film Festival organizers should operate
a transparent selection process and publish
details of the selection process and the names
of the Jury/selection committee (publication
can be after a festival concludes)
No 2: Film festivals organizers should provide
full contact details for the festival offices
including address and telephone numbers
and the names of the festival directors and or
committee
No 3: A Film Festival should publish its legal
status as a company, charity or non-profit (this
only applies to a registered entity)
No 4: Film festival organizers should not share
filmmakers financial data with any third parties
No 5: Film Festivals should publish a year by
year history of festival winners and films officially selected
No 6: Film festival organizers, committee and
or jury should not show or demonstrate any
favouritism to any film submitted to the festival
or attempt to influence other members of the
jury or selection committee
No 7: Film Festivals should declare the number
of films sought and/or invited by the festival
organizers to participate in the festival prior to
and before the general call for submissions is
sent out
No 8: Film Festivals should provide the names
of the selection committee and/or jury members who viewed the submitted film screeners
to the festival (this could be after the festival
has concluded)
No 9: Film festival organizers should view at
least 5 minutes of all submitted films
No 10: All Festival organizers should declare
any conflict of interest that may arise from any
film submitted to or invited to participate in the
festival

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FINGAL FILM FESTIVAL-IRELAND

2014

inal Film Festival, will take place in

Movies@Swords from 26th 28th
September, Pavilions Centre, Swords,
Co Dublin. Now in its third year, the
Festival has gone from strength to strength,
connecting emerging voices in film with
industry experts and independent creative
filmmakers from around the world.
Emerging and established filmmakers
alike can submit their shorts, features or
documentaries, animation to the Festival,
and those selected will be in the running
for the eight prestigious awards announced
on the closing night of the Festival. The
Awards categories are: Best Short Film,
Best Feature Film, Best Irish Language Film,
Best Documentary, Best Student Film, Best
Animation, Best Fingal Newcomer and Best
International Film. Deadline for submissions
is June 30th, for more information see www.
fingalfilmfest.com
Commenting on the submissions process
Festival Director Liz Kenny said The increase
in quality and quantity of submissions
to the Festival year on year has been
outstanding. We are very excited about
this years Festival and the opportunity to
enable the international film community
and the general public to experience the
power of film in our unique festival setting.

opportunity to enhance their skill set

through hands-on events and networking
opportunities. The Festival is also screening
at various venues throughout 2014 a
selection of 2013 Festival favorites and
Award winners as part of new initiative
Fingal Indi Films on the Move, which kicks
off in LIFT festival in Axis Ballymun this
9th 16th April, a great opportunity to see
some of last years highlights.(Go to website
for schedule of screenings)
Fingal Film Festival was established in 2012
to provide a platform for local, national
and international emerging filmmakers,
offering encouragement and promotion for
new work in a quality cinema environment.
Previous industry experts who have
participated in the Festival include multiaward winning animators Brown Bag Films,
Bafta winning writer and director Aisling
Walsh, former president of the Irish Society
of Cinematographers Ciaran Tanham and
award-winning producer Arthur Lappin.
Fingal Film Festival is a UFFO member
festival and supports Best Business
Practices for film festival. www.uffo.org
W: www.fingalfilmfest.com
E: info@fingalfilmfest.com

The Festival is delighted to announce that

award winning Dublin based Animation
Company Boulder Media (The Amazing
World of Gumball, Randy Cunningham
9th Grade Ninja) will host the Animation
Workshop, led by Emmy nominated
Creative Director Robert Cullen. Details of
other Festival workshops, featuring some of
Irelands most exciting names in filmmaking
will be announced in the coming months,
offering
emerging
filmmakers
the

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Mad Frankie Fraser

Killed 40 People
Certified Insane 3 Times
42 Years in Prison
www.madfrankiefraser.com

