Exclusive: Paul Ashton to lead film department at UK creative industries outfit.
Creative England has appointed Paul Ashton to the role of head of film.
Ashton, who has recently served as acting head of film following the departure of Brek Taylor in January, becomes the outfit’s third head of film in the last 12 months.
Ashton’s executive producer credits at Creative England include Rachel Tunnard’s Bifa-winning feature debut Adult Life Skills, Justin Edgar’s upcoming feature The Marker and upcoming Jack Lowden-Martin McCann thriller Calibre.
Since joining the agency in 2013, he has also worked on a host of successful shorts such as Emotional Fusebox, Real Gods Require Blood and Ernestine And Kit.
Prior to joining Creative England, he was a development producer at the BBC where he worked on Riz Ahmed drama Shifty and shorts including Wish 143 and Turning.
Ashton told Screen: “I’ve been working for nearly four years as part...
Creative England has appointed Paul Ashton to the role of head of film.
Ashton, who has recently served as acting head of film following the departure of Brek Taylor in January, becomes the outfit’s third head of film in the last 12 months.
Ashton’s executive producer credits at Creative England include Rachel Tunnard’s Bifa-winning feature debut Adult Life Skills, Justin Edgar’s upcoming feature The Marker and upcoming Jack Lowden-Martin McCann thriller Calibre.
Since joining the agency in 2013, he has also worked on a host of successful shorts such as Emotional Fusebox, Real Gods Require Blood and Ernestine And Kit.
Prior to joining Creative England, he was a development producer at the BBC where he worked on Riz Ahmed drama Shifty and shorts including Wish 143 and Turning.
Ashton told Screen: “I’ve been working for nearly four years as part...
- 5/31/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Room and Brooklyn backers appoint two project managers to drive development and production.
The Irish Film Board has made two key hires in the shape of Creative England senior film executive Celine Haddad and development executive and script editor Dearbhla Regan who are both joining the funding body as project managers within the production and development team.
Haddad and Regan will work alongside Lesley McKimm, who was appointed last September, to manage the slate of Ifb supported projects from development through to production and distribution.
The duo take over from outgoing project managers Keith Potter and Mary Callery.
At Creative England Haddad has worked on titles including God’s Own Country, Jawbone, Fly Away and Fanny Lye Delivered. She previously worked at Pathé, first as a creative executive and then as head of creative affairs.
Regan has worked as a development producer and script editor in film, TV drama and documentary. Her most recent...
The Irish Film Board has made two key hires in the shape of Creative England senior film executive Celine Haddad and development executive and script editor Dearbhla Regan who are both joining the funding body as project managers within the production and development team.
Haddad and Regan will work alongside Lesley McKimm, who was appointed last September, to manage the slate of Ifb supported projects from development through to production and distribution.
The duo take over from outgoing project managers Keith Potter and Mary Callery.
At Creative England Haddad has worked on titles including God’s Own Country, Jawbone, Fly Away and Fanny Lye Delivered. She previously worked at Pathé, first as a creative executive and then as head of creative affairs.
Regan has worked as a development producer and script editor in film, TV drama and documentary. Her most recent...
- 3/8/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Screen Stars of Tomorrow involved in trio of projects set for production.
A trio of projects have been greenlit for production in the latest round of Creative England’s low-budget filmmaking initiative iFeatures.
Three Screen Stars of Tomorrow are present in the selected teams - writer-director Eva Riley with Perfect Ten, producer Emily Morgan with Make-up, and producer Michelle Eastwood with Retreat, which is set to be the first British feature film to be made entirely in sign-language.
The latest set of productions follows a period of success for the programme. Last year, William Oldroyd’s Lady Macbeth [pictured] and Hope Dickson Leach’s The Levelling, both greenlit by iFeatures in 2015, secured major festival berths.
Subsequently, Lady Macbeth sold to the Us (Roadside Attractions) and UK (Altitude Film) among others, and Peccadillo Pictures acquired The Levelling for the UK.
The three selected projects in 2017 are:
Perfect Ten, written and directed by 2016 Screen Star of Tomorrow Eva Riley and produced...
A trio of projects have been greenlit for production in the latest round of Creative England’s low-budget filmmaking initiative iFeatures.
