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Score composer Cristobal Tapia de Veer seems to have literally tapped into the minds and emotions of the Utopia cast. As a result of this musical genius, we are able to as well. If you were to listen to the soundtrack disconnected from the actual series, you could almost say this is a new musical genre in the making. Paste Magazine, US Cristobal Tapia de Veer’s music will stick in your mind long after you’ve heard it. His scores are a far cry from the orchestral music often used in film and TV. They are distinctive, experimental and often, downright strange – an eclectic mix of musical styles and ominous sounds that will give you shivers. De Veer is the composer behind some of the most memorable soundtracks on TV in the past three years. Creative Review, UK
Multiple award winning Cristobal “Cristo” Tapia de Veer is a Chilean born, classically trained musician, producer, arranger and multi-instrumentalist, composing music scores for film & TV, based in Montreal, Canada.
After obtaining his Master’s degree (with honors) from the ‘Conservatory of Music of Québec’, he plunged into the pop music world and got signed to Warner Music in 2001, putting a hold on his classical career.
His band One Ton reached number one in Canada in 2003 with the electro-dance single “Supersex World” and won the Canadian Dance Music Award (SOCAN). After a tumultuous tour the young band decided to split up.
He continued to work as an album producer and touring musician with a wide variety of bands, further enriching his pop music experience.
In 2011 he scored his first mini-TV series “The Crimson Petal and the White” (dir: Marc Munden, BBC2), nominated at the BAFTA’S 2012 for Best mini-series.
2 years later Munden and Cristo teamed up again to work on C4’s critically acclaimed cult series “Utopia”. The 2 x 6 episode long conspiracy thriller won an International EMMY Award 2014 for best drama series. His music for Utopia won several awards (both seasons) and became an international milestone in the scoring world.
In 2013, he composed the music for ICI-Radio-Canada’s new TV-drama “Série Noire” (dir: JF Rivard), for which he won twice at the PRIX GEMEAUX (Academy of Canadian Cinema and Television) in 2014 and received a third trophy for the second season in 2016.
Later that year, he began work on the BBC One mini-series “Jamaica Inn”, directed by BAFTA award-winning Phillipa Lowthorpe.
Shortly after, AMC / C4’s co-production “Humans” became C4’s biggest drama hit in 20 years and got nominated for best drama series at the BAFTAs 2016.
His first feature film “The Girl with all the Gifts” opened the Locarno Film Festival and was released in fall 2016 (distr: Warner UK). Cristo won in the best original music category at the 24th Festival International du Film Fantastique Gérardmer 2017, the film also won the public choice award.
Congruently, Cristo was awarded a Golden Fipa 2017 (Festival de Film de Biarritz) as well as a BAFTA for C4’s mini-series “National Treasure”, which was hailed among critics as the most powerful series of the year.
BBC-America’s “Dirk Gently’s Holistic Detective Agency” has been released in fall 2016 and has gathered cult status amongst its fans on Netflix worldwide.
SOCAN honoured Cristo with the prestigious International Achievement Award in fall 2017, marking the first time that a composer for film and television has been awarded the prize. Previous recipients of the award include bands such as Arcade Fire.
Due to his monumental success, Cristo was invited to be part of the jury at the 1st edition of Canneseries in France. CANNESERIES aims to highlight series from all over the world and to give an international voice to this increasingly popular and fiercely creative new art form.
Recent releases include 2 episodes of “Philip K. Dick’s Electric Dreams” (Amazon, C4), for which he received an EMMY nomination, as well as the higly acclaimed season 4 finale of Netflix’ dark sci-fi anthology series “Black Mirror – Black Museum”.
He scored his second feature film in late 2018, an adaptation of Antonio Orejudo’s dark novel “Advantages of Traveling by Train”, Ventajas de viajar en tren, directed by Aritz Moreno and produced by Morena Films in Spain. The anticipated first feature by Moreno unites a stellar cast, including Luis Tosar, Pilar Castro, Javier Botet and many more. Moreno’s first feature competed in major Film Festivals such as SITGES – Festival Internacional de Cinema Fantàstic de Catalunya, TOKYO International Film Festival, Brussels International Film, and was decorated as best Comedy at the Premios Goya in 2020 Cristo’s music for the film earned him a nomination at Spain’s Premios Feroz.
Releases in 2020 include Jordan Peele’s produced show Hunters for Amazon Prime, starring Al Pacino.], and the inventive drama The Third Day, written by Dennis Kelly in collaboration with Felix Barrett of immersice theatre company Punchdrunk International, produced by Brad Pitt’s Plan B Entertainement for HBO/ SKY, in which Jude Law and Naomie Harris give stellar performances. In 2021 Cristo received a BAFTA nomination for his original score!
As of January 2024, Cristo has earned 3 EMMYs for his work on The White Lotus (HBO) Seasons 1 and 2.
List of directors Cristo had the pleasure working with (in alphabetical order):
Français:
Cristobal Tapia de Veer, compositeur québécois d’origine chilienne, connu dans l’industrie musicale et cinématographique sous le nom de Cristo, puise son importance dans le contexte social québécois actuel, où l’immigration et l’accueil de réfugiés représentent des valeurs et des défis majeurs pour notre société. En ce sens, il est important de mettre de l’avant des histoires positives d’intégration d’individus dans la culture et le parcours de Cristo en est un exemple particulièrement inspirant : jeune adolescent, Cristo fuit un régime de dictatur e militaire au Chili et, avec sa mère, ils s’installent dans la ville de Québec au cours des années 1980. Depuis, en faisant briller son caractère novateur à travers le monde, l’artiste a contribué à célébrer la diversité et la couleur de son pays d’adoption.
