Producing

The region secured 94 titles, surpassing North America and Asia Pacific combined, and the UK in particular matched the US in first-run series orders, reflecting shifting investment trends:

"Western Europe hit a record volume of crime and thriller production orders from leading global streamers in 2024, reaching a total of 94 titles, Ampere Analysis has found.

This number refers to scripted first-run TV, season renewals and movie commissions in the crime and thriller genre ordered within the time period by Amazon Prime Video, Apple TV+, Disney+, Max/HBO Max, Netflix and Paramount+.

Overall the crime and thriller genre's key role in streamers’ commissioning strategy is increasing around the globe, with its share of scripted content growing from 20% in 2020 to 32% in 2024."

The international evolution of entertainment content production continues its expansion.

Good luck in filmmaking!

www.cineuropa.org/en/newsdetail/474472

Hi everyone. I am looking to make connections with people in Australia and New Zealand. I'm interested in speaking with producers, directors, DPs and other creatives to get a sense of what the industry is like and what opportunities exist to collaborate and work there.

I'm a LA-based Swiss cinematographer with over 15 years in narrative and commercial spaces.

I’m working on a film industry workforce impact study for Alabama and am looking to connect with anyone involved in these productions—crew members, vendors, local businesses, etc.

Love in Fairhope, produced by Hulu, Hello Sunshine, Evolution Media, Tremont Road.

The Life of Chuck, produced by Intrepid Pictures, Red Room Pictures, QWGmire

OK, the Oscars are a day away. I spent the last couple of weeks breaking down all the nominees for Best Adapted Screenplay and Best Original Screenplay. Now it’s time to rank the nominees for Best Picture.

Before I start, I want to say one thing about this year’s nominees. The thematic throughline for almost all of them was pessimism. We are living in dark, pessimistic times right now. Our population is divided along ideological lines with no clear path forward, and this year’s nominees reflect that. These are movies that point out our most profound weaknesses and make us confront them in ways that range from constructive to destructive. Some films offered a glimmer of hope, while others painted bleak pictures of not only our present but also our future.

So, on that happy note, here are my thoughts on this year’s Best Picture Nominees.

10. Emilia Pérez: Anyone who reads my blog or listens to my podcast should be well aware of my disdain for this film and the rarified air it now undeservedly occupies as the second most Academy Award-nominated film of all time. My only hope is that with the controversy now surrounding it, it may end up having the dubious record of being shut out.

9. The Brutalist: This one gets my award for the most overrated film of the year. Coming in at over three and a half hours, this slog of a film is a beautiful work of art but is not great cinema. The story lacks drama, and very little actually happens, which is a monumental achievement considering how long it is. Ultimately, this film gave me nothing from an emotional standpoint. I didn’t care about the characters. I didn’t care about what happened. The ending was also an unsatisfying way to conclude an unsatisfying film.

8. A Complete Unknown: This was an entertaining film, but I can’t help but wonder if the entertainment value came primarily from the music and not from the movie. There were a lot of plays left on the field in this film, which ended up being a surface-level account of one of he most important careers in the history of rock/folk/pop music. There were opportunities to explore Dylan’s relationships with Joan Baez and Sylvie Russo that would have added depth and drama to the story, but those opportunities weren’t taken advantage of.

7. Nickel Boys: This was a powerful screenplay that reminded me of a latter-day Cool Hand Luke. Taking place primarily in the 60s, this film forces us to examine our lack of progress when it comes to race relations. Yes, progress has been made, but Nickel Boys shows us we have a long way to go but are probably turning in the wrong direction.

6. I’m Still Here: This movie hits where it hurts. It’s about the kidnapping of a former politician in Brazil by the dictatorial government in the 80s, and his family’s attempt to find him or his body. This chilling accounting of how powerless people can feel when their own government turns against them is only tempered by the family’s resilience to finally get answers. This is one of this year’s films that offers that glimmer of hope.

5. Dune: Part Two: This film was one of the rare instances when the sequel is better than the original. Actually, it’s not so much a sequel as it is a continuation of the same story. However, whereas the first Dune movie was mostly about politics and the exposition to help us understand the story, Dune: Part Two was all about the action. The scene when Paul rides the sandworm could easily win an Oscar if there was ever a category for Best Scene. This is one of the most entertaining movies of the year, but it is not likely to take home the Academy’s top prize.

4. The Substance: This film paid serious homage to my favorite filmmaker, Stanley Kubrick. Director/screenwriter Coralie Fargeat channeled her inner fan of The Shining, 2001, and A Clockwork Orange to give us a chilling look at the price people pay to hold on to the fleeting qualities of youth and beauty. Labeled as “body horror,” there are definitely scenes that will make you squeamish, but the tone and the message of the story create equal discomfort. Don’t count this one out for Best Original Screenplay.

3. Anora: Oh, man, this movie is like getting taken to the best party of the year only to watch it devolve into a drunken mess of fighting and crying and ending with a punch in the face. I loved it. This is another one that could be a solid contender for Best Original Screenplay, and it has a good chance to win Best Picture. For me, this is the most emotionally engaging, and it made me feel the most. It might have the single most powerful ending shot of any film I’ve seen.

2. Wicked: This was the most entertaining movie of the year. If the award was still called Best Production, like it was in the 30s and 40s, Wicked would absolutely be the front-runner because there wasn’t a better production than this film. It immerses us in the world of Oz like no other film before it, but there is a lot of substance to go along with its style. This is a deep film about prejudice, racism, and how easy it can be to fall into the trap of a dictatorial leader. There is a lot more to Wicked than meets the eye.

1. Conclave: This is my favorite movie of the year, and it isn’t really that close. Conclave has a profoundly moving story that is paced in a way that makes it riveting and thoughtful. It has stellar acting performances from some of the great actors of our time. It has a timely thematic message about choosing the right leaders to take us to the better part of ourselves rather than the easy notion of coronating those who appeal to our basest desires that only serve to divide us. From the cinematography to the score, Conclave is a film that was crafted to stand alongside some of the greatest films that have ever been made.

That’s my list. I’m interested in hearing how you feel about this year’s Oscar race, so feel free to leave a comment.

This is a bit of a curate’s egg, to draw a metaphor from The Canterbury Tales; it’s good in parts. Yes, the UK tax incentives are good, BUT, the bureaucracy that controls it is restrictive and limits its flexibility.

As I learnt from my post about my visit to Focus London, 2024; when the BFI representative choked when I said I was thinking of an international co-production and was then informed by one Stage32 member, that the incentives weren’t that great anyway.

If you are a producer looking to work with UK Producers and services, are you finding this a problem? Or a UK Producer looking to get UK tax incentives for your film?

https://www.screendaily.com/news/european-producers-warm-to-uk-as-co-pro...

This will definitely be a good primer for producers and screenwriters to gain knowledge and understanding on the various agreements for options, shopping deals, and attachments.

Knowing your rights, and the legalities of navigating these types of agreements for IP is a strong asset to add to your toolset.

Good luck in filmmaking!

I have a few potential investors say they'd like to be part of my project NEVER BREAK THE CHAIN, but they want to see me put together a team. I've sent inquiries to producers I think fit the project but no replies. Any suggestions? (Deck and Script available)