Our latest feature project on the life of the band Oasis, directed by Mat Whitecross, is finally out in UK cinemas from the 2nd of October.
The film documents the journey of the band from the moment in 1991 when Noel Gallagher joined his brother Liam’s band.
The US and global scenes will have to wait until the 26th of October, but check out some great articles and reviews of the film to start getting excited!
Little White Lies
A first time novelist who wrote in NHS car parks in her lunch breaks has secured a television dramatisation deal for her first book and a £300,000 contract for her second novel.
The Trouble With Goats and Sheep, partly inspired by the patients of hospital psychiatrist Joanna Cannon, and praised in a Guardian review as “a novel to be savoured rather than hurried through”, has become a bestseller since it was published in January.
It has now been optioned as a television drama by On the Corner, the production company that made Amy, the admired documentary about the late singer Amy Winehouse.
Ragnar Jónasson’s Dark Iceland series, published by Orenda Books, has been optioned for TV by On the Corner, the UK production company responsible for the Academy Award-winning documentary “Amy”.
On the Corner acquired TV rights to the series from Luke Speed at Curtis Brown.
The series, currently comprised of five books – including Snowblind and Nightblind, withBlackout to follow this July – features Icelandic police officer Ari Thor, who is based in the northernmost town in Iceland, Siglufjörður. Rights to the series have been sold in 10 countries to date.
Jónasson said: “I am thrilled that we have finalised this deal with On the Corner. They have set out very ambitious plans to bring my books to the screen and I am confident that my characters and stories are in very capable hands.”
Karen Sullivan, publisher of Orenda Books, said: “It is beyond exciting to know that such a prestigious production company will be bringing this fabulous series to the small screen. Ragnar’s books are atmospheric, chilling and evocative, and he cleverly weaves together the very best aspects of Nordic Noir with all the elements of a Golden Age mystery. TV is a natural home for them, and I know that On the Corner will do them proud. Beautifully translated by Quentin Bates, Ragnar’s books have attracted a new legion of fans to the genre, and I’m sure the TV series will do the same.”
Watch Jolyon Symonds andRagnar Jónasson’s interview
“Next time someone special comes along, let’s try to be a little more grown-up about it.”
Asif Kapadia and James Gay-Rees took home the gong for Best Documentary at the EE BAFTAs Film Awards tonight, and they used their time on stage to address the way the media reports on stars suffering from addiction.
Amy was awarded Best Documentary during the ceremony, beating out other nominees Cartel Land, Listen to Me Marlon, He Named Me Malala andSherpa.
“Everyone here knows someone who has struggled with addiction,” the pair said. “So to the media in this country, next time someone special comes along let’s try to be a little more grown-up about it.”
Gay-Rees said: “Most of her friends, most of the people that we spoke to over the two or three years that we were making this film, 99.9% of people say [it’s a very honest film] – that’s Amy.”
Full list of BAFTA winners 2016
The Academy of Motion Picture Arts and Sciences’ annual Oscar Nominees Luncheon was on the 8th February at the Beverly Hilton. The event celebrating this year’s noms fohttp://www.onthecorner.tv/wp-admin/post-new.php#r the 88th Oscars drew about 150 nominees, including Asif Kapadia and James Gay-Rees for AMY.
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Producer James Gay-Rees says one project in development will focus on a particular year, and he’s looking for a deal with such platforms as Netflix and Amazon.
With Amy a favorite to pick up this year’s best documentary Oscar and two further high-profile features — Maradona and an untitled Oasis doc — among the hot titles at Berlin’s EFM, filmmakers Asif Kapadia and James Gay-Rees are expanding their output. But this time they’re moving away from iconic figures and their traditional feature-length format.
“We’re tending to look at more long-form options now,” Gay-Rees tells The Hollywood Reporter. “We want to do more documentary series, more for the platforms in the States, the Netflixes and the Amazons…they’re the people we’re talking to a bit more now.”
One six-hour project, which Gay-Rees says could either air in six hour-long or four 90-minute episodes, is set to go into production during the first half of this year, with Kapadia, who directed Amy and is set to direct Maradona, helming the pilot episode.
The story itself will be “based around a seminal year,” says Gay-Rees, although he wouldn’t reveal which one. “We have another one that again, we’re just developing now. That’ll be hopefully be another four- to six-hour documentary series.”
But there’s one iconic figure Gay-Rees says he would “drop everything” for to make a documentary about: David Bowie.
“We would kill to make that film. We would do anything to make that film,” he says. “If his estate is listening, please give us a call…but it’s far too soon. But if there was ever a conversation to be had around it….”
A Bowie doc, Gay-Rees claims, might need a longer-form version. “There’s so much great material to work with,” he says. “Trying to do that in 90 minutes would be tricky.”
Asif Kapadia, the director of the Oscar-nominated “Amy,” is to helm a feature documentary about the soccer player Diego Maradona. The film will be handled internationally by Altitude Film Sales and introduced to buyers at Berlin, with U.S. sales being handled by Cinetic Media.
Altitude Film Distribution has taken U.K. rights to the film, titled “Maradona.” The company also distributed “Amy,” which took £3.76 million ($5.39 million), making it the highest-grossing British documentary of all time at the U.K. box office.
The Maradona movie has the same filmmaking team behind it as “Amy” and their previous documentary “Senna” — Kapadia, James Gay-Rees and Chris King. Those three will be joined asproducers on the film by Paul Martin, the producer of “Ronaldo.” It is being fully financed by Julian Bird’s Lorton Entertainment.
Kapadia will have access to hundreds of hours of never-before-seen footage from Maradona’s personal archive.
It’s way too easy to feel jaded about Oscar season. The forced pomp, the moneyed campaigns, the boggling repetition of dozens of awards fetes could jaundice any eye. But it’s tougher to be cynical about the documentary category, where an Oscar nomination, let alone a win, can have mighty ripple effects.
For years, the Academy’s documentary choices had been denounced for what the critic Owen Gleiberman described as a “self-defeating aesthetic of granola documentary correctness.
But is there a chance that things have since swung too far the other way? In 2012, the Academy changed its rules and began requiring that only documentaries that had been reviewed in The Los Angeles Times or The New York Times would be eligible for Oscar nominations, a decision that kept more obscure films out of the race. And in 2013, the documentary race was broadened to allow every member of theAcademy of Motion Picture Arts and Sciences — not just those in the documentary branch — to vote for the final winner. Michael Lumpkin, director of the American Film Institute’s documentary festival, said the shifts underscored the more prominent role that documentaries play in our culture’s media consumption. Michael Moore, who led the move for the changes, says they also democratized the process.
The new rules also might have affected what makes the shortlist and what, in the end, wins.
Still, the Academy is known to favor show business movies and, lo, two of the last three winners of the documentary prize, along with one of this year’s front-runners, “Amy,” the story of Amy Winehouse, are about just that.
This year, three of the 15 shortlisted films are about show-business personalities. Compare that with the shortlists from the five years before the initial rule change: Out of the 75 selected documentaries, there were just six about showbiz.
Golden Tomato Awards are presented to filmmakers and show runners and are determined by the highest Tomatometer score, with consideration for total number of published critic reviews. As such, the Golden Tomato Awards is the most comprehensive representation of the year’s best films and television shows as determined by professional critics.