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Issue 13 - 2014

HOW TO TRAIN YOUR DRAGON 2

TWENTIETH CENTURY FOX and DREAMWORKS ANIMATION

rom DreamWorks Animation, the with help from the dragon trapper Eret, son of
studio that brought you Shrek, Kung Eret (Game of Thrones actor Kit Harington).
Fu Panda and The Croods, comes the
highly anticipated sequel to the Academy As Astrid (America Ferrera), Gobber (Craig
Award- nominated HOW TO TRAIN
Ferguson) and Viking friends Snotlout
YOUR DRAGON, based on the childrens
(Jonah Hill), Fishlegs (Christopher
book series by Cressida Cowell. In the
Mintz-Plasse) and twins Ruffnut
thrilling second chapter of the epic CANNES (Kristen Wiig) and Tuffnut (T.J. Miller),
trilogy, five years have passed since
2014 lend their support, Hiccup, his mother
the heroic young Viking Hiccup (Jay
and tribal chief father Stoick the Vast
Baruchel) befriended an injured dragon
(Gerard Butler), must work together to
and forever changed the way the residents
protect the dragons they have grown to love.
of Berk interact with the fire-breathers. Now,
In the process, Hiccup finds the answers he
Vikings and dragons live side-by-side in has been looking for in ways he could never
peace on the fantastical isle that has been have imagined.
transformed into a dragons paradise.
DreamWorks Animation SKG proudly presents
But when grown-up responsibilities loom on HOW TO TRAIN YOUR DRAGON 2, featuring
the horizon, Hiccup and his faithful dragon the voices of Jay Baruchel, Cate Blanchett,
Toothless take to the skies in search of Gerard Butler, Craig Ferguson, America
answers. Its much more than he bargained Ferrera, Jonah Hill, Christopher Mintz-Plasse,
for, though, when Hiccup discovers that a T.J. Miller, Kristen Wiig, Djimon Hounsou and
mysterious dragon rider is really his long- Kit Harington. The film is written and directed
lost mother Valka (Academy Award-winning by Dean DeBlois (How to Train Your Dragon,
actress Cate Blanchett) and that the peace Lilo & Stitch). It is produced by Bonnie
between dragons and Vikings is threatened Arnold (How to Train Your Dragon,Over the
by the power-hungry Drago (Academy
Hedge, Tarzan). The executive producers
Award-nominated actor Djimon Hounsou) are Dean DeBlois and Chris Sanders (The

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Croods, How to Train Your Dragon, Lilo &

Stitch). The music is by John Powell. This film
is rated PG for adventure action and some
mild rude humor.
WHAT A DIFFERENCE FIVE YEARS MAKES
In 2010, DreamWorks Animations HOW TO
TRAIN YOUR DRAGON soared into theaters
and stole the hearts of audiences around
the world with its blend of high- flying
action, witty humor and dramatic depth,
earning $495 million in worldwide box- office
receipts and nabbing two Academy Award
nominations along the way, for best animated
feature and best original score.
But the success of the film, written and
directed by Dean DeBlois and Chris
Sanders, was gradual. Even though it was
a critics darling from the get-go and No. 1
at the box office in its opening weekend,
It actually underperformed according to
studio expectations, DeBlois says. But it
had amazing legs. It clung at or near the top
of the box office for seven weeks. We were
all really proud of the fact that the word of
mouth surrounding the movie was bringing
audiences to see it, and bit by bit, we ended
up surpassing studio expectations.
The triumph of HOW TO TRAIN YOUR
DRAGON spawned a TV series, a live stage
show, a bevy of DRAGON merchandise and
legions of loyal fans. Its deeply satisfying to
know that the passion we put into the film is
reciprocated, DeBlois adds. We see so much
love coming back to us fan videos and fan
fiction and character drawings it exists in a
bigger way than we ever intended it to
be.
From the beginning, DreamWorks Animation
executives viewed DRAGON as a potential
franchise. Its stellar reception and boxoffice achievement easily put sequel plans
in motion. Since Sanders was turning
his attention to directing DreamWorks
Animations The Croods, they approached
DeBlois about helming HOW TO TRAIN YOUR
DRAGON 2 on his own, with Sanders taking
on an executive producer role.

