UK press over here are gushing that The King’s Speech quadruple Oscar major wins – Best Film, Best Director, Best Actor and Best Original Screenplay – will be a boost for the British film industry. But I would say it’s all downhill from here. Consider the evidence. Beginning next April, there will be no UK Film Council coordinating British Film plc. Tanya Seghatchian, head of the UK Film Council film fund — which invested just over £1 million in The King’s Speech — says the pic’s success is a “magnificent final chapter for the UK Film Council”. Of course, Seghatchian and her team will move across to new film body the British Film Institute, but people I’ve spoken to are afraid there will be no encouragement to invest in commercial British films such as The King’s Speech or Streetdance 3D. Instead, the impetus will be in to back arthouse movies, which is what the BFI has always done going back to the 1950s. Even speaking to reporters backstage at the Kodak Theatre in Los Angeles, Firth called the decision to scrap the UKFC “short-sighted”. His sentiments were echoed by his producer Iain Canning, who said “it wouldn’t have been made without the UK Film Council”. The UKFC’s equity slug meant “they occupied a place within the finance plan that nobody wanted to inhabit,” he said.
Interestingly, the UK government’s culture department has … Read More »
We don’t often get a look inside the process of Paul Greengrass, but here’s a glimpse in a short interview done by actor David Morrissey. Though he doesn’t get to the bottom of why Greengrass left the Bourne Identity franchise, how Green Zone turned into a mega-budget misfire or why the Jimi Hendrix movie imploded, Morrissey draws some insight on how Greengrass found his footing when he moved from documentaries to features, and a few other topics in a chat between friends. I have been writing about Greengrass for years, and can still remember revealing his plan to film the 9/11 story United 93. I got hold of his proposal for the film and make it a point to reread it occasionally because it is such an inspiring and passionate argument by a filmmaker who just absolutely had to make that film for purely artistic reasons.
UPDATE: I’ve been told that the decision to get rid of UK Film Council was Ed Vaizey’s alone, and not, as has been posited, by his boss Jeremy Hunt having a gun pointed at his head. What the government ministers disagreed about was timing. Vaizey wanted to consult the industry as part of his summer film review. It was Hunt who forced through the scrapping.
Roger Michell, director of Notting Hill, has called British culture secretary Jeremy Hunt’s decision “astonishing” and “catastrophic” without the merest hint of consultation with either the wider film industry of the UKFC itself. “The decision flies in the face of economic sense,” says Michell. Armando Iannucci, director of hit British comedy In the Loop, tweeted: “Mad move by macho numbercrunchers. It made UK a gargantuan load of money. They’re wangpots.” Fellow director Mike Leigh said he’s “reeling” from the shock, while Mike Figgis said the government doesn’t strike him as being people who understand the film business, or even the culture business.
Among name filmmakers, only Alex Cox (Repo Man) has welcomed its closure, calling it “very good news for anyone involved in independent film.” What’s startling is how much hatred there is for the Film Council out there on the message boards, despite columnists and opinion-formers all calling this a black day for the British film industry. Of course, the UKFC rejects 95% of people who apply for money so there’s bound to be bitterness. Rebecca … Read More »