John Rhys-Davies and Rutger Hauer have joined the cast of "Black Angel," a feature-length version of the short film that was first attached to screenings of "The Empire Strikes Back" in 1980.
A 45-day campaign has begun on crowdfunding platform Indiegogo in the hopes of getting together some supplemental financing for "Black Angel: The Feature Film". Roger Christian, who penned and directed the original short, will return in those capacities here.
A Belgium, Hungary, Canada and U.K. co-production, the film aims to be shot in an "earthy and authentic style combining high adventure with high drama". Production is slated for September in Hungary, Belgium, Morocco and Scotland.
The story follows a knight who undertakes a classic hero’s journey to fight the Black Angel, the Demon Kings commander in the lands of Serandal. Guided by a sorcerer and the daughter of a rival king, they take on an epic adventure.
A 45-day campaign has begun on crowdfunding platform Indiegogo in the hopes of getting together some supplemental financing for "Black Angel: The Feature Film". Roger Christian, who penned and directed the original short, will return in those capacities here.
A Belgium, Hungary, Canada and U.K. co-production, the film aims to be shot in an "earthy and authentic style combining high adventure with high drama". Production is slated for September in Hungary, Belgium, Morocco and Scotland.
The story follows a knight who undertakes a classic hero’s journey to fight the Black Angel, the Demon Kings commander in the lands of Serandal. Guided by a sorcerer and the daughter of a rival king, they take on an epic adventure.
- 6/2/2015
- by Garth Franklin
- Dark Horizons
Exclusive: Carnaby International has come on to sell two films under its deal with filmmaker Stuart Brennan — football drama London Town and He Will Hang.
Brennan will write London Town and Studio 82 will produce the story of an aging player who has plied his trade in the Us and moves back to the Premier League. Production is set for February in Philadelphia, Brazil and the UK.
He Will Hang will also shoot in 2015 and is based on Terry Deary’s upcoming novel about a reporter who races to save one of the last men to be sentenced to death by hanging in the UK.
Brennan will direct from his adaptation of Dreary’s novel. Mark Paul Wake and David Izatt produce.
Carnaby co-CEOs Andrew Loveday and Sean O’Kelly attend the market with director of international sales Tania Sarra and head of acquisitions Alex Tate.
Brennan will write London Town and Studio 82 will produce the story of an aging player who has plied his trade in the Us and moves back to the Premier League. Production is set for February in Philadelphia, Brazil and the UK.
He Will Hang will also shoot in 2015 and is based on Terry Deary’s upcoming novel about a reporter who races to save one of the last men to be sentenced to death by hanging in the UK.
Brennan will direct from his adaptation of Dreary’s novel. Mark Paul Wake and David Izatt produce.
Carnaby co-CEOs Andrew Loveday and Sean O’Kelly attend the market with director of international sales Tania Sarra and head of acquisitions Alex Tate.
- 11/7/2014
- by jeremykay67@gmail.com (Jeremy Kay)
- ScreenDaily
Moscow Business Square (June 21-24) runs parallel to the Moscow International Film Festival.
The UK and Latin America are the focus of the sixth Moscow Business Square (Mbs) (June 21-24) which is being held parallel to the Moscow International Film Festival (June 19-28).
The programme of events will include case studies of the Cannes 2014 title El Ardor and the first ever Brazilian-Russian co-production Red Russian, as well as of Vera Glagoleva’s Turgenev adaptation Two Women, starring Ralph Fiennes, and Peter Briggs’ Tank88.
In addition, there will be presentations of Russian documentaries at the stage of post-production to festival programmers, distributors and sales agents as well as roundtables on the production and distribution of biopics, potential for international remakes of Russian properties, legal aspects of the Russian VoD market and a day dedicated to trends in the Russian and international animation sectors.
From Australia to Afghanistan, Kazakhstan to Colombia
Mbs’ four-day programme will kick-off on June 21 with...
The UK and Latin America are the focus of the sixth Moscow Business Square (Mbs) (June 21-24) which is being held parallel to the Moscow International Film Festival (June 19-28).
The programme of events will include case studies of the Cannes 2014 title El Ardor and the first ever Brazilian-Russian co-production Red Russian, as well as of Vera Glagoleva’s Turgenev adaptation Two Women, starring Ralph Fiennes, and Peter Briggs’ Tank88.
In addition, there will be presentations of Russian documentaries at the stage of post-production to festival programmers, distributors and sales agents as well as roundtables on the production and distribution of biopics, potential for international remakes of Russian properties, legal aspects of the Russian VoD market and a day dedicated to trends in the Russian and international animation sectors.
