Industry veteran to take executive producer and producer duties at new firm.
Chris Moll, who stepped down as head of film at Creative England in April, has resurfaced at burgeoning film and TV production company Catalyst Global Media.
Moll has been hired to takes on both executive producer and producer duties at the London-based firm, which launched in May.
Reporting to Catalyst co-founder and CEO Charlotte Walls, Moll will be charged with sourcing high-quality, commercially viable projects for Catalyst’s development and production slate.
He will also be responsible for expanding the company’s national and international partnerships with key talent, producers, agents, publishers and financiers, and identifying new opportunities for collaboration across film, television, digital and music.
Walls said: “Chris brings tremendous strength as an award-winning film producer and seasoned entertainment executive with passion and vision for current projects and the future of Catalyst.”
Moll said he would help build “a slate focused on both creative...
Chris Moll, who stepped down as head of film at Creative England in April, has resurfaced at burgeoning film and TV production company Catalyst Global Media.
Moll has been hired to takes on both executive producer and producer duties at the London-based firm, which launched in May.
Reporting to Catalyst co-founder and CEO Charlotte Walls, Moll will be charged with sourcing high-quality, commercially viable projects for Catalyst’s development and production slate.
He will also be responsible for expanding the company’s national and international partnerships with key talent, producers, agents, publishers and financiers, and identifying new opportunities for collaboration across film, television, digital and music.
Walls said: “Chris brings tremendous strength as an award-winning film producer and seasoned entertainment executive with passion and vision for current projects and the future of Catalyst.”
Moll said he would help build “a slate focused on both creative...
- 8/12/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
UK company to produce two bestselling novels Pomegranate Soup and Genus as first feature projects
Former Matador Pictures producer Charlotte Walls has launched a new independent film and TV development, finance, production and sales outfit, Catalyst Global Media.
The London-based firm will make high-end, mainstream films and TV series for the global marketplace. Walls, who most recently produced and financed Netflix acquisition Residue, is co-founder of Catalyst and will run the company as its CEO.
Al Hardiman and Gideon Lyons are co-founders and serve as principal partners. Hardiman, a musician who provided arrangements for Notes On A Scandal, will be president of Catalyst’s music division.
A statement from the company said it aims to produce “commercially viable projects for the studios, networks, digital platforms and major independent distributors worldwide”.
Backed by private equity sources out of London, Cgm will develop, finance and produce four to six projects a year across feature films and digital/TV series...
Former Matador Pictures producer Charlotte Walls has launched a new independent film and TV development, finance, production and sales outfit, Catalyst Global Media.
The London-based firm will make high-end, mainstream films and TV series for the global marketplace. Walls, who most recently produced and financed Netflix acquisition Residue, is co-founder of Catalyst and will run the company as its CEO.
Al Hardiman and Gideon Lyons are co-founders and serve as principal partners. Hardiman, a musician who provided arrangements for Notes On A Scandal, will be president of Catalyst’s music division.
A statement from the company said it aims to produce “commercially viable projects for the studios, networks, digital platforms and major independent distributors worldwide”.
Backed by private equity sources out of London, Cgm will develop, finance and produce four to six projects a year across feature films and digital/TV series...
- 5/1/2015
- by michael.rosser@screendaily.com (Michael Rosser)
- ScreenDaily
It's fair to say that Andrew Garfield has inhabited the role of Spider-Man to an impressive extent. After he was first announced as the frontman for Marc Webb's reboot, he appeared in character at Comic-Con to make a heartfelt speech about what the character meant to him, and made a return appearance in Hall H this year.
So don't get us wrong: we are big fans of Garfield as Spidey. But it's been more than two years since he had another film out, and there's nothing but The Amazing Spider-Man 2 on the horizon until 2015, when he's lined up a role in Martin Scorsese's period drama Silence. But for now, we've got Garfield withdrawal.
To celebrate Garfield's 30th birthday, we look back on the five most significant roles from his pre-webslinging days.
Boy A (2007)
Garfield earned a TV BAFTA for his achingly moving breakthrough performance in John Crowley's drama,...
