Nazi legacy drama based on Helga Schneider’s memoirs stars Juliet Stevenson.
London-based production and sales outfit Evolutionary Films has closed a deal with Rialto Distribution for Australia and New Zealand theatrical rights to director Polly Steele’s drama Let Me Go, based on Helga Schneider’s best-selling memoirs.
Featuring the first original film score from Radiohead drummer Philip Selway, the film stars four-time BAFTA-nominated actress Juliet Stevenson (Bend It Like Beckham) [pictured], Jodhi May (Last of the Mohicans), Lucy Boynton (Sing Street), Karin Bertling (The Bridge) and Stanley Weber (The First Day Of The Rest Of Your Life).
After being abandoned in 1941 at four years-old so that her mother can join the Nazi SS as a concentration camp guard in Auschwitz, Let Me Go follows Schneider returning to face her mother sixty years later. The film also examines the next generations of the family and the suffering they endure following revelations of these long held secrets surrounding...
London-based production and sales outfit Evolutionary Films has closed a deal with Rialto Distribution for Australia and New Zealand theatrical rights to director Polly Steele’s drama Let Me Go, based on Helga Schneider’s best-selling memoirs.
Featuring the first original film score from Radiohead drummer Philip Selway, the film stars four-time BAFTA-nominated actress Juliet Stevenson (Bend It Like Beckham) [pictured], Jodhi May (Last of the Mohicans), Lucy Boynton (Sing Street), Karin Bertling (The Bridge) and Stanley Weber (The First Day Of The Rest Of Your Life).
After being abandoned in 1941 at four years-old so that her mother can join the Nazi SS as a concentration camp guard in Auschwitz, Let Me Go follows Schneider returning to face her mother sixty years later. The film also examines the next generations of the family and the suffering they endure following revelations of these long held secrets surrounding...
- 11/7/2016
- ScreenDaily
Ildi Toth Davy to join production and sales company ahead of Cannes Marche.
London-based Evolutionary Films has hired Ildi Toth Davy as executive vice president, sales and acquisitions ahead of next month’s Cannes Marche. The appointment has been made with a view to a longer-term position with the production company and international sales agency.
Davy previously worked in sales at Warner Brothers and Disney and established her own boutique film sales company Altadena Films.
She has also worked for independents First Look and as Svp sales and acquisitions for Odin’s Eye.
CEO John Adams said: ’I’m delighted to be welcoming Ildi to Evolutionary Films for the Cannes market and hopefully beyond. We’ve recently been expanding our sales arm with the acquisition of a number of new titles and her appointment is a strong signal to the market that we’re serious about establishing a truly global sales agency alongside our production department.’
Davy...
London-based Evolutionary Films has hired Ildi Toth Davy as executive vice president, sales and acquisitions ahead of next month’s Cannes Marche. The appointment has been made with a view to a longer-term position with the production company and international sales agency.
Davy previously worked in sales at Warner Brothers and Disney and established her own boutique film sales company Altadena Films.
She has also worked for independents First Look and as Svp sales and acquisitions for Odin’s Eye.
CEO John Adams said: ’I’m delighted to be welcoming Ildi to Evolutionary Films for the Cannes market and hopefully beyond. We’ve recently been expanding our sales arm with the acquisition of a number of new titles and her appointment is a strong signal to the market that we’re serious about establishing a truly global sales agency alongside our production department.’
Davy...
- 4/8/2016
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Exclusive: Animation produced by China-us firm Mili Pictures.
Odin’s Eye Entertainment (Oee) has secured international sales rights to animated feature Dragon Nest: Throne of Elves, from China and Us-based production company Mili Pictures.
Oee’s La-based Svp of sales and acquisitions, Ildi Toth Davy and CEO Michael Favelle will introduce the picture to buyers at the Toronto International Film Festival.
Produced by Mili Pictures’ chairman Jack Zhang and Us producer Bill Borden, Throne of Elves is an action-adventure set within the Dragon Nest universe, based on the online game and follows Mili’s 2014 release Dragon Nest: Warriors’ Dawn, for which Universal holds English-speaking rights.
Directed by Yuefeng Song and Yi Ge, the targeted completion date for Throne of Elves is set for Q4 2016.