From Australia to Afghanistan, Kazakhstan to Colombia
Mbs’ four-day programme will kick-off on June 21 with...
- 6/10/2014
- by screen.berlin@googlemail.com (Martin Blaney)
- ScreenDaily
Our International Sales Agent (Isa) of the Day coverage is back again for this year's Cannes Film Festival. We will feature successful, upcoming, innovative and trailblazing agents from around the world, and cover the latest trends in sales and distribution. Beyond the numbers and deals, this segment will also share inspirational and unique stories of how these individuals have evolved and paved their way in the industry, and what they envision for the new waves in global cinema.
The fiery business maverick Andrew Loveday of Carnaby Films has a big message for the dinosaurs of the global film industry; be afraid. Be very afraid!
Andrew is here to create big change in the global film industry, and the time is right for his intentions. Banking partners have just committed 75 million a year to finance Carnaby's whole slate. He closed this deal here at the Cannes Film Festival with the help of his team members Tania Sarra (Director of International Sales), Alex Tate (Head of Acquisitions) and Sean O'Kelly (CEO).
This is incredibly exciting for global cinema because Carnaby only represents films of rich and high standards and has one of the best lineups at Cannes this year, including Damascus Cover, Tom Thumb and A Love of Money.
Andrew shares how he got his start, his philosophy and his honest and raw observations of the film sales world:
How did Carnaby start?
Carnaby was born fifteen years ago. I started it with my father Mike, and my cousin Terry. We worked for another film company, and then we decided to setup on our own. We started by raising the funds for a small budget movie of 200,000 dollars. We ended up raising 3.5 million instead; it blew our minds. It literally started from nothing. There was no plan, and now 13 years later, we've made 14 extremely rich films. The last one was Angel, and then there was The Wee Man, which got four BAFTA nominations and won two BAFTA awards for best film and audience award.
Then we realized after twelve years in the market, all our investors were asking, "Hey Andy, the film's out on the shelf. It's everywhere. Where's our money???" We thought, "Oh, actually... We don't know. We'll go speak to our sales company." Then we asked the sales company, and they blew us of with "Oh... You know, it's a tough time in the market...but talk to that guy. He'll know." Then we'd go talk to that guy, and another, and another and get more of the same; so, it took us twelve to thirteen years to realize that we need to be in charge of our films.
I setup the international sales side of Carnaby in November last year. We launched the company at Afm. I got all my titles back from all the sales agents at other companies and decided to launch Carnaby Sales and Distribution. Our first title that we took to the market was Panzer 88, written by Peter Bricks with producers Gary Kurtz and Ivor Powell (Star Wars, Alien and Blade Runner). We went to Afm, and everybody went "Wow! These guys have a 40 million dollar movie with Gary Kurtz and Ivor Powell. They're not sales agents!" Now, seven months later, here I am in Cannes with my sales and distribution arm.
My star of the company is Tania Sarra, who will be given the Future Industry Leader award on the 23rd. The international film community voted for her, and she deserves it because she's a brilliant and hardworking woman.
What does Carnaby have to offer producers?
My message for producers is that I'll help to make your film, and make sure that you get every single penny you deserve. We all know reputation is everything in a small industry where information goes around like wildfire. This is why, all of a sudden, stunning and unique projects are starting to flood in. We're working with established masters: Gary Kurtz, Ivor Powell, Anthony Wade and Roger Christian, plus a whole bunch of up and coming producers full of innovative ideas. There's no luck involved. These producers come to us because they know we're honest. We're very down to earth, and we don't get frustrated.
What is your philosophy on making films happen?
To sell really great films, you have to go out and get them. I really believe that you are what you eat, in anything you do. If you say, "Oh, I'm going to do small films, and that's all I'll ever do" then that's the market you'll be in. The market has changed so much over the last five to ten years with low budget movies. Everyone goes on the bandwagon of "I want to make another Blair Witch or Paranormal Activity." All it does is swamp the market so bad, that when you get to the consumer at the end of it, people say, "I'm not going to give my fifteen dollars for that film, because I know it's going to be a low budget and no good."
What do you see happening in the industry these days?
What I see in the industry is a very worrying time for a lot of the independent distributors. I think they're frantic and wondering what to do, because most of the new independent and smaller labels out there (especially in sales and distribution) can't afford to sustain their business on the 25-30 cent royalties of a DVD in a market where the DVD is going extinct. They've got overheads and staff; they don't have enough money to do a theatrical release.