So don't get us wrong: we are big fans of Garfield as Spidey. But it's been more than two years since he had another film out, and there's nothing but The Amazing Spider-Man 2 on the horizon until 2015, when he's lined up a role in Martin Scorsese's period drama Silence. But for now, we've got Garfield withdrawal.
To celebrate Garfield's 30th birthday, we look back on the five most significant roles from his pre-webslinging days.
Boy A (2007)
Garfield earned a TV BAFTA for his achingly moving breakthrough performance in John Crowley's drama,...
- 8/20/2013
- Digital Spy
Matador Pictures has announced a six-film slate, the lion's share of which are genre-based, including two very interesting sounding zombie flicks. Read on for the first details on films that involve the Dark Ages and the opening of an undead theme park!
Screen Daily reports that Plague of the Undead is an action film that was co-written by Paul Gerstenberger, who recently wrote Vertigo’s StreetDance spinoff All Stars, with Orlando Cubitt and is set in the Dark Ages, while Zafari (yes, Zafari) is also written by Gerstenberger and is a co-production with Nick Gillot that takes place in a zombie safari resort where guests pay money to shoot the undead. Man, in a perfect world, huh? That would so friggin' rule.
Also on the slate is Jonathan Trigell’s sci-fi thriller Genus with Mike Carey attached to write the screenplay. As for the other three flicks, unless you're into feel-good comedies.
Screen Daily reports that Plague of the Undead is an action film that was co-written by Paul Gerstenberger, who recently wrote Vertigo’s StreetDance spinoff All Stars, with Orlando Cubitt and is set in the Dark Ages, while Zafari (yes, Zafari) is also written by Gerstenberger and is a co-production with Nick Gillot that takes place in a zombie safari resort where guests pay money to shoot the undead. Man, in a perfect world, huh? That would so friggin' rule.
Also on the slate is Jonathan Trigell’s sci-fi thriller Genus with Mike Carey attached to write the screenplay. As for the other three flicks, unless you're into feel-good comedies.
- 5/27/2013
- by Uncle Creepy
- DreadCentral.com
Never heard of the young actor cast as Peter Parker? Andrew Garfield has starred in some of Britain's finest TV dramas
Andrew Garfield has swung into Google's most-searched list and Twitter's trending charts, thanks to the three internet Viagra words now tagged onto his name: "new Spider-Man". As Peter Parker, Spider-Man's nerdy alter ego, well knows, "with great power comes great responsibility" – namely, the weight of expectation from the fanboy world. Can he cut it as the pun-loving webslinger/nerdy cub photographer?
If you've never heard of Garfield, you've missed out on one of the finest young actors Britain has produced. His CV so far hasn't strayed too near the geek clique – apart from a guest spot in Doctor Who (as Frank in 2007's Evolution Of The Daleks/Daleks in Manhattan two-parter) – but he's more than acquitted himself. He's had starring roles in two of the grittiest dramas on British TV in recent years,...
Andrew Garfield has swung into Google's most-searched list and Twitter's trending charts, thanks to the three internet Viagra words now tagged onto his name: "new Spider-Man". As Peter Parker, Spider-Man's nerdy alter ego, well knows, "with great power comes great responsibility" – namely, the weight of expectation from the fanboy world. Can he cut it as the pun-loving webslinger/nerdy cub photographer?
If you've never heard of Garfield, you've missed out on one of the finest young actors Britain has produced. His CV so far hasn't strayed too near the geek clique – apart from a guest spot in Doctor Who (as Frank in 2007's Evolution Of The Daleks/Daleks in Manhattan two-parter) – but he's more than acquitted himself. He's had starring roles in two of the grittiest dramas on British TV in recent years,...
- 7/2/2010
- by Richard Vine
- The Guardian - Film News
In Part 2 of tMF's 50 Essential Foreign Films, we're listing down our UK Top 10. This means the list is not limited to English films and include movies which essentially are either about the whole United Kingdom or predominantly so or about someone from London, Edinburgh, Cardiff, Belfast or from any other places in the UK.
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- 9/5/2009
- The Movie Fanatic
In Part 2 of tMF's 50 Essential Foreign Films, we're listing down our UK Top 10. This means the list is not limited to English films and include movies which essentially are either about the whole United Kingdom or predominantly so or about someone from London, Edinburgh, Cardiff, Belfast or from any other places in the UK.