Three Screen Stars of Tomorrow are present in the selected teams - writer-director Eva Riley with Perfect Ten, producer Emily Morgan with Make-up, and producer Michelle Eastwood with Retreat, which is set to be the first British feature film to be made entirely in sign-language.
The latest set of productions follows a period of success for the programme. Last year, William Oldroyd’s Lady Macbeth [pictured] and Hope Dickson Leach’s The Levelling, both greenlit by iFeatures in 2015, secured major festival berths.
Subsequently, Lady Macbeth sold to the Us (Roadside Attractions) and UK (Altitude Film) among others, and Peccadillo Pictures acquired The Levelling for the UK.
The three selected projects in 2017 are:
Perfect Ten, written and directed by 2016 Screen Star of Tomorrow Eva Riley and produced...
- 2/15/2017
- by tom.grater@screendaily.com (Tom Grater) orlando.parfitt@screendaily.com (Orlando Parfitt)
- ScreenDaily
Exclusive: Brek Taylor departs in latest blow to UK funding agency.
Creative England’s head of film Brek Taylor is to leave the UK funding agency this week after four months in the role.
The former director and Film London executive was appointed at the end of September 2016 following the departure of Caroline Cooper Charles, who herself served only six months in the position.
Creative England confirmed the exit but declined to comment on the reason for Taylor’s departure or a succession plan.
The 45 Years and Notes On Blindness backer had been looking to build stability in 2017 following cuts to its film operation last year.
On revealing its five-year plan for film in November, the BFI described a “refocused” role for the agency and a review of its production services operation.
At the time the BFI confirmed that the valued agency would continue to deliver popular low budget movie scheme iFeatures, which produced...
Creative England’s head of film Brek Taylor is to leave the UK funding agency this week after four months in the role.
The former director and Film London executive was appointed at the end of September 2016 following the departure of Caroline Cooper Charles, who herself served only six months in the position.
Creative England confirmed the exit but declined to comment on the reason for Taylor’s departure or a succession plan.
The 45 Years and Notes On Blindness backer had been looking to build stability in 2017 following cuts to its film operation last year.
On revealing its five-year plan for film in November, the BFI described a “refocused” role for the agency and a review of its production services operation.
At the time the BFI confirmed that the valued agency would continue to deliver popular low budget movie scheme iFeatures, which produced...
- 1/30/2017
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Exclusive: Shortlist features six former Screen Stars Of Tomorrow.
Lady Macbeth backer Creative England has revealed the eight projects and filmmaking teams from iFeatures’ fourth development slate shortlisted to be taken forward to the full development phase.
Three of these films will be selected to go into production in 2017.
The final eight films and filmmaker teams are:
· Make Up – writer/director Claire Oakley, producer Emily Morgan. Set in Cornwall.
· Sleeping City – writer/directors Manjeet Gill, Andrew Walker and Matthew Carter, producer Emily Morgan. Set in Birmingham.
· Seaholme - writer/director Rob Savage, writer David Sugarman, producers Rob Watson and Paul Van Carter. Set in Mersea Island, Essex.
· The Premises – writer/director Rose Glass, producer Oliver Kassman. Set in the Lake District.
· Retreat – director Ted Evans, writer E.V Crowe, producers Michelle Eastwood and Alex Usborne. Set in and around Bristol.
· Blow Up Dolls – director Carolina Giammetta, writer Joy Wilkinson, producer Jude Goldrei. Set in Burnley...
Lady Macbeth backer Creative England has revealed the eight projects and filmmaking teams from iFeatures’ fourth development slate shortlisted to be taken forward to the full development phase.
Three of these films will be selected to go into production in 2017.
The final eight films and filmmaker teams are:
· Make Up – writer/director Claire Oakley, producer Emily Morgan. Set in Cornwall.
· Sleeping City – writer/directors Manjeet Gill, Andrew Walker and Matthew Carter, producer Emily Morgan. Set in Birmingham.
· Seaholme - writer/director Rob Savage, writer David Sugarman, producers Rob Watson and Paul Van Carter. Set in Mersea Island, Essex.
· The Premises – writer/director Rose Glass, producer Oliver Kassman. Set in the Lake District.
· Retreat – director Ted Evans, writer E.V Crowe, producers Michelle Eastwood and Alex Usborne. Set in and around Bristol.