I told them, Im really interested if youll

entertain the idea of it being a trilogy,
DeBlois recalls. The first movie can serve as
the first act, thisll be the larger second act and
then there must be a third culminating act.
Thankfully, they bought into that concept.
Dean, in Hollywood terms, is the real deal,
says Producer Bonnie Arnold. Hes a great
storyteller. He thinks like a little boy, which is
always helpful when youre making movies
about boys and their dragons. Hes creative,
but the best news is that he lets the other
creative members of the team bring the best
things they have to offer to the movie.
Agrees Visual Effects Supervisor David
Walvoord: Working with Dean is amazing.
Hes not just the director, but the writer, too.
He has a incredibly special relationship with
the characters and the world, and he has such
a strong vision for what that world should
be that it was really inspiring for us and, at
the same time, made our job so much easier
because hes really able to articulate what hes
looking for, which helps send us in the right
direction.
The first film, based on the childrens books
written by British author Cressida Cowell,
introduced to audiences the gangly teenage
Viking Hiccup, whose world is flipped upside
down when he encounters and befriends
an injured dragon he names Toothless.
According to Arnold, DeBlois viewed HOW TO
TRAIN YOUR DRAGON 2 as Hiccups coming
of age story, not the further adventures of
Hiccup and Toothless as some sequels are
prone to do. When Dean pitched his idea for
the second film to DreamWorks Animation
executives, another crucial element of his
pitch was the fact he wanted to age the
characters by five years, she adds. It just
made it a more interesting place to go and
was something different that you dont see in
animation, honestly. That was a bold choice
on his part and we feel really grateful that
DreamWorks supported that idea. Not that it
was always an easy choice.
According to DeBlois, it was a bit of a
challenge on the design front and a trialand error process for the artists to retain the

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charm and appeal of each character while at well, he says.

the same time aging them.
Thanks to Hiccups efforts in the first film,
We discovered ultimately, with most of the in HOW TO TRAIN YOUR DRAGON 2, the
cast, that if we could just retain their overall residents of Berk, who once viewed dragons
silhouette and stamp, but increase their size, as a scourge to be eliminated, now live
change their wardrobe, age their face in subtle alongside (and ride!) them in friendship. This
ways and give them different hairstyles, that time around, they face a different kind of
seemed to do it, he says. Hiccup was maybe dragon problem, albeit a good one: Theres
the trickiest one just because in aging him, we so many of them! With everyone owning his
wanted to make sure that he didnt become a or her own personal dragon and dragons
classic Hollywood hero. He had to retain his permeating their way of life, the isle of Berk is
gangly quality, because theres so much of his a vastly different place.
charm in that, that dorky awkwardness that
To accommodate the new inhabitants, an
he possesses.
abundance of modifications have been
So we made sure that even though he did made on the island so that life is a little less
get taller, he never quite filled out the way his dangerous for everybody: An aqueduct
father, tribal chief Stoick the Vast, had hoped system is in place for putting out fires in a
hurry; all-you-can-eat feeding stations mean
he might in the first movie,
no dragon ever goes hungry; caves have been
DeBlois continues. Hes still slight of build repurposed into custom stables; a one-stopbut he continues to compensate with his shop dragon armory provides for all kinds of
needs.
intelligence, wit and advanced thinking.
Returning as Hiccup is actor Jay Baruchel, who
personifies those very qualities, according to The armory used to be the old blacksmith
stall where Hiccup, in the first film, learned to
DeBlois.
be an apprentice, says DeBlois. Anything can
I cant think of anyone else who could ever be taken care of there whether a dragon
play Hiccup in this way, because the character has a toothache or needs to be groomed.
is Jay, to a large degree, he says. He embodies Says Production Designer Pierre Olivier
so much of what Hiccup is: A guy whos quick- Vincent (affectionately known as P.O.V.), Its a
witted, intelligent, spry on his feettheres much more joyful, decorative place now, and
an adorable awkward quality to him that hes thats reflected in the many new colors we
very aware of and plays to his advantage. used when we were redesigning the village.
And its through Baruchels ability to convey In fact, the colors of the films main dragons
Hiccups emotions that the audience connects came into play when we reimagined it.
Keeping up with the demand at the dragon
with the character, says Arnold.
armory is Gobber, the village blacksmith and
The audience is experiencing the movie put upon right-hand man of Stoick the Vast.
through Hiccup. What makes the whole Always up for adventure, hes played once
experience of the movie even more rewarding again by Craig Ferguson.
is understanding how Hiccup feels about a
given situation, she says. Jay is so passionate Gobber is the guy who has to build all these
about the character and brings so much of things that make living with dragons less
that into his voice performance. As much as dangerous so he longs for the days of the
Dean is a great writer of the Hiccup dialogue past where they fought dragons instead
and he really is Jay knows Hiccup better of living with them peacefully. Craig plays
than anybody. DeBlois is quick to agree. that frustration very well, DeBlois says. Even
Jay often makes modifications to his own though their relationships have changed,
dialogue because he knows the character so one thing hasnt: Vikings are still Vikings...and