People aren't fast to go to the cinema to see an art house or small indie movie unless it's got so much PR and movement internationally; people aren't really interested in it because they can watch it on TV for three pounds. You've got HBO on the Internet, Netflix. Smart TVs etc. The small distribution companies now want to produce their own movies so they can own it all, then they try to be producers. This is problematic because they're not film producers and never have been. They're accountants, clerks and marketing people running around like headless chickens, because they're trying to make movies. They're not always creative, and they think they are. They think, "Let's make a movie, because we know what we want and we know what sells." They saturate the market with poor films, and you are what you eat. If you keep putting shit into the market, after a while people won't go to the theatre. Consumers can only be cheated so many times, and these companies are actually a very big part of their own destruction. All they're doing is fueling a diminishing market in DVDs, which causes it to diminish even quicker.
Where do you believe your success comes from?
I'm a Pisces. This means I'm a dreamer and am very lucky, because I turn my dreams into reality. I get up everyday and never ever plan what I'm doing. I know what will be, will be. I can't change it. I just go with it. I get up and go "What are we doing today, guys?" and that's it. When you try to steer and manipulate something in life, all you do is set yourself up for disappointment. I've always been of this mindset.
This time last year, I sat on the Plage Royale Beach, and said, "You know what? I'm going to start an international sales agency, and it's going to be big. Next year, I'm going to be up there (on the Croisette) with a great office."
It's so hard to make a film. I was at the market last year with my cap in hand, showing my begging bowl to these guys and 97% of them have never made a movie in their life. I look at them as an industry of old boys, and the old boys will be terrified of me. All I have to say to them is that I'm coming for you. I'm here to create real change in the industry.
If you're going to do anything, fucking own it. Don't ever go, "I can't really be bothered" Because if you say you're going to do it, you have got to do it. When you have that, everything is possible. That's what I'm about. I said that I'm going to start an international sales agency and it will be highly successful. One year later, we're here in this beautiful office, and now a major Us bank has backed us for 70 million a year to fund our full slate. This is where we are now.
Learn more about Carnaby's Cannes Lineup
More about Carnaby:
Carnaby International Sales and Distribution is a UK film company specialising in worldwide sales, production, co-productions and UK distribution – with a catalogue of award-winning feature films and documentaries.
We have built up a fast growing and recognisable brand at all major motion picture and television festivals and markets worldwide, including Cannes, Afm, Efm, Berlinale, The Sundance Film Festival, Toronto International Film Festival, Luff, Mipcom and Miptv.
Carnaby International Sales and Distribution focuses on international sales of film, television and film libraries. The company is based in the heart of Soho, London.
The fiery business maverick Andrew Loveday of Carnaby Films has a big message for the dinosaurs of the global film industry; be afraid. Be very afraid!
Andrew is here to create big change in the global film industry, and the time is right for his intentions. Banking partners have just committed 75 million a year to finance Carnaby's whole slate. He closed this deal here at the Cannes Film Festival with the help of his team members Tania Sarra (Director of International Sales), Alex Tate (Head of Acquisitions) and Sean O'Kelly (CEO).
This is incredibly exciting for global cinema because Carnaby only represents films of rich and high standards and has one of the best lineups at Cannes this year, including Damascus Cover, Tom Thumb and A Love of Money.
Andrew shares how he got his start, his philosophy and his honest and raw observations of the film sales world:
How did Carnaby start?
Carnaby was born fifteen years ago. I started it with my father Mike, and my cousin Terry. We worked for another film company, and then we decided to setup on our own. We started by raising the funds for a small budget movie of 200,000 dollars. We ended up raising 3.5 million instead; it blew our minds. It literally started from nothing. There was no plan, and now 13 years later, we've made 14 extremely rich films. The last one was Angel, and then there was The Wee Man, which got four BAFTA nominations and won two BAFTA awards for best film and audience award.
Then we realized after twelve years in the market, all our investors were asking, "Hey Andy, the film's out on the shelf. It's everywhere. Where's our money???" We thought, "Oh, actually... We don't know. We'll go speak to our sales company." Then we asked the sales company, and they blew us of with "Oh... You know, it's a tough time in the market...but talk to that guy. He'll know." Then we'd go talk to that guy, and another, and another and get more of the same; so, it took us twelve to thirteen years to realize that we need to be in charge of our films.
I setup the international sales side of Carnaby in November last year. We launched the company at Afm. I got all my titles back from all the sales agents at other companies and decided to launch Carnaby Sales and Distribution. Our first title that we took to the market was Panzer 88, written by Peter Bricks with producers Gary Kurtz and Ivor Powell (Star Wars, Alien and Blade Runner). We went to Afm, and everybody went "Wow! These guys have a 40 million dollar movie with Gary Kurtz and Ivor Powell. They're not sales agents!" Now, seven months later, here I am in Cannes with my sales and distribution arm.