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- 9/5/2009
- The Movie Fanatic
In Part 2 of tMF's 50 Essential Foreign Films, we're listing down our UK Top 10. This means the list is not limited to English films and include movies which essentially are either about the whole United Kingdom or predominantly so or about someone from London, Edinburgh, Cardiff, Belfast or from any other places in the UK.
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- - -
- - - Taking note of how to define what is a British Film. Aside from the British Film Institute, there are a lot of lists that feature British cinema's best. There is one particular issue that The Guardian pointed out, which at some point, was an important consideration in our own list of 10. A few days ago, The Observer published the Best British Films poll, to which it was pointed out:
... how to define a British film. Did it need to be shot here? Funded here? Feature predominantly British talent, in front and behind the camera?...
- 9/5/2009
- The Movie Fanatic
By Michael Atkinson
The British have a thing about underage sociopathy -- we in the U.S. will puzzle and wonder as a culture about the latest school shooter or the very occasional death-metal bogus-ritual killing, but in tabloid-crazy England a news story of a child murdering a child pinches very powerful nerve endings, and the social wound of it is felt universally and lasts for years, if not indefinitely. While the American character, often amnesiac and marinated in ideas of personal freedom and frontier independence, tends to take these things in stride (does anyone even off-handedly remember the name of that Virginia Tech psycho?), the convention-loving Brits are commonly, in contrast, traumatized for good. (There's a reason England is the most surveillance-saturated nation in the world.) This is the underlying dynamic of John Crowley's adroit and heartfelt "Boy A" (2007), which is inspired at least in part by the 1993 abduction and killing,...
The British have a thing about underage sociopathy -- we in the U.S. will puzzle and wonder as a culture about the latest school shooter or the very occasional death-metal bogus-ritual killing, but in tabloid-crazy England a news story of a child murdering a child pinches very powerful nerve endings, and the social wound of it is felt universally and lasts for years, if not indefinitely. While the American character, often amnesiac and marinated in ideas of personal freedom and frontier independence, tends to take these things in stride (does anyone even off-handedly remember the name of that Virginia Tech psycho?), the convention-loving Brits are commonly, in contrast, traumatized for good. (There's a reason England is the most surveillance-saturated nation in the world.) This is the underlying dynamic of John Crowley's adroit and heartfelt "Boy A" (2007), which is inspired at least in part by the 1993 abduction and killing,...
- 10/7/2008
- by Michael Atkinson
- ifc.com
Warner Bros.' record-chomper "The Dark Knight" again ruled the boxoffice roost this weekend, with its estimated $75.6 million in second-session grosses pushing domestic cume above $300 million in a quickest-ever sprint of just 10 days.
Registering $314.2 million through Sunday, the Batman sequel well outpaced the previous 16-day record of Disney's "Pirates of the Caribbean: Dead Man's Curse," a July 2006 release that went on to ring up a total $423.3 million domestically. "Dark Knight" dropped 52% over its second weekend in release, marking a more modest decline than absorbed by many big action titles.
Sony's R-rated comedy "Step Brothers" opened at No. 2 over the latest frame with a solid $30 million, while Fox's scifi sequel "The X-Files: I Want to Believe" bowed limply in fourth place with $10.2 million. Universal's musical "Mamma Mia!" finished third, dropping a skimpy 36% in its sophomore session to $17.9 million and a 10-day cume of $62.7 million.
On an industrywide basis, the weekend's $178 million represented a 4% decline from the same frame a year earlier, according to data service Nielsen Edi.
The seasonal boxoffice is up 1% from a year earlier, at $2.94 billion. Annual boxoffice is flat--at $5.61 billion--compared with a similar portion of 2007.
In a limited bow this weekend, Miramax unspooled the Emma Thompson starrer "Brideshead Revisited" with 33 playdates and grossed $332,00, or an impressive theater average of $10,060, to demonstrate amply older moviegoers' appetite for well-executed summer counter-programming. The big-screen adaptation of an Evelyn Waugh novel--which previously spawned a much-loved TV miniseries--"Brideshead" is set to expand to about 160 locations on Friday.