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possible with flight, but theyve been out

there mapping the world, which has become
their new hobby, DeBlois says. Adds Head
of Story Tom Owens: Theyve taken that
Viking map from the first movie and theyve
been adding pieces onto it in every direction.
With Vikings on the backs of dragons, Dragon Hiccup is just a curious and restless soul. Hes
racing is exhilarating as long as youre not always out looking for the next adventure.
a sheep, I suspect, says Jay Baruchel. Thats
because participants have to head around the On this morning, taking flight into the vast
island hunting for the marked animals, scoop unknown is also a way for Hiccup to blow
them up and dump them in a basket. Each off some steam: Before the start of the races,
one is worth a point; the black sheep is worth hes told by father Stoick that its time for the
10. Its kind of like the Monte Carlo race of young Viking to assume leadership of the
Berk, says DeBlois. A dragon race also proved island, a task that Hiccup isnt quite ready for.
to be an excellent way for the filmmakers to Stoick, who is a burly, brawny, gregarious
mountain of a man, is incredibly proud of
introduce audiences to the new Berk.
his son, despite his size, for what he has
The opening sequence of HOW TO TRAIN accomplished in bringing peace to Berk, says
YOUR DRAGON 2 is this kinetic, visceral Gerard Butler, who portrays Stoick. Their
obstacle race of a game that flies by all relationship has changed for the better in
the new updates in Berk and introduces the past five years. Hiccup used to be an
familiar characters from the first film with embarrassment to Stoick but now he wants
their personal dragons, five years into those to make his son the islands next leader.
relationships, DeBlois says. The tough and Unsure what his true purpose is, Hiccup cant
competitive Astrid (America Ferrera) streaks imagine filling his fathers large boots
through the sky on the back of Stormfly the literally and figuratively.
Deadly Nadder; quarrelsome twins Ruffnut
(Kristen Wiig) and Tuffnut (T.J. Miller) straddle With Hiccup, weve seen some of his promise
the two-headed Zippleback Belch & Barf; the in the first movie realized a bit here, Baruchel
timid and skittish Fishlegs (Christopher Mintz- says of his character, but the obligations of
Plasse) wobbles furiously on his Gronckle adulthood are starting to pile up. It doesnt
Meatlug, while the smug and cocky Snotlout take a math whiz to know that as the son of
(Jonah Hill) zooms by on Hookfang, his the chief, hes next in line, and he struggles
with that.
Monstrous Nightmare.
dragons are still dragons. The HOW TO TRAIN
YOUR DRAGON 2 team recognized that the
citizens of Berk needed a new outlet for their
natural aggressions, so they createddragon
racing!

Its meant to be very energetic, fun and

reassuring for audiences familiar with the
first film everything they loved about Berk
is bigger and better and it helps set the
stakes for the rest of the movie, DeBlois says.
You realize that because this place is such a
Utopia, anything that threatens it is really bad
newsand there will be a threat
Notably absent from the dragon race is Hiccup
and Toothless. Instead, the inseparable duo
are doing what they love best taking to
the skies in search of new dragons and new
lands to add to Hiccups ever-expanding map.
In their spare time, not only have Hiccup and
Toothless been pushing the limits of whats

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WORLD CLASS POST FOR FILM AND BROADCAST