En 2017, la SOCAN recompense l’œuvre de Cristo en lui décernant le Prix International. C’est la première fois dans l’histoire de la SOCAN que ce prix est accordé à un compositeur audiovisuel. À cette occasion, on souligne le rayonnement remarquable de l’artiste à l’étranger, puisqu’il est le récipiendaire de plusieurs prix internationaux, dont le prestigieux BAFTA (British Academy of Film & Television Arts, R.U.) pour la Meilleure musique originale. Les critiques parlent d’elles-mêmes :
Le compositeur Cristobal Tapia de Veer semble avoir littéralement puisé dans l’esprit et les émotions des acteurs d’Utopia. Grâce à ce génie musical, nous le pouvons aussi. Si vous écoutiez la bande-son déconnectée de la série, vous pourriez presque dire qu’il s’agit d’un nouveau genre musical en cours de création.(PASTE MAGAZINE, US – Roxanne Santo) La musique de Cristobal Tapia de Veer restera gravée dans votre esprit longtemps après l’avoir entendue. Ses partitions sont très éloignées de la musique orchestrale souvent utilisée au cinéma et à la télévision. Ils sont distinctifs, expérimentaux et souvent, carrément étranges – un mélange éclectique de styles musicaux et de sons inquiétants qui vous donneront des frissons. De Veer est le compositeur à l’origine de certaines des bandes sonores les plus mémorables des trois dernières années à la télévision. (CREATIVE REVIEW, UK – Rachael Steven)
Le compositeur Cristobal Tapia de Veer semble avoir littéralement puisé dans l’esprit et les émotions des acteurs d’Utopia. Grâce à ce génie musical, nous le pouvons aussi. Si vous écoutiez la bande-son déconnectée de la série, vous pourriez presque dire qu’il s’agit d’un nouveau genre musical en cours de création.(PASTE MAGAZINE, US – Roxanne Santo)
La musique de Cristobal Tapia de Veer restera gravée dans votre esprit longtemps après l’avoir entendue. Ses partitions sont très éloignées de la musique orchestrale souvent utilisée au cinéma et à la télévision. Ils sont distinctifs, expérimentaux et souvent, carrément étranges – un mélange éclectique de styles musicaux et de sons inquiétants qui vous donneront des frissons. De Veer est le compositeur à l’origine de certaines des bandes sonores les plus mémorables des trois dernières années à la télévision. (CREATIVE REVIEW, UK – Rachael Steven)
Certes, pour obtenir une telle reconnaissance, ce fût un long mais fascinant voyage pour le compositeur.
Le dévouement de Cristo pour la musique est apparait très tôt dans sa vie. Au Chili, étant enfant, l’argent manque souvent dans sa famille. Il commence à fabriquer ses propres instruments (ce qu’il continuera à faire jusqu’à aujourd’hui), pratique le tambour sur des boîtes vides, des bols et des seaux, écoute et découvre avec passion toutes sortes de styles et de rythmes musicaux. Cette proximité précieuse et urgente avec la musique pose les bases de son avenir artistique, lui permettant par la suite de jouer dans plusieurs types de formations. Des années plus tard, à son arrivée au Canada en tant que réfugié, il complète une Maîtrise en Musique classique au Conservatoire de Musique de Québec, et aquiert une expérience en tant que percussionniste de formation classique au sein de l’orchestre.
Après avoir signé avec Warner Music en 2001 avec son trio One Ton et après avoir fait de nombreuses tournées, Cristo quitte le monde du spectacle pour élargir ses compétences en explorant les techniques d’enregistrement sonore, de mixage et de matriçage. Il dirige alors un studio d’enregistrement à Montréal et produit de nombreux albums d’artistes québécois de renoms, tels que Mario Pelchat, Jorane, Bran Van 3000, Alfa Roccoco, Antoine Gratton, Plaster, Véronic Dicaire ainsi que des compilations avec des nombreuses personnalités comme Quand le country dit Bonjour (Daniel Lavoie, Ginette Reno, Mara Tremblay, Marc Dupré, Marie-Denise Pelletier etc.), pour n’en nommer que quelques-uns.
Grâce à une bourse du Conseil des Arts et des Lettres du Québec qu’il obtient en 2005, Cristo compose, enregistre et produit un album : Petite Mort – The Spider in Charlie’s box. Quelques années plus tard, ce projet lui vaut l’obtention de son premier contrat de musique de film, par l’entremise du réalisateur anglais Marc Munden qui perçoit dans cet album la promesse d’un talent à découvrir.
Il produit ensuite la chanson thème Ma Bulle, Bienvenue pour le Championnat du monde de natation à Montréal en 2005 avec Daniel Boucher et la chanteuse et violoncelliste Jorane et collabore de nouveau avec cette dernière pour la version française de sa chanson Worries avec Arthur H. Simultanément, et toujours avec Jorane, ils composent Un dimanche à Kigali, (Robert Favreau, 2007), qui remporte le Prix Jutra de la Meilleure musique cette même année.
Avec l’anthropologue Jean-Étienne Poirier, Cristo assure la production sonore d’un projet qui vise à réunir des musiciens de la Mongolie avec des musiciens Québécois (Khamtaar) pendant un échange culturel à Québec, ainsi que le documentaire qui en découle. En 2010 il réalise l’album Balboa (avec Rémi-Pierre Paquin et Jean-François Rivard, respectivement acteur et réalisateur de Les Invincibles).
Trois ans plus tard, Cristo signe également la musique de Série Noire (écrit par François Létourneau et Jean-François Rivard) pour la chaîne de télévision Radio-Canada. La série fait du bruit et atteint rapidement un statut de série culte. L’Académie Canadienne du Cinéma et de la Télévision récompense Cristo avec trois Prix Gémeaux pour sa Musique originale (saisons 1 et 2).
En 2010, le réalisateur anglais Marc Munden engage Cristo pour travailler avec lui sur une coproduction canado-britannique intitulée The Crimson Petal and the White (BBC2, écrit par Michel Faber). La musique pour ce projet se démarque en Grande-Bretagne dans les plus grands journaux, The Telegraph écrit :
Le compositeur Cristobal Tapia de Veer s’est mis à subvertir – il a soudé les sonorités et les grondements de l’électronique moderne à un tableau des années 1870, comme Jonny Greenwood de Radiohead l’a fait dans sa musique pour There Will Be Blood. (The Telegraph, UK – Benji Watson)
Ce projet marque le début d’une amitié artistique qui mènera le duo Munden-Cristo sur le piédestal des BAFTA’s quelques années plus tard. Pour Cristo, c’est également le début d’une nouvelle vie. Il poursuit sa vocation et devient compositeur audiovisuel à temps plein.
C’est ainsi qu’en 2012, Cristo et Munden travaillent sur Utopia (Channel4/R.-U., écrit par Dennis Kelly). La série, devenue ultra-culte, marque un nouveau chapitre dans la carrière de Cristo et révolutionne entièrement le paysage de la musique de films. À partir de là, des superviseurs musicaux, éditeurs de films et réalisateurs commencent à demander un « son Utopia à la Cristo ». Utopia annonce ainsi l’arrivée de Cristo sur la scène internationale.