Favelle described the film as “an exciting addition to our burgeoning slate of animated content”.
Mili Pictures is currently in production with family adventure Ping Pong Rabbit, co-directed by [link...
Odin’s Eye Entertainment (Oee) has secured international sales rights to animated feature Dragon Nest: Throne of Elves, from China and Us-based production company Mili Pictures.
Oee’s La-based Svp of sales and acquisitions, Ildi Toth Davy and CEO Michael Favelle will introduce the picture to buyers at the Toronto International Film Festival.
Produced by Mili Pictures’ chairman Jack Zhang and Us producer Bill Borden, Throne of Elves is an action-adventure set within the Dragon Nest universe, based on the online game and follows Mili’s 2014 release Dragon Nest: Warriors’ Dawn, for which Universal holds English-speaking rights.
Directed by Yuefeng Song and Yi Ge, the targeted completion date for Throne of Elves is set for Q4 2016.
Favelle described the film as “an exciting addition to our burgeoning slate of animated content”.
Mili Pictures is currently in production with family adventure Ping Pong Rabbit, co-directed by [link...
- 9/12/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Sales exec joins Australian outfit from Pinnacle Films.
Odin’s Eye Entertainment (Oee) has appointed Martin Gallery as Svp of international distribution and acquisitions.
Gallery will be based in Oee’s Sydney offices to oversee sales and acquisitions throughout Asia and Australia/New Zealand.
The appointment follows a three year stint as theatrical director at Pinnacle Films, releasing the Oscar-winning Dallas Buyers Club; Jobs and the Spierig Brothers’ Predestination.
Gallery previously spent 12 years at 21st Century Pictures, rising to general manager overseeing acquisitions, marketing and sales to the Anz marketplace for titles including Source Code, Serious Moonlight and Fahrenheit 9/11.
Gallery said his first market with Oee would be Busan (Oct 1-10).
Oee’s La-based svp of sales and acquisitions, Ildi Toth Davy and Favelle will be attending the Toronto International Film Festival (Sept 10-20) with a soon-to-be announced line-up.
Odin’s Eye Entertainment (Oee) has appointed Martin Gallery as Svp of international distribution and acquisitions.
Gallery will be based in Oee’s Sydney offices to oversee sales and acquisitions throughout Asia and Australia/New Zealand.
The appointment follows a three year stint as theatrical director at Pinnacle Films, releasing the Oscar-winning Dallas Buyers Club; Jobs and the Spierig Brothers’ Predestination.
Gallery previously spent 12 years at 21st Century Pictures, rising to general manager overseeing acquisitions, marketing and sales to the Anz marketplace for titles including Source Code, Serious Moonlight and Fahrenheit 9/11.
Gallery said his first market with Oee would be Busan (Oct 1-10).
Oee’s La-based svp of sales and acquisitions, Ildi Toth Davy and Favelle will be attending the Toronto International Film Festival (Sept 10-20) with a soon-to-be announced line-up.
- 8/27/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Animated circus film features the voices of Emily Blunt, John Krasinski, Ian McKellen, Sylvester Stallone and Danny DeVito.
International sales agent Odin’s Eye Entertainment (Oee) has sold animation Animal Crackers to Entertainment One (eOne) for distribution in the UK and Canada.
Emily Blunt (Edge of Tomorrow) and John Krasinski (The Office) voice a couple who inherit a rundown circus and a mysterious box of animal shaped cookies, which magically turn anyone who eats them into an animal.
eOne anticipates a release in late Q4 2016 for the film which also features the voice talents of Sir Ian McKellen, Sylvester Stallone and Danny DeVito.
Co-Directed by Tony Bancroft (Mulan) and creator Scott Christian Sava, Animal Crackers is produced by Sava’s Blue Dream Studios, in cooperation with George Lee and Marcus Englefield of Storyoscopic Films, Jamie Thomason, and Leiming Guan.
The deal was negotiated by Poonam Sahota on behalf of eOne, and [link=nm...
International sales agent Odin’s Eye Entertainment (Oee) has sold animation Animal Crackers to Entertainment One (eOne) for distribution in the UK and Canada.