Paramount Vantage's high school documentary "American Teen" debuted with five runs in New York and Los Angeles to gross $42,827, or an auspicious $8,565 per site. "Teen" expands to 10 additional markets on Friday.
The Weinstein Co. debuted the British drama "Boy A" with solo engagements in New York and Los Angeles, grossing $11,405, or a sturdy $5,703 per playdate. "Boy," the adaptation of a novel by Jonathan Trigell, totes a cume of $13,127 following a Wednesday bow in the New York venue.
Elsewhere in the specialty market, Music Box's French-language thriller "Tell No One" added 22 theaters for a total 77 and grossed $1.7 million, or a solid $5,580 per venue, with a $1.7 million cume.
Sony Pictures Classics' Ben Kingsley starrer "The Wackness" added 86 theaters for a total 120 and grossed $240,728, or a tame $2,006 per venue, with a $1.1 million cume.
Spc's relationship drama "Baghead" added five playdates for a total seven and grossed $17,208, or $2,458 per engagement, with a cume of $49,240.
Warner Bros. distribution president Dan Fellman noted the solid market hold for "Dark Knight" came despite its boasting far fewer midnight or early morning showtimes than over its first weekend.
With that kind of market traction, projections put the Christian Bale starrer crossing $400 million domestically within its first 18 or 19 days. That would outpace $400 million-plus grosser "Shrek 2," which passed that mark in a still-record 43 days in 2004.
"That kind of tells the story," Fellman observed.
The latest "Dark Knight" grosses included $4.6 million in boxoffice from Imax giant-screen venues, where the weekend-to-weekend drop was just 28%.
Warners' stunning success with "Dark Knight" has propelled the studio past $1 billion in total domestic grosses in record time, shaving almost 1 1/2 months off the Warners' then-record spurt last year, when it reached $1 billion on Sept. 12. Studio execs now expect to pass Paramount in domestic marketshare by week's end and are bullish about prospects of finishing the year atop distributor rankings.
Produced for an estimated $180 million, "Dark Knight" was co-financed by Legendary Pictures.
"Step Brothers" played young, with 66% of its patrons under age 25. Audiences skewed 54% male for the pic, which notched a July record for a comedy opening.
"It's a terrific start for us," Sony distribution president Rory Bruer said of the bow, which was on the high-end of pre-release projections.
Production costs totaled roughly $65 million on "Step Brothers."
"I Want to Believe" unspooled six years after "The X-Files" TV series went off the air and 10 years after the $30.1 million bow of the first movie adaptation, "The X-Files." The sequel drew audiences comprised heavily of older moviegoers, with 70% of its patrons aged 25 and older. Support was split 50-50 between males and females, with overall support falling short of forecasts pegging "I Wanted to Believe" for a bow in the teen millions.
"The movie was made for a great price," Fox senior vp Chris Aronson stressed.
Produced for an estimated $30 million, "I Wanted to Believe" is still expected to turn a profit, Aronson added.
Looking ahead, two wide openers set for Friday will likely appeal to differing core audiences.
Universal opens action-adventure sequel "The Mummy: Tomb of the Dragon Emperor," starring Brendan Fraser and likely to skew to younger demos. Disney bows the political comedy "Swing Vote," which is toplined by older-appealing Kevin Costner.
Registering $314.2 million through Sunday, the Batman sequel well outpaced the previous 16-day record of Disney's "Pirates of the Caribbean: Dead Man's Curse," a July 2006 release that went on to ring up a total $423.3 million domestically. "Dark Knight" dropped 52% over its second weekend in release, marking a more modest decline than absorbed by many big action titles.
Sony's R-rated comedy "Step Brothers" opened at No. 2 over the latest frame with a solid $30 million, while Fox's scifi sequel "The X-Files: I Want to Believe" bowed limply in fourth place with $10.2 million. Universal's musical "Mamma Mia!" finished third, dropping a skimpy 36% in its sophomore session to $17.9 million and a 10-day cume of $62.7 million.
On an industrywide basis, the weekend's $178 million represented a 4% decline from the same frame a year earlier, according to data service Nielsen Edi.