En gagnant le prix de la Meilleure Série au International EMMY Awards (É.U.), la série Utopia, devient la carte d’affaires de Cristo. La musique originale est classée quatrième sur la liste des dix meilleures bandes sonores originales de 2013 dans le magazine de musique MOJO . Elle reçoit une attention internationale considérable, de même que plusieurs récompenses. Pour couronner le tout, la Royal Television Society (R.-U.), qui compte parmi ses membres les plus importants producteurs de la télévision britannique, rend hommage à la musique de Cristo en lui décernant un RTS Craft & Design Award dans la catégorie Meilleure musique originale en 2013. Leur déclaration se lit comme suit :
Des partitions époustouflantes d’originalité et de l’hyperréalité, qui ne ressemblent à rien que nous ayons jamais entendu. Le travail du gagnant a brouillé les lignes entre la conception sonore et la partition, créant une bande sonore dont le jury a dit qu’elle semblait être jouée à l’intérieur de votre tête.
Cristo s’illustre également à travers la musique qu’il compose pour National Treasure (écrit par Jack Thorne), une mini-série qui s’inspire, un an avant l’affaire Weinstein, des scandales sexuels impliquant Jimmy Savile et Bill Cosby, et qui remporte plusieurs prix. L’un d’eux, et non le moindre, est le BAFTA (2017) : ce prix souligne l’originalité et la singularité du projet, alors qu’il est en compétition avec les œuvres de lauréats des Oscars (Academy of Motion Picture Arts and Sciences, É.U.) tels que Hans Zimmer et Anne Dudley.
Quand Denis Villeneuve sort « le remake » de Blade Runner (écrit par Philip K. Dick), Amazon/Channel4 lance la série Philip K. Dick’s Electric Dreams qui mène à de nouvelles collaborations intéressantes pour Cristo : il est l’auteur de la musique de deux épisodes, dont celui du producteur exécutif Bryan Cranston (acteur principal dans Breaking Bad), Human Is, réalisé par Francesca Gregorini, belle-fille de Ringo Starr et Crazy Diamond (qui met en vedette Steve Buscemi notamment). Cristo persiste a être reconnu sur la scène mondiale en étant nominé, en 2018, aux PRIMETIME EMMY AWARDS (Academy of Television Arts and Sciences, É.U.) pour l’excellence de sa musique (Meilleure Musique originale pour l’épisode Crazy Diamond).
Au cours de son impressionnante carrière, Cristo perfectionne ses compétences dans tous les domaines de la production musicale. Cela lui permet de dépasser le cadre de la musique conventionnelle et d’y introduire de nouvelles formes de composition. L’artiste ne s’arrête pas à un seul style, sa particularité est de se renouveler constamment et de contribuer à une réflexion plus large qui concerne la mission artistique et politique des compositeurs. De cette façon, Cristo repousse continuellement les frontières de la musique de films et encourage le public et les promoteurs à se montrer exigeants et à préférer la qualité, la justesse et l’audace plutôt que les raccourcis et les modes.
La musique de Cristo défie la tradition de la musique commerciale et fait de son travail une bénédiction. Il s’agit là d’un consensus partagé tant par les fans que par les professionnels du milieu artistique. Il est respecté par ses pairs, son œuvre intéresse les magazines, les journaux et les podcasts les plus importants au monde. Toutes ces réussites ont fait de lui un compositeur inspirant qui influence d’autres artistes et participe à faire évoluer lentement le domaine de la composition des bandes-sonores, domaine jusqu’à maintenant très conservateur. Cristo collabore aux œuvres les plus fortes de notre temps.
L’expertise et la vision de Cristo sont recherchées. On vient à lui pour la rigueur de ses critiques. C’est ainsi qu’il se joint à plusieurs jurys de concours comme les Canadian Screen Awards, les Prix Gémeaux, les Music & Sound Awards (R.-U.) et, pour la première édition en 2018, les Canneseries (Festival International des Séries de Cannes, FR). Ce dernier événement a pour vocation de rassembler et de valoriser les séries du monde entier, sorte de porte-voix de ce nouvel art populaire et ultracréatif, à Cannes.
Cristo peut désormais poursuivre sa carrière de compositeur tout en songeant à former la relève. Cela montre sans contredit l’influence de son œuvre auprès d’un auditoire parmi les plus illustres du domaine musical.
Aujourd’hui, Cristo est sollicité dans le monde entier pour des projets, si bien qu’il doit en refuser. Il a produit des musiques originales pour des productions de haut calibre comme Black Mirror (Netflix), Humans (AMC/C4; note : Humans est devenu le plus grands succès dramatique du diffuseur depuis 20 ans), Dirk Gently’s Holistic Detective Agency (BBC America/Netflix) ainsi que The Girl with all the Gifts (Warner Bros) qui gagne le Prix de la Meilleure musique au Festival international du film fantastique de Gérardmer (FR) en 2017.
En 2018 il signe la bande sonore d’un film basque Ventajas de viajar en tren (« Advantages of Traveling by Train », un livre culte des années 2000, écrit par Antonio Orejudo) adapté par Javier Gullon, notamment scénariste de L’Ennemi. Le film est en nomination dans le Festival International de Film de TOKYO (2019) et SITGES, Espagne (2019), et gagne meilleure comédie 2019 au PREMIOS FEROZ en 2020 (où Cristo a été nominé dans la catégorie Meilleure Musique).
Un nouveau projet à venir pour 2020 :: la nouvelle série produit par Jordan Peele, lauréate d’un Oscar, intitulée Hunters (Amazon Prime, mettant en vedette Al Pacino), qui confie à Cristo la musique. Ainsi que The Third Day (HBO/ Sky, mettant en vedette Jude Law), nouvelle collaboration avec Marc Munden.
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Honours:
https://www.youtube.com/watch?v=GxgWSDPOHjs
http://https://www.youtube.com/watch?v=yn6pt2gXU8s
Hailing from writer, director, and executive producer Mike White, the six-episode series is set at an exclusive tropical resort and follows the exploits of various guests and employees over the span of a week.