Emily Blunt (Edge of Tomorrow) and John Krasinski (The Office) voice a couple who inherit a rundown circus and a mysterious box of animal shaped cookies, which magically turn anyone who eats them into an animal.
eOne anticipates a release in late Q4 2016 for the film which also features the voice talents of Sir Ian McKellen, Sylvester Stallone and Danny DeVito.
Co-Directed by Tony Bancroft (Mulan) and creator Scott Christian Sava, Animal Crackers is produced by Sava’s Blue Dream Studios, in cooperation with George Lee and Marcus Englefield of Storyoscopic Films, Jamie Thomason, and Leiming Guan.
The deal was negotiated by Poonam Sahota on behalf of eOne, and [link=nm...
- 5/7/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
Our International Sales Agent (Isa) of the Day coverage resumed for this year's Cannes Film Festival. We feature successful, upcoming, innovative and trailblazing agents from around the world (during and after the festival) 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.
Odin's Eye is one of the few film sales and distribution companies based in Australia, and is highly active in the international markets. Founder Michael Favelle talks about his unexpected entry into film sales, his hybrid approach to distribution, and Scarygirl, his company's biggest international co-production yet.
How did you start Odin's Eye?
I started Odin's Eye in 2006. My prior experience was working with Arclight Films, and Beyond Films. Strangely, I never had any interest or ambition to be in the film business, even though my father ran a video duplication factory when I was young. He'd bring home palettes of VHS tapes, and paid me to erase the tape (at one cent per tape!) with magnets so they could be used again.
I was a tennis coach for ten years, and I got my degree in public health and psychology. I unexpectedly fell into this business. No one really thinks that there's a job called being a sales agent, but my skills ended up being a good match because I had experience in post-production, video editing, graphic design and good inter-personal skills. I can apply all of these things in this business. The psychology degree comes in especially handy at times!
It all started when a woman who I hired said she had an opportunity to start a production company, and we could make and sell our own films. She was going to run the TV department, and I was going to be in charge of film. I was ready for something new, so I made a snap decision and very quickly learned the value of due diligence. Long story short, within the period of seven or eight months, everyone involved fell away for different reasons: from the guy with the money, to the woman who initiated the venture. I was the only one left, and decided to see it through. I took about six or seven months, and formally launched the company in late 2007.
It wasn't the best time to start a sales company; it was the height of a hedge fund induced film glut, the global financial crisis was just around the corner, and sales prices were declining. There was an increase in piracy, and then came the collapse of the DVD. There's not many of us that got in it during that time that are still standing now. It's been an organic growth, which I'm quite proud of. We've had slightly better films for each market and festival.
Why should filmmakers work with Odin's Eye?
We pride ourselves on treating filmmakers well, and actually caring for the films that we work with. We do the right thing by them, and don't just dump a film if it doesn't work at its first market. We even try to sell those films several years later if there's an opportunity. This is especially relevant now, when there are new opportunities on digital platforms.
What are you noticing with the current state of film distribution?
We're looking at hybrid models of distribution. Prices are getting lower and lower, so when we can't get the deals we used to get, we'll directly release films to multiple markets at the same time, or sell to certain stable and regular territories (like Germany and Japan).
With our hybrid sales and distribution model, we try to capitalize on the existing market and festival buzz. We'll launch a film at a festival. We release it quickly after that, but it's important to plan ahead. I've noticed great films disappear after festivals, in a commercial sense, because by the time they're released, it's too late; the buzz is gone, and you can't recreate it. The days of launching films at festivals and watching the offers simply roll in are dwindling. You need a real game plan for monetization before a film launches.
Is Odin's Eye open to all genres?
Yes, but it's been getting harder and harder to find quality films that are saleable. We're fairly agnostic when it comes to genres. We do everything. Canopy, which we had at Toronto last year, is about as art house as you can get. There are only ten words of dialog in the whole film! We also have very straight genres: horror and supernatural thrillers. We're doing some larger budget animations. I'd like to think that the only things that we don't do are generic films. We like films that have an edge, with a strong concept, and standout in the marketplace. I don't like straight action films that are all action and no story. That said, like everyone, sometimes you don't know what you're looking for until you find it.
Why do you think horror is so popular?