· Blow Up Dolls – director Carolina Giammetta, writer Joy Wilkinson, producer Jude Goldrei. Set in Burnley...
- 11/10/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Creative England has selected the participants for new producer initiatives aimed at developing industry outside of London.
Creative England has selected the participants for new producer initiatives Producer Hothouse and the Creative Producer Initiative, which are aimed at fostering industry outside of London.
For the Hothouse programme, six film and TV production companies have selected eight producers from outside of London to join them for an intensive six-month placement.
The participants and their placements are:
Irune Gurtubai (Edinburgh) with Altitude Film Entertainment Max Conil (Seaford) with Number 9 FilmsNicola Clayton (Holbrook) and Jack Tarling (Newcastle) with Scott Free FilmsJennifer Monks (Liverpool) with Tigerlily FilmsPeter Fraser (Cambridge) with Trademark FilmsDana Bruce (Manchester) and Lucy Meer (Hull) with Warp Films
The producers receive a bursary award plus an allocation towards relocation expenses, from Creative England or the Scottish Film Talent Network (for Edinburgh-based Gurtubai).
Mark Herbert of Warp Films said: “Speaking from experience it it can be difficult starting and sustaining...
Creative England has selected the participants for new producer initiatives Producer Hothouse and the Creative Producer Initiative, which are aimed at fostering industry outside of London.
For the Hothouse programme, six film and TV production companies have selected eight producers from outside of London to join them for an intensive six-month placement.
The participants and their placements are:
Irune Gurtubai (Edinburgh) with Altitude Film Entertainment Max Conil (Seaford) with Number 9 FilmsNicola Clayton (Holbrook) and Jack Tarling (Newcastle) with Scott Free FilmsJennifer Monks (Liverpool) with Tigerlily FilmsPeter Fraser (Cambridge) with Trademark FilmsDana Bruce (Manchester) and Lucy Meer (Hull) with Warp Films
The producers receive a bursary award plus an allocation towards relocation expenses, from Creative England or the Scottish Film Talent Network (for Edinburgh-based Gurtubai).
Mark Herbert of Warp Films said: “Speaking from experience it it can be difficult starting and sustaining...
- 10/25/2016
- by wendy.mitchell@screendaily.com (Wendy Mitchell)
- ScreenDaily
Exclusive: Former Film London executive joins UK funder which is riding high following Toronto successes.
UK funder Creative England, whose previous credits include 45 Years and Spooks: The Greater Good, has appointed former Film London executive producer Brek Taylor as its new head of film.
Taylor, who joined the organisation last week, takes over from Caroline Cooper Charles.
Taylor co-directed 2011 Glasgow Film Festival feature The Island, which starred Natalie Press, Colin Morgan and Janet McAteer. The title, made under Taylor’s production banner Tailormade Productions, was acquired by Soda Pictures for the UK.
Having started out in theatre, she has worked on documentaries for National Geographic’s ‘Explorer’s Journal’ and a 24-hour international Shakespeare theatre event involving 35 countries.
Caroline Norbury MBE, chief executive of Creative England, said in a statement to Screen: “We’re delighted to welcome Brek Taylor to Creative England as our new Head of Film, bringing her 15 years experience directing and producing in theatre...
UK funder Creative England, whose previous credits include 45 Years and Spooks: The Greater Good, has appointed former Film London executive producer Brek Taylor as its new head of film.
Taylor, who joined the organisation last week, takes over from Caroline Cooper Charles.
Taylor co-directed 2011 Glasgow Film Festival feature The Island, which starred Natalie Press, Colin Morgan and Janet McAteer. The title, made under Taylor’s production banner Tailormade Productions, was acquired by Soda Pictures for the UK.
Having started out in theatre, she has worked on documentaries for National Geographic’s ‘Explorer’s Journal’ and a 24-hour international Shakespeare theatre event involving 35 countries.
Caroline Norbury MBE, chief executive of Creative England, said in a statement to Screen: “We’re delighted to welcome Brek Taylor to Creative England as our new Head of Film, bringing her 15 years experience directing and producing in theatre...