Is “The White Lotus” a murder-mystery? Yes. Is it also a comedy? Absolutely. Does it confront the harsh truths of America’s wealth gap by studying a contained batch of subjects on either end of the ever-widening spectrum? It would be weird if I said, “No,” so yup, that’s there, too. White’s latest work is also an ensemble showcase with a handful of unforgettable performances — Bartlett and Jennifer Coolidge top among them — as well as a paradox unto itself, in that it’s extremely addictive and consistently uncomfortable. Conceived and shot during the pandemic, “The White Lotus” is many things, but it’s nothing short of a marvel.
starring:
created, directed and executed produced by Mike White
https://www.youtube.com/watch?v=kA_ZYAaoLaY
Starring Jude Law and Naomie Harris, The Third Day takes place across three stand-alone but interconnected stories set on a remote British island. Taking viewers into a captivating and distorted world where all is not as it seems.
Written by Dennis Kelly and directed by Marc Munden (Utopia), Summer sees Sam (Jude Law) drawn to an alluring and mysterious island off the British coast. Isolated from the mainland, he finds he is unable to leave the idyllic and dangerously enchanting world he has discovered. As the secretive rituals of its inhabitants force him to grapple with the experiences of loss and trauma hidden in his past, the boundaries between fantasy and reality fragment. His quest to unlock the truth leads to the revelation of a shocking island secret.
Directed by Felix Barrett and Marc Munden, Autumn invites viewers deeper into the suspenseful world of The Third Day. Featuring members of The Third Day cast including Jude Law, viewers follow the events of a single day in real time broadcast as live from the island. In one continuous and cinematic take, the rituals and traditions of the islanders are further revealed as the line between what is real and what is not increasingly blurs.
The Third Day cast includes Jude Law (Sherlock Holmes), Naomie Harris (Moonlight), Katherine Waterston (Fantastic Beasts), Paddy Considine (The Suspicions of Mr Whicher) and Emily Watson (Chernobyl). It was commissioned by Zai Bennett, Sky UK’s Managing Director of Content and Cameron Roach, Director of Drama at Sky Studios, with Liz Lewin as the Commissioning Editor. The series is a co-production between Sky and HBO. It is the first original drama to be produced in house by Sky Studios, Sky’s new Europe wide production arm, in partnership with Plan B Entertainment, Punchdrunk and writer Dennis Kelly. All six episodes are produced by Adrian Sturges.
https://www.youtube.com/watch?v=DQt4ziYtayI
https://www.youtube.com/watch?v=vCFpDIE_I3A
https://www.youtube.com/watch?v=bxBbN8bbDps
https://www.youtube.com/watch?v=mlV_Zhdvq7g
Get Out and Us director Jordan Peele executive-produces Hunters, which is described as a “vengeance-driven Nazi hunting series,” set to arrive on Amazon Prime Video with a 10-episode inaugural season.
The so-called Hunters discover that hundreds of high-ranking Nazi officials are living in the United States and are conspiring to create a Fourth Reich in America. The Nazi hunters, led by Pacino, will embark on a bloody quest to bring the Nazis to justice and thwart their genocidal plans.
Additional stars include Logan Lerman, Jerrika Hinton, Josh Radnor, Kate Mulvany, Tiffany Boone, Greg Austin, Louis Ozawa Changchien, Carol Kane, Saul Rubinek, Dylan Baker and Lena Olin.
The show was created by David Weil (“Moonfall”), who will also serve as executive producer and co-showrunner alongside executive producer Nikki Toscano. The show will be produced by Peele’s Monkeypaw Productions and Sonar Entertainment. Alfonso Gomez-Rejon (“American Horror Story”) directed the show’s pilot and is also one of its executive producers.
Other executive producers include Win Rosenfeld (“The Twilight Zone”) from Monkeypaw Productions, Nelson McCormick (“Prison Break”), and Tom Lesinski (“Mr. Mercedes”) from Sonar Entertainment.
The anticipated feature debut of Aritz Moreno, “Advantages of Traveling by train” is lead-produced by San Sebastian-based Señor y Señora, an up-and-coming production house owned by Moreno and producer-director Leire Apellaniz.
Madrid’s Morena Films has boarded as a co-producer. The company’s previous credits include Oliver Stone’s Fidel Castro docu-trilogy, Steven Soderbergh’s “Che” and movies by Spain’s Iciar Bollain (“Even the Rain”), Daniel Monzon (“Cell 211”) and Daniel Calparsoro (“Rob a Thief,” Spain’s No. 1 local box-office hit this year).
Sold internationally by Entertainment One’s Seville International, Filmax has picked up Spain’s distribution rights.
“Advantages of Traveling by Train” is penned by Javier Gullón, the Logroño-born screenwriter of Denis Villeneuve’s “Enemy,” from a cult novel by Spain’s Antonio Orejudo. Feature follows a literary agent, Helga, who is forced to check her husband into a psychiatric clinic. She meets one of its psychiatrists on a train who tells her his life story, threading three stories about one patient.
Boarding a train home, she meets one of the sanatorium’s psychiatrists, Agustin Sangustín, who diagnoses patients through their writings, which he carries around in a red folder. He offers to tell her his life story, narrating three stories about one patient. But when Sangustin gets off the train to buy a sandwich, it sails off without him, leaving the folder in Helga’s possession.
A story of stories within stories, told with verve by highly unreliable narrators, “Advantages of Traveling by Train” is “a film about what is true and not true, what we believe and don’t believe, what’s important and not, and the multifarious forms of derangement which we live with in society,” said Apellaniz.
“A Russian-dolls’ story of stories, “Advantages” will fuse fun, surprise, and is occasionally quite sick,” Juan Gordon at Morena declared.
“The seasoned producing team supporting Aritz’s debut was a key point for us in financing our first Spanish film. We believe indeed that Spain is a land of fertile creativity and blooming talents especially when you focus on elevated genre and crossover dramas as we do at Logical Pictures,” Fiore added.
Awards and Festival Competitions:
Between his first published story in 1952 and his death in 1982, Philip K. Dick produced dozens of novels and more than a hundred short stories. Moving past famous works like A Scanner Darkly or The Man in the High Castle, Amazon Video’s anthology show Philip K. Dick’s Electric Dreams delves into the author’s extensive back catalog, adapting 10 of his lesser-known works for television — and in a new book.