The seasonal boxoffice is up 1% from a year earlier, at $2.94 billion. Annual boxoffice is flat--at $5.61 billion--compared with a similar portion of 2007.
In a limited bow this weekend, Miramax unspooled the Emma Thompson starrer "Brideshead Revisited" with 33 playdates and grossed $332,00, or an impressive theater average of $10,060, to demonstrate amply older moviegoers' appetite for well-executed summer counter-programming. The big-screen adaptation of an Evelyn Waugh novel--which previously spawned a much-loved TV miniseries--"Brideshead" is set to expand to about 160 locations on Friday.
Paramount Vantage's high school documentary "American Teen" debuted with five runs in New York and Los Angeles to gross $42,827, or an auspicious $8,565 per site. "Teen" expands to 10 additional markets on Friday.
The Weinstein Co. debuted the British drama "Boy A" with solo engagements in New York and Los Angeles, grossing $11,405, or a sturdy $5,703 per playdate. "Boy," the adaptation of a novel by Jonathan Trigell, totes a cume of $13,127 following a Wednesday bow in the New York venue.
Elsewhere in the specialty market, Music Box's French-language thriller "Tell No One" added 22 theaters for a total 77 and grossed $1.7 million, or a solid $5,580 per venue, with a $1.7 million cume.
Sony Pictures Classics' Ben Kingsley starrer "The Wackness" added 86 theaters for a total 120 and grossed $240,728, or a tame $2,006 per venue, with a $1.1 million cume.
Spc's relationship drama "Baghead" added five playdates for a total seven and grossed $17,208, or $2,458 per engagement, with a cume of $49,240.
Warner Bros. distribution president Dan Fellman noted the solid market hold for "Dark Knight" came despite its boasting far fewer midnight or early morning showtimes than over its first weekend.
With that kind of market traction, projections put the Christian Bale starrer crossing $400 million domestically within its first 18 or 19 days. That would outpace $400 million-plus grosser "Shrek 2," which passed that mark in a still-record 43 days in 2004.
"That kind of tells the story," Fellman observed.
The latest "Dark Knight" grosses included $4.6 million in boxoffice from Imax giant-screen venues, where the weekend-to-weekend drop was just 28%.
Warners' stunning success with "Dark Knight" has propelled the studio past $1 billion in total domestic grosses in record time, shaving almost 1 1/2 months off the Warners' then-record spurt last year, when it reached $1 billion on Sept. 12. Studio execs now expect to pass Paramount in domestic marketshare by week's end and are bullish about prospects of finishing the year atop distributor rankings.
Produced for an estimated $180 million, "Dark Knight" was co-financed by Legendary Pictures.
"Step Brothers" played young, with 66% of its patrons under age 25. Audiences skewed 54% male for the pic, which notched a July record for a comedy opening.
"It's a terrific start for us," Sony distribution president Rory Bruer said of the bow, which was on the high-end of pre-release projections.
Production costs totaled roughly $65 million on "Step Brothers."
"I Want to Believe" unspooled six years after "The X-Files" TV series went off the air and 10 years after the $30.1 million bow of the first movie adaptation, "The X-Files." The sequel drew audiences comprised heavily of older moviegoers, with 70% of its patrons aged 25 and older. Support was split 50-50 between males and females, with overall support falling short of forecasts pegging "I Wanted to Believe" for a bow in the teen millions.
"The movie was made for a great price," Fox senior vp Chris Aronson stressed.
Produced for an estimated $30 million, "I Wanted to Believe" is still expected to turn a profit, Aronson added.
Looking ahead, two wide openers set for Friday will likely appeal to differing core audiences.
Universal opens action-adventure sequel "The Mummy: Tomb of the Dragon Emperor," starring Brendan Fraser and likely to skew to younger demos. Disney bows the political comedy "Swing Vote," which is toplined by older-appealing Kevin Costner.
- 7/27/2008
- by By Carl DiOrio
- The Hollywood Reporter - Movie News
By Neil Pedley
With blockbusters taking a week off after "The Dark Knight" so thoroughly conquered the box office and its core audience descends upon Comic-Con in San Diego, an outstanding array from the indie scene offers plenty of alternative viewing.