Many people genuinely do like to be scared, and to tap into their own primal fear. Look at Latin America. The region has a long history of storytelling around horror stories, and that has spread into the Us market. We don't have that in Australia; horror films don't work there as well as in they do in the states. It’s definitely a cultural thing, and the kind of stories that people are raised on. I also think people like to get a reaction, and anything that gives someone a visceral response is a good thing. Good cinema should move you in one way or another - regardless of the genre - but it's hard to pull off.
Why did you choose Odin's Eye as your company name?
In Nordic mythology, Odin is the god of gods and father of Thor, but represented many different things to many different people. Odin would give inspiration to worthy poets and writers. He was a shape shifter - always changing and evolving - and he gave up one of his eyes for wisdom and foresight. We as a company aspire to all of these qualities.
Are there any upcoming projects that you're excited for?
We're very excited about Scarygirl, a $22 million dollar animated feature based on a graphic novel of the same name. It's a tri-party co-production, and the biggest film that we've tackled so far. It's very unique. Visually speaking, there's nothing quite like it, but it still conforms to the hero's journey narrative. We did a soft launch at Berlin, and will formally announce our co-production partners very soon. Moving forward, as with Scarygirl, we will take a far more active role in the packaging of projects and the structuring of finance. It’s certainly more challenging (and much more work!) but it’s more rewarding to be a genuine part of a production team, instead of just being the ‘sales guys’.
Learn more about Odin's Eye film catalog here.
More about Odin's Eye:
Established in 2006, by Michael Favelle, Odin's Eye Entertainment (Oee) is a vertically integrated Production, Distribution and International Sales Agency that specializes in working with both emerging and established filmmakers across a wide variety of genres.
As a Sales Agency, Oee represents Feature Film and Television content worldwide hosting its own sales booth at every major festival including, but not limited to, Cannes, Afm, Mipcom, Berlin & Filmart.
As a Film and Television Production Company, newly created Odin’s Eye Productions, creates original content from within as well as acquiring, developing and producing third party product for international sale.
In 2012, Oee inked a deal with Warner Bros. Digital Distribution (Wbdd) that will see Wbdd take on select Oee titles for electronic sell-through and Cable/VOD in North America. Additionally Oee has an output distribution deal with Pinnacle Films for ancillary distribution in Australia/New Zealand.
In early 2013, with the start up of Oee’s Los Angeles operations, Oee appointed ex-First Look/WB/Disney, Ildi Toth Davy as Snr VP International Sales & Acquisitions.
Odin's Eye is one of the few film sales and distribution companies based in Australia, and is highly active in the international markets. Founder Michael Favelle talks about his unexpected entry into film sales, his hybrid approach to distribution, and Scarygirl, his company's biggest international co-production yet.
How did you start Odin's Eye?
I started Odin's Eye in 2006. My prior experience was working with Arclight Films, and Beyond Films. Strangely, I never had any interest or ambition to be in the film business, even though my father ran a video duplication factory when I was young. He'd bring home palettes of VHS tapes, and paid me to erase the tape (at one cent per tape!) with magnets so they could be used again.
I was a tennis coach for ten years, and I got my degree in public health and psychology. I unexpectedly fell into this business. No one really thinks that there's a job called being a sales agent, but my skills ended up being a good match because I had experience in post-production, video editing, graphic design and good inter-personal skills. I can apply all of these things in this business. The psychology degree comes in especially handy at times!
It all started when a woman who I hired said she had an opportunity to start a production company, and we could make and sell our own films. She was going to run the TV department, and I was going to be in charge of film. I was ready for something new, so I made a snap decision and very quickly learned the value of due diligence. Long story short, within the period of seven or eight months, everyone involved fell away for different reasons: from the guy with the money, to the woman who initiated the venture. I was the only one left, and decided to see it through. I took about six or seven months, and formally launched the company in late 2007.
It wasn't the best time to start a sales company; it was the height of a hedge fund induced film glut, the global financial crisis was just around the corner, and sales prices were declining. There was an increase in piracy, and then came the collapse of the DVD. There's not many of us that got in it during that time that are still standing now. It's been an organic growth, which I'm quite proud of. We've had slightly better films for each market and festival.