Electric Dreams is full of classic Dickian themes: psychic connections, absurd consumer technology, and the blurry line between artifice and reality. But the show’s creators — Battlestar Galactica showrunner Ronald D. Moore, Justified producer Michael Dinner, and Breaking Bad star Bryan Cranston — take an expansive view of adaptation. Each episode features a different writer / director team, with a wide range of styles. Some installments add new detail to existing stories, while a couple are practically original teleplays, with only brief nods to Dick’s work. Most mix a few elements of his tales into something new — updating technology, expanding bit characters, and changing major plot points.
The episodes stand on their own. But alongside the original stories, they illustrate how different writers and directors translate classic — but also historically specific — visions of the future. Here’s how Electric Dreams handles the changes.
(source The Verge)
HUMAN IS
In the year 2520, Earth is known as Terra and humans launch military excursions to other galaxies to get the resources necessary to sustain breathable atmosphere. In this chapter directed by Francesca Gregorini, Bryan Cranston plays a hard-ass general leading those skirmishes to pillage a vital xenomaterial. His character, Silas, is half of a power couple gone sour and his neglected wife spends time in deep-underground sex clubs just to feel something. When Silas goes away on one particular mission, things go wrong but he makes it home. His attitude changes for the better, and the marriage rekindles the warmth of old, but a military trial that alleges Silas isn’t who he claims threatens to destroy everything. Cranston’s performance is one of the best acting turns in all of Electric Dreams’ first season, combining steely simmering menace and wounded empathetic vulnerability.
CRAZY DIAMOND
In this episode based on Dick’s story “Sales Pitch,” Steve Buscemi plays the lead role of Ed Morris, a scientist at who works at a company that makes hybrid human/animal lifeforms. When an alluring quantum consciousness in a female body—part of the engineered class who don’t get equal rights—tempts Ed with dreams of adventure and escape, he finds himself caught up in a spiral of shame and crime set in a world is plagued by coastal flooding, food that expires super quickly, and frequent sudden earthquakes.
(source Gizmodo)
https://www.youtube.com/watch?time_continue=3&v=-Rdn3VUzkUE
Black Museum (EP6) is the season finale of Netflix’ dark standout series Black Mirror.
This sci-fi anthology series explores a twisted, high-tech near-future where humanity’s greatest innovations and darkest instincts collide.
We first meet Nish (Letitia Wright), a young black women traveling through the southwest, who finds her way to the Black Museum. Uncoincidentally, the ominously-titled roadside institution is a collection of techno-crimes assembled by its devious white proprietor, Rolo Haynes (Douglas Hodge), a man with an appetite for the carnival and the criminal. The heroes and villains that furnish the anthology series have never wanted for audacity, but Haynes’s huckster bile manages to feel singularly evil, an opportunistic sociopath in the vein of P. T. Barnum.
The episode’s first flash of genius comes with the introduction of the museum itself. It houses “authentic criminological artifacts,” many of which are from previous Black Mirror episodes—including tech (the cloning device from “USS Calister”; an ADI from “Hated in the Nation”), sinister curios (the bathtub from “Crocodile”), and personal memorabilia (the tablet from “Arkangel”). Delicately, Brooker positions the Black Mirror universe within a linear narrative, bookending his galaxy with a beginning and perhaps an even more terrifying, unforeseen end. It’s a museum built on a mad dream, but also one imbued with a difficult truth: that all of us—the inventors, the thrill seekers, the intrigued, the “race-hating rich guy with a hard-on for power”—are in some way complicit in the society we create, and especially in its outcome.
Akin to the show’s haunting holiday special, “White Christmas,” “Black Museum” plays out in a nightmarish triptych, massaging three seemingly disparate stories into a single narrative. Haynes comes from a career recruiting people on behalf of a cutting-edge neuro-tech company, and his stories detail the use of devices that offer the ability to feel another person’s physical sensations, or even transfer one person’s consciousness into another’s mind. The final arc details the story of Clayton Leigh, a black man accused of murdering a journalist. He’s sentenced to death but agrees to sign over his digital imprint, in hopes that the revenue from its use will provide for his family once he’s gone. The three stories are threaded together not just by Haynes’ nefarious puppeteering but by Brooker’s insistence on proximity: Each character—a down-on-his-luck doctor, a mother in a vegetative state, a man who maintains his innocence—desperately wants to remain connected to the world, and the people, around them.
It’s a victory, and an ending that defies the natural biology of the series—and in being so, it’s a form of reparation not everyone will understand. Sophie Gilbert at The Atlanticaccused the episode of trafficking in “eye-for-an-eye justice,” asking: “Is this really the world we want?” Adi Robertson at The Verge was equally miffed by Brooker’s scope. “If anything,” she wrote, “it obscures the industrial-scale cruelty of mass incarceration by focusing on one man’s roadside attraction.” For me, that’s the point of “Black Museum”—the cruelty of the prison system, while a massive and horrific enterprise, is a deeply personal one. It reaches families, mothers and sons, daughters and fathers, on a one-to-one level. It’s a national crisis built on private pains, of people trying to find their way back to loved ones. Brooker’s macabre futureworld is proving increasingly true for us, and for the time being we’re stuck in the loop, beholden to innovations that will continue to amplify hate and cause destruction, but there’s still a way to fight for what you believe is right, for what is right. What’s more real than that? (source: WIRED
Written by Charlie Brooker;
Directed by Colm McCarthy
Starring Laetitia Wright, Douglas Hodge, Daniel Lapaine and more
released: September 2016 Sci-Fi / Thriller
The near future; humanity has been all but destroyed by a mutated fungal disease that eradicates free will and turns its victims into flesh-eating “hungries”. Only a small group of children seem immune to its effects. At an army base in rural England, this group of unique children are being studied, subjected to cruel experiments by biologist Dr. Caldwell. Despite having been infected with the zombie pathogen that has decimated the world, these children retain normal thoughts and emotions. And while still being subject to the craving for human flesh that marks the disease these second-generation “hungries” are able to think and feel making them a vital resource in the search for a cure. The children attend school lessons daily, guarded by the ever watchful Sergeant Parks. But one little girl, Melanie, stands out from the rest. Melanie is special. She excels in the classroom, is inquisitive, imaginative and loves her favourite teacher Miss Justineau. When the base falls, Melanie escapes along with Miss Justineau, Sergeant Parks and Dr. Caldwell. Against the backdrop of a blighted Britain, Melanie must discover what she is and ultimately decide both her own future and that of the human race. Directed by Colm McCarthy (Doctor Who, Sherlock) with Glenn Close, Gemma Arterton, Paddi Considine and introducing Senia Nanua. Written and adapted by Mike Carey, The Girl with all the Gifts is produced by Camille Gatin and Angus Lamont, company credits include Altitude Film, Poison Chef, BFI Film Fund. About the writer: Mike Carey first came to prominence within the world of comic books, writing the Lucifer series at DC Vertigo, Hellblazer for DC, X-Men, Fantastic Four and adapting Orson Scott Card’s Ender’s Shadow for Marvel amongst other titles. He also wrote The Unwritten which has made the New York Times graphic novel bestseller list and was awarded Comic Con’s Inkpot Award in 2012. More recently, Carey has moved into prose fiction with thrillers such as The Dead Sea Deception(under the pseudonym of Adam Blake), fantasy novels The City of Silk and Steeland The House of War and Witness and the Felix Castor novels. The Girl with all the Gifts is his most recent novel, published in 2014 to critical acclaim and attracting multitudes of fans including writer-director Joss Whedon who proclaimed it to be: “Heartfelt, remorseless and painfully human . . . as fresh as it is terrifying. A jewel.” (source: Orbitbooks)
RELEASE DATE: OCTOBER 22nd, 2016, BBC AMERICA
Penned by Max Landis and from the producers of The Walking Dead, the series is a comedic thriller that follows the bizarre adventures of eccentric “holistic” detective Dirk Gently (Samuel Barnett) and his reluctant assistant Todd (Elijah Wood). The series is an adaptation of Douglas Adams’ (Hitchhiker’s Guide to the Galaxy) wildly successful comic novels, Dirk Gently’s Holistic Detective Agency, and is set in the unexpected world of the hyper, absurd, eponymous detective.
