Title: The Producer as Salesman: Jeremy Thomas, Film Promotion and Contemporary Transnational Independent Cinema
Abstract: Click to increase image sizeClick to decrease image size Notes Notes 1. For a more self-conscious litany of this kind, see Matthew Bernstein, The producer as auteur, in: Barry Keith Grant (ed.), Auteurs and Authorship: a film reader (Malden, MA, Blackwell Publishing, 2008), 180–189. 2. Bernstein, Producer as auteur, and his Walter Wagner, Hollywood Independent (Berkeley, University of California Press, 1994). Andrew Spicer, The production line: reflections on the role of the film producer in British cinema, Journal of British Cinema and Television, 1(1) (2004), 33–50. 3. John Caughie, Broadcasting cinema 1: converging histories, in: Charles Barr (ed.), All Our Yesterdays: 90 years of British cinema (London, BFI, 1986), 200. 4. Geoff Brown and Laurence Kardish, Michael Balcon: the pursuit of British cinema (New York, Museum of Modern Art, 1984). Charles Drazin, Korda: Britain's only movie mogul (London, Sidgwick and Jackson, 2002). 5. Duncan Petrie, Creativity and Constraint in the British Film Industry (London, Macmillan, 1991), 184–186. 6. T. Jefferson Kline, Bruce H. Sklarew and Fabien S. Gerard (eds), Bernardo Bertolucci: interviews (Oxford, MS, University of Mississippi Press, 2000), 231, 241 and 264. See also the lack of any mention of Thomas in William Beard, The Artist as Monster: the cinema of David Cronenberg (Toronto, University of Toronto Press, 2006). 7. Tim Adler, The Producers: money, movies and who really calls the shots (London, Methuen, 2004), 149–190. 8. Matthew Bernstein, Producer as auteur, 181. 9. Sandy Lieberson, Jeremy Thomas—And I'm Still a Fan. Available online at: http://www.berlinale-talentcampus.de/story/89/1789.html. Last accessed 30 November 2008. See also Adler, The Producers, 167. 10. Noel King and Toby Miller, Authorship in the 1990s, in: Pam Cook and Mieke Bernink (eds), The Cinema Book (2nd end) (London, BFI, 1999), 314. 11. Adler, The Producers, 178. 12. Bernstein, Producer as auteur, 188. 13. Spicer, The production line 46. 14. Adler, The Producers, 167. 15. Adam Dawtrey, In Ten Years, Hanway Films has Matured, Variety.com (31 October 2008). Available online at http://www.variety.com/article/VR1117995102.html?categoryid=3310&cs=1. Last accessed 1 November 2008. See also, Stefan Mallman, interview with Christopher Meir, 6 June 2006. 16. Lieberson, Jeremy Thomas. 17. A by now notorious anecdote has Weinstein threatening Taymor, who had threatened to remove her name from Frida (Julie Taymor, Handprint Entertainment; USA–Canada–Mexico, 2002) if Miramax re-edited the film against her wishes, with physical violence. For one version of this anecdote, see Peter Biskind, Down and Dirty Picture: Miramax, Sundance and the rise of independent film (London, Bloomsbury, 2004), 442–444. Biskind also offers an anecdotal account of Thomas and Bertolucci's difficulties in dealing with Miramax, who handled the US release of Little Buddha (pp. 181–184). 18. Press kit for Sexy Beast, authored by Recorded Picture Company (2000), no pagination provided. Available in the British Film Institute library. 19. Taken from the press kit for Young Adam, authored by Recorded Picture Company (2003), 2. Available in the British Film Institute library. 20. Recorded Picture Company, press kit for Young Adam (2003), 2. 21. See The Missing Beat: The Making of Young Adam, featurette contained on the Warner Brothers DVD release of the film. 22. Timothy Corrigan, A Cinema Without Walls: movies and culture after Vietnam (New Brunswick, NJ, Rutgers University Press, 1991). Catherine Grant, www.auteur.com?, Screen 41(1) (2000), 101–108. Devin Orgeron, La Camera-Crayola: authorship comes of age in the cinema of Wes Anderson, Cinema Journal, 46(2) (2007), 40–65. 23. Grant, Auteurs and Authorship, 101. 24. Adler, The Producers, 173. 25. Andrew Higson, English Heritage, English Cinema: costume drama since 1980 (Oxford, Oxford University Press, 2003), 16–20. 26. Anna Burnside, Sex, Drugs and Murder, He Wrote, The Sunday Times, 3 February 2002. No pagination, consulted using the Factiva Database. 27. Recorded Picture Company, 2003, op. cit., 5–7. 28. See Dream Weaving, an interview with Cullin for a Gilliam fanzine. Available online at http://www.smart.co.uk/dreams/tidecull.htm. Last accessed 14 November 2008. 29. For more on the historical linkage between art cinema in America and softcore pornography, see Peter Lev's The Euro-American Cinema (Austin, University of Texas Press, 1993), 8–14. 30. Recorded Picture Company, 2003, op. cit., 3. 31. Matt Saha, Interview with Director Bernardo Bertolucci, 2004. Available online at http://www.bullz-eye.com/mguide/interviews/2004/bernardo_bertolucci.htm. Last accessed 14 November 2008. 32. Lieberson, Jeremy Thomas. 33. Nick Hasted, Sick, Sick, Sick Rank Said, The Guardian, 15 August 2000. Available online at http://www.guardian.co.uk/culture/2000/aug/15/artsfeatures.edinburghfilmfestival. Last accessed 14 November 2008. 34. Recorded Picture Company, 2003, op. cit., 3. 35. Ibid., 8. See Lev for an account of the controversies surrounding the release of Last Tango, as well as a convincing argument that this was part of producer Alberto Grimaldi's strategy for raising the profile of his projects (pp. 52–53). 36. Garth Pearce, The Naked Truth, The Sunday Times, 30 June 2002. No pagination, consulted using the Factiva Database. 37. Geoffrey MacNab, Body Politics, The Independent, 16 May 2003. No pagination, consulted using the Factiva Database. 38. Baz Bamigboye, Sorry Ewan, You'll be Having the Snip, The Daily Mail, 5 November 2003. No pagination, consulted using the Factiva Database. 39. Dawtrey, ln Ten Years. 40. Recorded Picture Company, 2003, op. cit., 1. 41. Orgeron, La Camera-Crayola. 42. Angus Finney, The State of European Cinema: a new dose of reality (London, Continuum, 1997), 26. 43. Higson, English Heritage, 123–127. 44. Thomas Elsaesser, Putting on a show: the European art movie, Sight and Sound (April 1994), 26. 45. John Hill, The rise and fall of British art cinema: a short history of the 1980s and 1990s, Aura, 6(3) (2000), 31. 46. Pamela Church Gibson, Fewer weddings, more funerals: changes in the heritage film, in: Robert Murphy (ed.), British Cinema in the 1990s (London, BFI, 2000), 115–124. 47. Elsaesser, Putting on a show, 26. 48. Tiuu Lukk. Movie Marketing: opening the picture and giving it legs (Beverly Hills, Silman-James Press, 1997), 113–144.
Publication Year: 2009
Publication Date: 2009-11-21
Language: en
Type: article
Indexed In: ['crossref']
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Cited By Count: 7
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