My star of the company is Tania Sarra, who will be given the Future Industry Leader award on the 23rd. The international film community voted for her, and she deserves it because she's a brilliant and hardworking woman.
What does Carnaby have to offer producers?
My message for producers is that I'll help to make your film, and make sure that you get every single penny you deserve. We all know reputation is everything in a small industry where information goes around like wildfire. This is why, all of a sudden, stunning and unique projects are starting to flood in. We're working with established masters: Gary Kurtz, Ivor Powell, Anthony Wade and Roger Christian, plus a whole bunch of up and coming producers full of innovative ideas. There's no luck involved. These producers come to us because they know we're honest. We're very down to earth, and we don't get frustrated.
What is your philosophy on making films happen?
To sell really great films, you have to go out and get them. I really believe that you are what you eat, in anything you do. If you say, "Oh, I'm going to do small films, and that's all I'll ever do" then that's the market you'll be in. The market has changed so much over the last five to ten years with low budget movies. Everyone goes on the bandwagon of "I want to make another Blair Witch or Paranormal Activity." All it does is swamp the market so bad, that when you get to the consumer at the end of it, people say, "I'm not going to give my fifteen dollars for that film, because I know it's going to be a low budget and no good."
What do you see happening in the industry these days?
What I see in the industry is a very worrying time for a lot of the independent distributors. I think they're frantic and wondering what to do, because most of the new independent and smaller labels out there (especially in sales and distribution) can't afford to sustain their business on the 25-30 cent royalties of a DVD in a market where the DVD is going extinct. They've got overheads and staff; they don't have enough money to do a theatrical release.
People aren't fast to go to the cinema to see an art house or small indie movie unless it's got so much PR and movement internationally; people aren't really interested in it because they can watch it on TV for three pounds. You've got HBO on the Internet, Netflix. Smart TVs etc. The small distribution companies now want to produce their own movies so they can own it all, then they try to be producers. This is problematic because they're not film producers and never have been. They're accountants, clerks and marketing people running around like headless chickens, because they're trying to make movies. They're not always creative, and they think they are. They think, "Let's make a movie, because we know what we want and we know what sells." They saturate the market with poor films, and you are what you eat. If you keep putting shit into the market, after a while people won't go to the theatre. Consumers can only be cheated so many times, and these companies are actually a very big part of their own destruction. All they're doing is fueling a diminishing market in DVDs, which causes it to diminish even quicker.
Where do you believe your success comes from?
I'm a Pisces. This means I'm a dreamer and am very lucky, because I turn my dreams into reality. I get up everyday and never ever plan what I'm doing. I know what will be, will be. I can't change it. I just go with it. I get up and go "What are we doing today, guys?" and that's it. When you try to steer and manipulate something in life, all you do is set yourself up for disappointment. I've always been of this mindset.
This time last year, I sat on the Plage Royale Beach, and said, "You know what? I'm going to start an international sales agency, and it's going to be big. Next year, I'm going to be up there (on the Croisette) with a great office."
It's so hard to make a film. I was at the market last year with my cap in hand, showing my begging bowl to these guys and 97% of them have never made a movie in their life. I look at them as an industry of old boys, and the old boys will be terrified of me. All I have to say to them is that I'm coming for you. I'm here to create real change in the industry.
If you're going to do anything, fucking own it. Don't ever go, "I can't really be bothered" Because if you say you're going to do it, you have got to do it. When you have that, everything is possible. That's what I'm about. I said that I'm going to start an international sales agency and it will be highly successful. One year later, we're here in this beautiful office, and now a major Us bank has backed us for 70 million a year to fund our full slate. This is where we are now.
Learn more about Carnaby's Cannes Lineup
More about Carnaby:
Carnaby International Sales and Distribution is a UK film company specialising in worldwide sales, production, co-productions and UK distribution – with a catalogue of award-winning feature films and documentaries.
We have built up a fast growing and recognisable brand at all major motion picture and television festivals and markets worldwide, including Cannes, Afm, Efm, Berlinale, The Sundance Film Festival, Toronto International Film Festival, Luff, Mipcom and Miptv.
Carnaby International Sales and Distribution focuses on international sales of film, television and film libraries. The company is based in the heart of Soho, London.
- 5/19/2014
- by Erin Grover
- Sydney's Buzz
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.