This season, Dirk and Todd wind their way through one big, seemingly insane mystery, crossing unlikely paths with a bevy of wild and sometimes dangerous characters, each episode landing them a few random steps closer to uncovering the truth.
Oscar-winning director Dean Parisot will direct the series’ first two episodes.
In addition to Barnett and Wood, the series also stars Hannah Marks as Todd’s sister Amanda, a former rebellious punk riot grrl, now sidelined and housebound by a painful genetic disorder.
The latest additions to the cast include: Jade Eshete as Farah Black, the athletic, self-doubting, badass, hyper competent but utterly anxious Security Officer to a billionaire; Mpho Koaho as Ken, a nerdy, friendly-faced tech trapped in increasingly difficult and bloody circumstances; Fiona Dourif as Bart Curlish, the terrifying, homicidal, deranged, fearless and nearly invincible self-identified “Holistic Assassin”; Michael Eklund as Martin, violent ring leader of the Rowdy 3 with an inexplicable sensitive side; Miguel Sandoval as Colonel Scott Riggins, beleaguered CIA head of a defunct secret bureau investigating the paranormal; Dustin Milligan as Sergeant Hugo Friedkin, Riggin’s subordinate, unpredictable, wildly ambitious and dangerous moron; and Aaron Douglas as Gordon Rimmer, an enigmatic loser with an impressive series of horrible secrets. Also joining the inaugural season is Neil Brown Jr. as Estevez and Richard Schiff (The West Wing) as Zimmerfield, missing person’s detectives operating increasingly off book as they follow the trail of a complex and mystifying case. Additional casting for the series will continue over the course of production.
When asked about casting, show creator Max Landis responded: “I couldn’t be happier. We got such wonderful actors, it’s really a shame we’re killing so many of the characters.”
“Douglas Adams might have said we ended up with the cast we were meant to have. I’d add we’re extremely happy about it,” said showrunner Robert Cooper.
NATIONAL TREASURE is a gripping and highly topical 4-part mini-series, written by multi-award winning screenwriter Jack Thorne (Harry Potter and the cursed child, This is England) and directed by BAFTA-winning director Marc Munden. The cast is headed by Robbie Coltrane, Julie Walters and Andrea Riseborough.
The series follows Paul Finchley, an ageing, beloved comedian, a hero to TV audiences and peers alike, after he is arrested following an allegation of rape dating back to the 90’s. The four-part drama follows the story from arrest through to verdict and focuses both on the investigation, and the effect of the case on Paul, on his wife of 40 years, Marie, and his troubled daughter, Dee.
National Treasure is a story that goes behind the headlines to look at the human and emotional impact when the whole life of a family is called into question. It explores memory, truth, doubt, and how well we really know ourselves and those close to us.
The drama was first unveiled during last year’s Edinburgh TV Festival. “What I’ve always loved about Channel 4 is that it’s a place to discuss big ideas. (J.Thorne)
“National Treasure is a piece about doubt, about the smell of abuse, about how we as a society live in Yewtree times. Paul is a man who could be innocent or guilty. We’re going to examine him from all sides and ask that big question – how well do we know the people closest to us?”
National Treasure is produced by new production company The Forge for Channel 4.
HUMANS, an adaptation of the award winning Swedish series Real Humans, the drama, produced by Shine’s Kudos (“Utopia”, “Broadchurch”), is set in a parallel present where the latest must-have gadget for any busy family is a ‘Synth’ — a highly-developed robotic servant eerily similar to its live counterpart.
Written by British writing partnership Sam Vincent and Jonathan Brackley (Spooks, Spooks: The Greater Good), Humans is based on the award-winning Swedish sci-fi drama Real Humans.
Cast: Oscar winner William Hurt, Katherine Parkinson (“The Honorable Woman”), Tom Goodman-Hill (“Mr Selfridge”), Colin Morgan (“The Fall”), Rebecca Front (“The Thick Of It”), Neil Maskell (“Utopia”) and Gemma Chan (“Fresh Meat”) and Will Tudor (“Game of Thrones”).
Synopsis: In the hope of transforming the way they live, one strained suburban family purchases a refurbished synth only to discover that sharing life with a machine has far-reaching and chilling consequences.
Hurt plays George Millican, a widower who has formed a close relationship with his out-of-date synth Odi, who he treats more like a son than a piece of machinery.
Parkinson plays Laura, a woman who seems to have it all — a great career as a lawyer, a loving husband, three children. But inside she’s struggling with her own unresolved demons. In a misguided attempt to help the situation her husband Joe, played by Tom Goodman Hill, buys a Synth. Played by Gemma Chan, Anita is the pliant, servile automaton that all Synths are supposed to be — but every now and then, she does something inexplicable. Something almost human.