- 9/26/2016
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
Trailers are an under-appreciated art form insofar that many times they’re seen as vehicles for showing footage, explaining films away, or showing their hand about what moviegoers can expect. Foreign, domestic, independent, big budget: I celebrate all levels of trailers and hopefully this column will satisfactorily give you a baseline of what beta wave I’m operating on, because what better way to hone your skills as a thoughtful moviegoer than by deconstructing these little pieces of advertising? Some of the best authors will tell you that writing a short story is a lot harder than writing a long one, that you have to weigh every sentence. What better medium to see how this theory plays itself out beyond that than with movie trailers? Becoming Chaz Trailer Fenton Bailey and Randy Barbato are the film equivalent of sociological documentarians. If ever there was a duo who have damn well...
- 4/30/2011
- by Christopher Stipp
- Slash Film
Rating: 3 out of 5 stars
(Apologies for the lateness. My editor was enjoying the sunshine too much to get this up sooner)
British cinema seems to sit squarely within one of three categories these days: the mushy romantic comedy, the low budget quirky horror or the hard-hitting social drama. Island slots somewhere between the latter two to offer a confused viewing experience that simultaneously appears to be a social drama whilst evoking notions of horror. It’s hard to say whether it works – Island will keep your attention until the end, but it will likely leave you feeling a little disappointed as it fails to follow through on any of the hints it gives you.
From the opening monologue – “When I was 29, I decided to kill my mother.” – Island gives the impression that it’s going to be revenge driven, psychological thriller. However, over the course of the narrative this is...
(Apologies for the lateness. My editor was enjoying the sunshine too much to get this up sooner)
British cinema seems to sit squarely within one of three categories these days: the mushy romantic comedy, the low budget quirky horror or the hard-hitting social drama. Island slots somewhere between the latter two to offer a confused viewing experience that simultaneously appears to be a social drama whilst evoking notions of horror. It’s hard to say whether it works – Island will keep your attention until the end, but it will likely leave you feeling a little disappointed as it fails to follow through on any of the hints it gives you.
From the opening monologue – “When I was 29, I decided to kill my mother.” – Island gives the impression that it’s going to be revenge driven, psychological thriller. However, over the course of the narrative this is...
- 4/24/2011
- by Stuart Cummins
- Obsessed with Film
Arthur (12A)
(Jason Winer, 2011, Us) Russell Brand, Helen Mirren, Greta Gerwig, Jennifer Garner, Luis Guzmán. 110 mins
You can see what they were thinking: "it worked for one difficult-to-market English comic, so let's try it again". But somewhere between the moon and New York City this romcom seems to have lost some of its spirit and spontaneity. There are some snappy lines and funny moments, but Brand's overprivileged wastrel is nowhere near as cuddly as Dudley Moore's was – or as convincingly drunk. Sometimes, hair of the dog isn't the answer.
How I Ended This Summer (12A)
(Aleksei Popogrebsky, 2010, Rus) Grigory Dobrygin, Sergei Puskepalis. 130 mins
Spare and distinctive two-hander set in remote Arctic Russia, where the endless daylight, monotonous work, some terrible news and a touch of radiation exacerbate generational differences to deadly levels.
Pina (U)
(Wim Wenders, 2011, Ger/Fra/UK) 104 mins
A 3D tribute to the work, rather than the life,...
(Jason Winer, 2011, Us) Russell Brand, Helen Mirren, Greta Gerwig, Jennifer Garner, Luis Guzmán. 110 mins
You can see what they were thinking: "it worked for one difficult-to-market English comic, so let's try it again". But somewhere between the moon and New York City this romcom seems to have lost some of its spirit and spontaneity. There are some snappy lines and funny moments, but Brand's overprivileged wastrel is nowhere near as cuddly as Dudley Moore's was – or as convincingly drunk. Sometimes, hair of the dog isn't the answer.
How I Ended This Summer (12A)
(Aleksei Popogrebsky, 2010, Rus) Grigory Dobrygin, Sergei Puskepalis. 130 mins
Spare and distinctive two-hander set in remote Arctic Russia, where the endless daylight, monotonous work, some terrible news and a touch of radiation exacerbate generational differences to deadly levels.
Pina (U)
(Wim Wenders, 2011, Ger/Fra/UK) 104 mins
A 3D tribute to the work, rather than the life,...
- 4/22/2011
- by Steve Rose
- The Guardian - Film News
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