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such a nasty woman | by maryann johanson

I wrote a thing for Indiewire…

about British film:

Why British Film Is in the Middle of an Indie Renaissance

What leaps to mind when you think “British film”? Is it all tea and crumpets, Jane Austen costume dramas, and genteel swearing by the King? With maybe some Cockney gangsters thrown in for spice?

Not that there isn’t some of that, but: look. You’re probably not even aware of all the British film you’re seeing. “Gravity” had studio backing but is basically a British production. Ditto “Les Misérables,” “World War Z,” “Fast & Furious 6,” and the tragically underappreciated Formula 1 action drama “Rush.” On the screen you might be looking at Hollywood money, but you’re also looking at British talent: “Rush,” for instance, replicated global settings shooting mostly in the U.K., and it was British cinematographer Anthony Dod Mantle and British production designer Mark Digby who made the film look like a hundred million bucks instead of its relatively paltry budget of $38 million. And “Gravity” would not succeed absent the groundbreaking visual work created primarily by London FX house Framestore.

There’s lots more. Go check out the whole thing.

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maryann buzz | Net buzz
  • RogerBW

    How meaningful is it to talk about “a British film” anyway? If productions are coming here for the tax, they’ll go somewhere else the moment the tax changes. What does that leave behind?

  • It’s not just about outside productions coming to the UK. There’s lots of homegrown filmmaking happening as well. And even of outside money does come and then leave, it leaves behind talent that has had the opportunity to work and grow, who then may go on to do their own stuff.

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