Morgan joins the cast as Leo, who’s desperately trying to track down someone from his past; Front plays the overbearing carer synth, Vera; and Maskell takes on the role of police officer Peter Drummond, who works for the Special Technologies Task Force.
“…six weeks of politically terrifying, narratively sophisticated and stylistically idiosyncratic, conspiracy drama for brain users…” Guardian
“Dark, intelligent, striking and ambitious – it makes a mockery of claims that UK TV cannot compete with high-budget US drama…” DigitalSpy
“Utopia has become a clear-eyed dissection of conspiracy fiction. Pragmatic, idealistic, cynical and naïve all at once, it remains one of the most interesting pieces of TV made in the 21st century…” Filmdivider
“Utopia is a domestic thriller that can equal the current output of American television. The six part series revolves around a group of graphic novel fans who discover a terrible secret. Stylish, intelligent and cinematic the show has now been confirmed for a second series in 2014.” (text:Silva Screen)
Enigmatic conspiracy thriller, written by Matilda the Musical co-writer Dennis Kelly for Channel 4. Tom Burke (The Hour), Rose Leslie (Game of Thrones), Trystan Gravelle (Mr Selfridge), Michael Maloney (New Worlds) and Ian McDiarmid (Star Wars) join the ensemble cast which includes; Fiona O’Shaughnessy (Jessica Hyde), Alexandra Roach (Becky), Nathan Stewart-Jarrett (Ian), Adeel Akhtar (Wilson Wilson), Oliver Woollford (Grant), Paul Higgins (Dugdale), Neil Maskell (Arby) and Geraldine James (Milner).
The second season of the six part series by Dennis Kelly (Matilda, Black Sea) is directed by Marc Munden (ep 1-3) and Sam Donovan (ep 4-6); produced by Bekki Wray-Rogers (This is England 88) by multiple award winning Kudos Film & TV, with an original soundtrack by Cristobal Tapia de Veer. Executive producers are Karen Wilson (Hustle, Spooks), Jane Featherstone (Broadchurch, Life on Mars, The Hour), Dennis Kelly and Marc Munden.
David Fincher (Fight Club, House of Cards) will direct the US-remake for HBO.
What else can we tell you? Well nothing actually, otherwise we’d have to send Arby round to kill you.
OST available on all platforms, released through:
Silva Screen Records
Utopia official page
This article , written by Phil Harrison for The Quietus, really says it all:
MI5 operative Milner is telling conspiracy theorist-turned double agent Wilson about the requirements of his new job. Wilson sighs. “Am I capable?” he asks, despairingly. Exchanges like this are inevitable when the paranoid but creative vigour of the ’70s meets the impotent languor of the current decade; a decade so indistinct and underpowered that it doesn’t even have its own nominal abbreviation. And the thing is, Wilson’s doubts are entirely well-founded. He probably won’t be capable of anything much beyond acting as a bewildered patsy. But that’s okay. Because nothing much beyond that will be expected of him. Both Milner and Wilson himself know that he’s at the mercy of forces way beyond his control.
In early 2013, the first season of writer Dennis Kelly’s conspiracy thriller Utopia made a splash on C4 thanks to its expertly calibrated mixture of tangled plotting, jarringly atmospheric direction and stylised ultra-violence. The first episode of this second run takes us right back to the beginning. What were the roots of the Janus population control conspiracy? How did the protein containing the Janus DNA end up in the bloodstream of tormented Tank Girl Jessica Hyde? And how did Milner become so jaw-droppingly cold-blooded?
This season two opener is a bravura exercise in the detournement of real-world history in order to milk its story-telling, myth-making potential. Utopia reimagines the present and future by reinventing the past. As such it’s both an astute critique of conspiracy theories and a willing participant in their possible creation. Were the assassination of Airey Neave, the 1979 vote of no-confidence in the Labour government and the Three Mile Island nuclear disaster linked? Of course not. But even so, Kelly plays audaciously fast and loose with dates, means and motives in order to construct his disturbing, mischievous thesis. And, as he juggles with the lingua franca and events of the ’70s, his series has plenty to tell us about today’s TV landscape too.
Is there a common thread running through current British TV? Consider the ’70s, where we join Milner, Jessica et al as they stumble around in the power blackouts and wallow in the filth of the winter of discontent. Think of a contemporaneous show which is now established as a key component of the British TV canon. Porridge maybe, or The Good Life or The Fall And Rise Of Reginald Perrin. What oddly subversive pieces of mainstream, prime-time entertainment they now seem. A querulous and dissenting career criminal with whom we’re supposed to identify and sympathise? A pair of suburbanites who reject conformity and materialism and mock their aspirational and conservative neighbours mercilessly? A man driven to suicidal despair by the world of work and the intangible nausea generated by a settled but bloodless family life? And all of these played for laughs? The 70s were weird. Looking back, the asylum really does appear to have been left in the hands of the lunatics.
But what of the ’80s? Consider the unashamedly polemical fury of Boys From The Blackstuff. Or the visionary strangeness of The Singing Detective. Even ITV’s hardscrabble recession fable Auf Wiedersehen Pet looks surprisingly pointed and gritty in retrospect. These were shows with real energy and vitality; with ideas that unnerved and polarised and characters who clearly articulated their creators’ visions. By the ’90s, the Soviet Union had collapsed and it was decreed in some quarters that history had ended. Accordingly, the decade’s keynote TV began to gaze inwards towards family, friends and workplaces – think Cold Feet and This Life. The best of it, exemplified by the work of Chris Morris, self-reflexively critiqued the medium itself. The post millennium TV ‘golden age’, meanwhile, saw British drama dwarfed by US imports like The Wireand The Sopranos which offered universality by probing the dark heart of unchallenged, unrestrained capitalism.
Drawing a line between Porridge and The Wire might seem like a tenuous exercise. But what all of these shows had in common was characters with clear, firm, fearlessly expressed points of view. And that’s remarkably rare in today’s TV landscape. For now at least, the idea of television as comfort blanket has won. In fictional terms, its victory manifests itself in everything from the ‘dark’ but predictable, tabloid agenda-driven horror-schlock of Broadchurch to the simultaneously earthy and fantastical communal warmth of shows like Stella and The Cafe. And it’s in this context that Utopia is so interesting – because it feels like a genuine attempt at truth-telling and a very honest recognition of powerlessness.