"American Teen"
Her longtime collaborator Brett Morgen may be out of the picture, but "The Kid Stays in the Picture" co-director Nanette Burstein infiltrated the cliques, classrooms and hallways of an Indiana high school for her first solo doc, which netted her a directing award at Sundance earlier this year. Burstein follows a cross section of Warsaw High's senior class for 10 months in pursuit of their respective ambitions and priorities, and discovers that bonding at the library during Saturday detention is no way to communicate when text messaging and Im can be just as intimate.
Opens in limited release.
"Baghead"
Mumblecore alumni Jay and Mark Duplass celebrate their favorite...
With blockbusters taking a week off after "The Dark Knight" so thoroughly conquered the box office and its core audience descends upon Comic-Con in San Diego, an outstanding array from the indie scene offers plenty of alternative viewing.
"American Teen"
Her longtime collaborator Brett Morgen may be out of the picture, but "The Kid Stays in the Picture" co-director Nanette Burstein infiltrated the cliques, classrooms and hallways of an Indiana high school for her first solo doc, which netted her a directing award at Sundance earlier this year. Burstein follows a cross section of Warsaw High's senior class for 10 months in pursuit of their respective ambitions and priorities, and discovers that bonding at the library during Saturday detention is no way to communicate when text messaging and Im can be just as intimate.
Opens in limited release.
"Baghead"
Mumblecore alumni Jay and Mark Duplass celebrate their favorite...
- 7/21/2008
- by Neil Pedley
- ifc.com
- Just moments after preeming at Tiff, The Weinstein Companyhave snapped up the world film rights to Boy A. Directed by John Crowley, the pic has received some good buzz at the fest. Directed by John Crowley (Intermission) this is adapted from the novel by Jonathan Trigell, the story begins with Garfield's character being released from prison at age 24, having been locked up since childhood for murder. The film follows his attempts to restart a life which never really got going. Thanks to the involvement of a kindly parole officer and social worker (Mullen), he gets to experience a coming age that normally would have happened years ago, though ghosts from his past are always lurking....
- 9/7/2007
- IONCINEMA.com
More Toronto festival news
TORONTO -- The Weinstein Co. on Friday preemptively nabbed worldwide rights (excluding U.K. TV) to the Toronto fest entry "Boy A".
John Crowley's drama, originally made for British television, is adapted from the novel of the same name by Jonathan Trigell. It follows a 24-year-old man released from prison years after murdering another child with his young friend. His attempts to put his past behind him are helped along by his social worker but hindered by the tabloid press and his social worker's son.
The intimate Cuba Pictures drama stars Andrew Garfield, Peter Mullen, Shaun Evans and Katie Lyons. It was produced by Lynn Horsford, Nick Marston, Tally Garner and Liza Marshall.
Channel 4 majority-financed the film and has the U.K. TV distribution rights.
Weinstein Co. executives Glen Basner, Rhodri Thomas and Michal Podell negotiated the deal with attorney Jeremy Gawade of Lee and Thompson Solicitors along with producers Nick Marston and Tally Garner on behalf of Cuba Pictures.
TORONTO -- The Weinstein Co. on Friday preemptively nabbed worldwide rights (excluding U.K. TV) to the Toronto fest entry "Boy A".
John Crowley's drama, originally made for British television, is adapted from the novel of the same name by Jonathan Trigell. It follows a 24-year-old man released from prison years after murdering another child with his young friend. His attempts to put his past behind him are helped along by his social worker but hindered by the tabloid press and his social worker's son.
The intimate Cuba Pictures drama stars Andrew Garfield, Peter Mullen, Shaun Evans and Katie Lyons. It was produced by Lynn Horsford, Nick Marston, Tally Garner and Liza Marshall.
Channel 4 majority-financed the film and has the U.K. TV distribution rights.
Weinstein Co. executives Glen Basner, Rhodri Thomas and Michal Podell negotiated the deal with attorney Jeremy Gawade of Lee and Thompson Solicitors along with producers Nick Marston and Tally Garner on behalf of Cuba Pictures.
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