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34 FOUBERTS PLACE
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LIFE ITSELF
A film by Steve James

cclaimed director Steve James (Hoop to Rogers unexpected passing in April 2013
Dreams, The Interrupters) and Execu- was immense and profoundly moving front
tive Producers Martin Scorsese (The page news not just in Chicago, but worldwide. Influential filmmakers and politicians
Departed, Raging Bull) and Steven Zaillian
reflected on Rogers legacy everyone
(Schindlers List, Moneyball) present LIFE
from Spike Lee, and Michael Moore to
ITSELF, a documentary film that recounts the inspiring and entertaining CANNES President Obama, who said, When he
didnt like a film, he was honest; when
life of world-renowned film critic and
2014 he
did, he was effusive capturing the
social commentator Roger Ebert a
unique power of the movies to take us
story that is by turns personal, wistful,
some place magical. Roger was an avid
funny, painful, and transcendent.
supporter of independent film, and an earBased on his bestselling memoir of the same ly champion of the work of iconic filmmakname, LIFE ITSELF explores the impact and ers, and LIFE ITSELF interview subjects, such
legacy of Roger Eberts life, from his Pulitzer as Werner Herzog, Errol Morris and Martin
Prize-winning film criticism at the Chicago Scorsese.
Sun-Times to becoming one of the most inRoger himself became an iconic force when
fluential cultural voices in America.
he joined with Gene Siskel to create one of
The filmmakers were granted unprecedent- the longest running, most influential televied access to Roger and Chaz during the final sion shows in history, making Chicago the
four months of his life. In that time, they cap- cultural center of film criticism. The film featured Rogers fighting spirit, his sharp sense tures candid and insightful interviews with
of humor, and the ways he directly inspired many of the principal producers of the show,
filmmakers, family and fans. The response along with the first ever feature documenta-

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ry interview with Siskels wife, Marlene. In the

wake of Rogers illness and disability, Rogers
writing grew creatively and in importance
transcending film criticism. Using his blog,
and social media, Roger became a must-read
commentator, thoughtfully addressing the
political and social issues of our time. His public defiance of cancer and the resulting disfigurement literally and symbolically put a new
face on the disease, and brought inspiration
to countless thousands in the disabled community and beyond.
DIRECTORS STATEMENT STEVE JAMES

ers and distributors and played a huge role in

the film securing a theatrical release.
During filming, I was really struck by his relationship with Chaz. Theyve always appeared
to have a great marriage, but witnessing it up
close, I really came to understand that she had
been many things to Roger: his great love, the
person who helped him find true happiness
and contentment, and his rock through the
many medical challenges of recent years.
Finally, I really saw the making of this film as
my chance to develop a friendship with Roger. That process was happening, but was cut
short by his death. I feel his loss personally,
along with the legion of fans, colleagues, and
admirers who felt like they really knew him
and had been touched by him. And so, at best
he will be with us in spirit only when the film
premieres at Sundance 2014. For me, there
is a kind of cosmic poetry in that timing. It
was twenty years ago that Hoop Dreams premiered at Sundance, and Roger became that
films biggest, most influential champion. I
owe him a lot. Perhaps this film is one modest
way I can pay him back.

I first encountered Roger Ebert like most of

the rest of America did: when he was co- host
of Sneak Previews, the PBS incarnation of his
groundbreaking television show with Gene
Siskel. I was in film school at Southern Illinois
University and stumbled across the show one
night. My first thought was: Why is there a
television show devoted to reviewing movies? My second was, And why does it feature
two newspaper guys from Chicago? Having
fallen in love with the reviews of Pauline Kael
and being steeped in more scholarly film criticism in school, I initially found the show an
Steve James is best known as the producer-dientertaining curiosity.
rector of Hoop Dreams, winner of every major
But it didnt take me long to see just how critics prize of 1994, as well as the Directors
smart and savvy Ebert and Siskel were, and Guild of America Award, and the Peabody and
to revel in the shows appeal. Yes, their argu- Robert F. Kennedy Journalism Awards. Hoop
ments were entertaining and informative. But Dreams was also named to the Library of Conparticularly valuable to me was the way in gress National Film Registry.
which Roger infused his analysis of a film with
his own personal experiences and worldview.
He struck me as someone whod be great to
have a beer (or three) with and just talk movies. Id learn a lot but never feel patronized.
I never did drink a beer with Roger. By the
time we actually me at a Toronto Film Festival
dinner in 1994, hed long since given up drinking. Nine months earlier, when the first film I
directed, Hoop Dreams, premiered at Sundance, Roger and Gene had taken the unprecedented step of reviewing the film during the
festival before we had distribution or even
hope of distribution for this three-hour documentary. Their review galvanized festival go-

