PROMOTIONAL FEATURE
ture film productions looking to take advantage of the UK’s iconic capital. “What we do at Film London is very hands-
Streets ahead W
orking in tandem with the British Film Commission, Film London continues to support some of the most complex and ambitious fea-
on. It’s about making it easier to shoot in Lon- don and helping to troubleshoot on the ground,” says Film London’s CEO Adrian Wootton. UK producer (and recently appointed Film
London chair) David Parfitt shot the whole of My Week With Marilyn in the capital at the end of 2010, taking in locations including Berkeley Square and Burlington Arcade in Mayfair. “The first thing any smart location manager should do is sign up with Film London for the support they can offer,” says Parfitt.
CANNES EVENT FILM LONDON: ACCESSING FILM FINANCE
Film London will be hosting a session exploring the commercial marketplace for independent films and addressing key sales, distribution and financing challenges facing EU producers. Included on the panel will be Peter Watson, chief executive of Recorded Picture Company and producer David Parfitt. Details of this year’s Production Finance Market, together with information on the MEDIA Production Guarantee Fund, will also be available.
n Monday May 16, 11:45am, UK Film Centre LONDON 2012 OLYMPICS
London is hosting the Olympics in 2012, but the event will not disrupt film shoots in the capital, says Film London. “The international film community should
see this as an opportunity, not a deterrent,” says Film London’s CEO Adrian Wootton. “London is going to be busy during the Olympics, but our message is, come and talk to us. We can help you manage your shoot so you can still come and enjoy all the fantastic things about working in the UK.” While the streets of London may be busier
than usual, the capital’s studios will be operating as normal. Meanwhile London’s mayor, Boris Johnson, also remains committed to maintaining London as a filming location during the Olympics. “London must continue to function as a film production centre in the build-up and through the course of the games,” says Johnson.
n 30 Screen International at the Cannes Film Festival May 16, 2011
The UK capital is a global icon, and a range of agencies — spearheaded by Film London — are working to ensure shooting in the city is as straightforward as possible
Crucial to this service is The London Filming
Partnership (LFP), which is made up of more than 250 organisations including Transport for London and the Metropolitan Police, as well as local boroughs and businesses, all of which are committed to making London as film-friendly a location as possible. “We have seen London shake off the percep-
tion that it is a difficult and expensive place to shoot and we’re now one of the world’s busiest filming cities,” says the LFP’s chair Lord Puttnam, who points to a 30% rise in filming in the city since 2004. London locations are also beginning to feel
the benefit of hosting film shoots, says Mark Hislop, commercial director of Somerset House, a grand building located on the banks of the River Thames in the heart of central Lon- don, which has featured in Burke & Hare and X-Men: First Class. “There is a financial benefit but it also brings something extra special to the site. Film London has been a real force of good for us and has helped to get us on the agenda of the film industry.” With the introduction of legislation to allow
road closures in the capital, even the most ambitious shoots are now achievable. Produc- tions to have made use of the legislation include Working Title’s Tinker, Tailor, Soldier, Spy and Oscar winner The King’s Speech. Throw in the world-class post-production
sector and a network of technologically sophis- ticated studios, ranging from Pinewood and Shepperton to more boutique offerings such as Ealing Studios, Elstree and 3 Mills, all within easy reach of the city centre, and London has the complete package.
The Iron Lady, starring Meryl Streep, shot at Pinewood and on location in London Ivan Dunleavy, chief executive of Pinewood
Studios group says: “The studios offer easy access to the world’s most experienced crews as well as the expertise of hundreds of comple- mentary media companies based there.” “We are able to provide 14 good-sized stages,
‘Film London helps to troubleshoot on
the ground’ Adrian Wootton, Film London
we are 30 minutes from the West End, but we are also convenient for those classic East End locations,” says 3 Mills studio executive Derek Watts. The studio recently played host to Made In Dagenham and forthcoming period drama The Deep Blue Sea as well as Tim Burton’s Frankenweenie. Damian Jones, producer of The Iron Lady,
which stars Meryl Streep as former prime min- ister Margaret Thatcher and shot at Pinewood Studios and on location in London, describes his experience of shooting in the UK capital as “first rate”. “Our location schedule changed unpredict-
ably a couple of times and all the permits and resources we required were efficiently obtained without fuss or delay. Film London was com- pletely understanding to our needs.” Fernando Meirelles, director of 360 starring
Anthony Hopkins, Jude Law and Rachel Weisz, agrees: “London has amazing locations as eve- rybody knows, but the reason I like to shoot there is because you can’t get better crew any- where in the world.” n
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Courtesy of Alex Bailey/courtesy of Pathé Productions Ltd
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