Why should filmmakers work with Odin's Eye?
We pride ourselves on treating filmmakers well, and actually caring for the films that we work with. We do the right thing by them, and don't just dump a film if it doesn't work at its first market. We even try to sell those films several years later if there's an opportunity. This is especially relevant now, when there are new opportunities on digital platforms.
What are you noticing with the current state of film distribution?
We're looking at hybrid models of distribution. Prices are getting lower and lower, so when we can't get the deals we used to get, we'll directly release films to multiple markets at the same time, or sell to certain stable and regular territories (like Germany and Japan).
With our hybrid sales and distribution model, we try to capitalize on the existing market and festival buzz. We'll launch a film at a festival. We release it quickly after that, but it's important to plan ahead. I've noticed great films disappear after festivals, in a commercial sense, because by the time they're released, it's too late; the buzz is gone, and you can't recreate it. The days of launching films at festivals and watching the offers simply roll in are dwindling. You need a real game plan for monetization before a film launches.
Is Odin's Eye open to all genres?
Yes, but it's been getting harder and harder to find quality films that are saleable. We're fairly agnostic when it comes to genres. We do everything. Canopy, which we had at Toronto last year, is about as art house as you can get. There are only ten words of dialog in the whole film! We also have very straight genres: horror and supernatural thrillers. We're doing some larger budget animations. I'd like to think that the only things that we don't do are generic films. We like films that have an edge, with a strong concept, and standout in the marketplace. I don't like straight action films that are all action and no story. That said, like everyone, sometimes you don't know what you're looking for until you find it.
Why do you think horror is so popular?
Many people genuinely do like to be scared, and to tap into their own primal fear. Look at Latin America. The region has a long history of storytelling around horror stories, and that has spread into the Us market. We don't have that in Australia; horror films don't work there as well as in they do in the states. It’s definitely a cultural thing, and the kind of stories that people are raised on. I also think people like to get a reaction, and anything that gives someone a visceral response is a good thing. Good cinema should move you in one way or another - regardless of the genre - but it's hard to pull off.
Why did you choose Odin's Eye as your company name?
In Nordic mythology, Odin is the god of gods and father of Thor, but represented many different things to many different people. Odin would give inspiration to worthy poets and writers. He was a shape shifter - always changing and evolving - and he gave up one of his eyes for wisdom and foresight. We as a company aspire to all of these qualities.
Are there any upcoming projects that you're excited for?
We're very excited about Scarygirl, a $22 million dollar animated feature based on a graphic novel of the same name. It's a tri-party co-production, and the biggest film that we've tackled so far. It's very unique. Visually speaking, there's nothing quite like it, but it still conforms to the hero's journey narrative. We did a soft launch at Berlin, and will formally announce our co-production partners very soon. Moving forward, as with Scarygirl, we will take a far more active role in the packaging of projects and the structuring of finance. It’s certainly more challenging (and much more work!) but it’s more rewarding to be a genuine part of a production team, instead of just being the ‘sales guys’.
Learn more about Odin's Eye film catalog here.
More about Odin's Eye:
Established in 2006, by Michael Favelle, Odin's Eye Entertainment (Oee) is a vertically integrated Production, Distribution and International Sales Agency that specializes in working with both emerging and established filmmakers across a wide variety of genres.
As a Sales Agency, Oee represents Feature Film and Television content worldwide hosting its own sales booth at every major festival including, but not limited to, Cannes, Afm, Mipcom, Berlin & Filmart.
As a Film and Television Production Company, newly created Odin’s Eye Productions, creates original content from within as well as acquiring, developing and producing third party product for international sale.
In 2012, Oee inked a deal with Warner Bros. Digital Distribution (Wbdd) that will see Wbdd take on select Oee titles for electronic sell-through and Cable/VOD in North America. Additionally Oee has an output distribution deal with Pinnacle Films for ancillary distribution in Australia/New Zealand.
In early 2013, with the start up of Oee’s Los Angeles operations, Oee appointed ex-First Look/WB/Disney, Ildi Toth Davy as Snr VP International Sales & Acquisitions.
- 6/3/2014
- by Erin Grover
- Sydney's Buzz
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