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THE HOMESMAN
A Film by Tommy Lee Jones

hen three women are driven insane The Homesman is the story of three womon the edges of the Ame- rican fron- en who are transported in a wagon across
tier, the task of delivering them back Nebraska in1854, because they have been
east falls to a pious spinster named Mary Bee driven pretty much insane by the hardships
of life on the American frontier. When I
Cuddy (hilary swank). the daunting chalcompleted the script, my vision of the
lenge of driving a wagon loaded with
film was minimalist because there are
madwomen four hundred miles compels her to employ a partnera drift- CANNES not a lot of visual details to show its
Nebraska and the Northern part of the
ing low-life who goes by the name of
2014
West. Now, Im certainly impressed by
George Briggs (Tommy Lee Jones).
North Eastern New Mexico, where we
together, the unlikely pair head out
shot the movie, because it stands in very
across the prairie with their freakish cargo,
re-traversing the harsh, untamed ne- braska well for Nebraska. For me, the landscape itterritories in a journey marked by stark beau- self is a very important character in our movie
ty, constant threat, and psychological peril.

Their destination is a Church in Iowa where

a ministers wife (Meryl Streep) waits to relieve them of the lost souls in their care. But
before they can cross back into civilization,
their mission will exact a brutal tollone
that speaks to every backward tragedy and
unsung act of heroism buried in the foundations of the American west.
Q&A WITH TOMMY LEE JONES DIRECTOR
What is The Homesman about?

Why was your vision minimalist?

Because of the landscape, which mostly consists of a line that divides heaven and earth.
The line is usually straight, which creates an
emotional environment as much as a natural
one, and you can take it from there.
Why was it important for you to explore the
female condition in the mid-nineteenth century American West?

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It was important for me to explore because I dont know how the term Western is defined.
I think its the origin of the female condition I have the impression over the years that the
Western is a movie that has horses in it and
today.
big hats, and that takes place in the 19th cenWho is George Briggs, the character you por- tury usually on the west side of the Mississippi river. Ive even read critics who are bold
tray in the film?
George Briggs is a fearless man, a claim jump- enough to call a science fiction movie a Wester, an army deserteran independent man ern. Its a term that people use so often that
of rather low character. He is willing to help I dont think it has many meanings anymore.
a woman who believes she can get across So Im not sure I can really answer your quesNebraska in a wagon with three insane wom- tion because I dont know what a Western is.
en as passengers. The truth is, he agrees to
help her out because she rescues him from How was it working with Hilary Swank?
a very dangerous situation, and so he is in- Its wonderful to work with Hilary Swank; shes
debted to her, even though she finds out that always prepared, shes always happy; very
she wouldnt have made it on her own. The creative. She read the script very rapidly and
understood it. Shes always ready to go, at the
Homesman features an original and an
unlikely team. They dont like each other at very beginning of every single day. Its a joy to
the beginning of the story. But they learn that know Hilary Swank,
they need to be able to rely on each other, and and a greater joy to work with her.
how to depend on anotheruntil somehow
they finally begin to understand one another How about Meryl Streep?
Meryl Streep needs no praise; shes got plenty.
Do you consider it to be a Western?

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MR. TURNER
A film by Mike Leigh

The action of MR. TURNER takes place Hannah Danby, who loves him, and whom he
over the last quarter century of the takes for granted, and occasionally exploits
artists life, ending with his death in sexually. They both share the worry that
Turner might have been involved in a bomb
1851.
blast in Ostend, but he assures them he was
The film being a dramatic reflection, rather elsewhere.
than a documentary, Mike Leigh has chosen
to let the action flow from one period of time After William Senior has organized the
to another, without interrupting it with labels, purchase of paints and materials for his son,
or identifying specific months and years. sorted out some new canvases, shaved Turner
Design, costume and particularly make-up and eaten with him, he shows particular
help to underpin and define this progression, customers round their private gallery, an
and in the case of Turners housekeeper activity the painter views through a secret
Hannah Danby, it is probably useful to hole.
mention that what we gather from research
about her deteriorating skin condition has led Another day. They receive a visitation from
the aggressive and resentful Sarah Danby,
us to decide that it was psoriasis.
Turners ex- lover, and the mother of his adult
Regarding Turners trips to Margate and why illegitimate daughters, Evelina and Georgiana,
he goes there in the first place, the town who accompany her. Evelina presents Turner
made an early impression on him. As he tells with his new-born granddaughter. Mrs Danby
Mr and Mrs Booth, he attended school there grumbles at Turners neglect of her family. We
for a couple of years, but we also know that learn that she is Hannahs aunt.
he was much taken with the quality of light in
Now Turner retreats by horse coach to the
Thanet, the part of Kent where Margate sits.
country estate of the generous Lord Egremont,
Returning from his continental travels, Turner where he paints and draws, communes
comes home to his doting ex-barber father, with other artists, sings Purcell badly, lends
William Turner Senior, and to his housekeeper, money to an errant and erratic artist Haydon,

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and sketches a musical evening. He travels

on by steamer to Margate, where he finds
convivial sea-facing lodgings with a Mr and
Mrs Booth. After a coastal walk, he spends an
evening with them, during which he reveals
his schooldays in the town, and laments with
them the pain of slavery and the loss of dear
ones. Preferring to conceal his identity, he
assumes the name Mallard. Back in London,
he is visited by the Scottish scientist Mary
Somerville. She demonstrates to Turner in his
studio the magnetic properties of violet light.
He is fascinated, and she is much taken with
his paintings.

exchange with John Constable, whose

Opening of Waterloo Bridge, all bright reds
and scarlets, has been hung next to Turners
predominantly grey seascape, Helvoetsluys.
For a jape, Turner paints a startling red blob
slap in the middle of his piece, and after a
few minutes consideration by all present,
culminating in Constables leaving in a huff,
Turner returns to convert the red blob into a
life-buoy. Much amusement all round.

On this same occasion, Haydon, who owes

Turner 50, throws a public tantrum because
his painting (of a donkey) has been hung in
the ante-room. He is resentful of never having
During one of Turners well-attended been elected to the Academy.
but badly-delivered public lectures on
perspective, William Senior suffers a serious Not to be missed.
coughing attack. Subsequently, the old mans
condition quickly deteriorates, and in the
presence of his bereft son and housekeeper,
he dies. His last words with Turner concern
the mentally unstable state of the artists
long-deceased mother. It is apparent that
For actors, TV/film production crew,
neither man had much affection for her.
musicians and performers.
In grief, Turner goes fishing, and visits a
Apply for auditions, castings
BS
brothel, where he draws a young prostitute,
JO
and TV/film production jobs.
ID
PA ISTED
and breaks down in tears. At home he paints
!
L
LY
ON
Death on a Pale Horse, and has sexual
intercourse with Hannah, taking her from
behind as she selects a book from a bookcase.
Now Turner roves the untamed countryside.
In a remote coastal place, where a tiny
ancient chapel perches on a clifftop, wild
horses follow him over the horizon. Returning
to Margate, he discovers that Mrs Booth is
now a widow. He offers his condolences.
Then, much to his amusement, she enquires
whether he is still making his nice little
pictures. Back in London, he displays a cold
disregard for Hannah, ignoring her enquiries
as to his trip. Since the old mans death, she
has taken over the running of Turners studio,
and she now lists the latest delivery of his
art materials.Varnishing Day at the Royal
Academy, when the painters (all men) put
the finishing touches to their work, now hung
in position for the Annual Exhibition. Turner
scuttles about, enjoying friendly banter
with various colleagues. He shares a taciturn

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UFFO
UNIVERSAL FILM & FESTIVAL ORGANIZATION
promoting best business practices for film festivals
www.uo.org
232 international film festival members

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