What Utopia seems to be suggesting is that there are no more heroes anymore – or if there are, they’re rendered impotent by the scope of their mission. It might seem like a paradox in the light of our current societal fetishisation of the notion of choice but recent British TV heroes (or indeed anti-heroes) with real agency are comparatively rare. Instead, things happen to them. And so it is in Utopia. None of the characters here are taking back power or even, like Reggie Perrin or Norman Stanley Fletcher, vainly but heroically challenging it. Instead, they’re cowering in the face of it; they’ve found themselves – pretty much by accident and misfortune – in the middle of a vast, incomprehensible, impossibly wide-reaching conspiracy that they can’t hope to understand. It’s telling that Ian’s reason for re-engaging with the Janus project in season two is simply that he wants his girl back. Why would he go anywhere near it otherwise?
So, if powerlessness is the key to much of this decade’s TV, how did we get here? We hear so much about the crisis of disengagement – how politics and civic life has never seemed more poisonous or more irrelevant to those who have to live with the decisions made on their behalf. We’ve all come to the conclusion that power is not maintained by politicians – and Utopia‘s central plot is fuel for those who point to lobbyists, hidden hands and corporate interests as the unaccountable wielders of real power. Government ministers in Utopia are ideologically neutral. They’re also cynical and more to the point, helpless – doomed to drift listlessly without the steering of drug companies and omnipotent secret service operatives.
But eventually, even this feels like a smokescreen. And this is the source of both the true horror and the true brilliance of Utopia. Most dramas play with fairly well-worn signifiers of ‘darkness’ – paedophile rings, people trafficking, state secrets, espionage and corruption. But usually, it’s possible to dismiss these as either ugly singularities or wild speculations. But at the heart of Utopiais the crisis of over-population. And ultimately, over-population is the elephant lumbering around in the real world’s living room. The realpolitik facts surrounding it are impossible to ignore and this knowledge adds both a layer of possible plausibility and a grim moral dimension to Utopia – faced with these fast-encroaching realities, who can really say which potential solutions are defensible and which are grotesquely fascistic? The viewers of 1982 knew what they were supposed to be thinking about Boys From The Blackstuff. But which side are we supposed to be on here? The dilemmas bedevilling the characters are reflected right back at the viewer. Now that really is powerlessness.
Dennis Kelly is, of course, well aware of this. Indeed he’s stated that he chose this issue to animate the black heart of Utopia precisely because it’s the problem that defies the good intentions of the most rational, liberal and progressive among us. For all the fond humour at the expense of conspiracy theorists and graphic novel nuts, the drama can’t help but point out that a crisis is being wilfully ignored by the rest of us because it’s simply too vast and terrifying to be truly reckoned with.
And it’s here that Utopia stops being simply a drama and becomes a satire too. Firstly, there’s the show’s immaculate branding – somewhere between a drugs company and a mid-market fashion label and something that no pre-millennial TV drama would have felt remotely necessary. But what is a brand if not someone else’s imposed and idealised version of reality? And so – Utopiaseems to be saying – how do you like this reality? Then there’s the horrific, stylised violence – most often perpetrated by Arby and Lee who come across as the terrifyingly yet amusingly blank result of a focus group study of the banality of evil. It’s simultaneously guiltily titillating and utterly chilling. Because for all of the violence’s artful invention, in this just-about plausible version of reality, this is how things get done. Most pointedly of all, the climax and trigger of this series looks set to be ‘V-Day’ – a delicious parody of one of those pointlessly feel-good Sport Relief-style communal backslaps – this time involving the supply of medicine to the developing world. And underpinning all of this, there’s the distinct absence of any solution that wouldn’t cause utter outrage if suggested in public and therefore, a big problem that isn’t going anywhere.
So, with its unique and heady mixture of black humour and existential impotence could Utopia be the emblematic TV drama of the decade? Quite possibly. We live in the age of algorithm-driven consumerism, of capitalist realism, of state surveillance that’s no longer hidden but seems almost entirely accepted anyway. We live in a world which has just reacted to an unprecedented crisis of capitalism by destroying essential public services in order to restore almost exactly the same system that caused the collapse. We live at a time when our knowledge of the extent to which our institutions are dysfunctional and corrupt is matched only by our disinclination to challenge them. And, as this series seems to be saying, the scariest thing is, that’s by no means the worst of it. Utopia indeed.
“This comes courtesy of François Létourneau and Jean-François Rivard, the same writers behind Les Invincibles, one of the most acclaimed series on Quebec TV over the past decade. This time ’round, the comic-drama focuses on two TV scribes, Denis (Létourneau) and Patrick (Vincent-Guillaume Otis), who’ve penned a cheesy crime-legal drama La loi de la justice, which has turned it into a bit of a hit.
But the critics have just savaged the show. In spite of the bad reviews, the network wants a second season and that sends our two anti-heroes into an existential crisis. They decide they have to make the writing more real…by living it. So by episode two, they’re trying their hardest to get arrested by the cops, in a totally-hilarious scene at a local massage parlour.
It has some of the quirky humour of Les invincibles and, in fact, both main characters are just the sort of mopey, angst-ridden males that made the first series so appealing for so many (and irritating for others). It’s also often very, very funny. There is a real complicity between Létourneau and Otis and they get help from a terrific supporting cast, notably Guy Nadon as a B-rate actor and Édith Cochrane as Denis’s wife.
In the U.S., this kind of edgy fare plays on cable networks like HBO and it’s intriguing that one of the two big generalist local networks has no trouble counting on this as one of its marquee prime-time dramas. Only in Quebec.” (text: The Gazette, Brendan Kelly)
La nouvelle série de François Létourneau et Jean-François Rivard (créateurs de “Les Invincibles”), une comédie dramatique en diffusion sur Radio-Canada des le 13 janvier 2014.
“Série noire raconte l’histoire de Denis Rouleau (François Létourneau) et de Patrick Bouchard (Vincent Guillaume-Otis), deux scénaristes dont la série télévisée, La loi de la justice, a reçu de fort mauvaises critiques. Pour se donner de l’inspiration afin d’écrire une deuxième saison, le duo se met en danger pour vivre des situations folles, fertiles en rebondissements.” (text: Radio-Canada)
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NOW on Netflix with English subtitles!
A bold new adaptation of Daphne du Maurier’s classic novel, adapted by Emma Frost (The White Queen, Consuming Passion) and directed by BAFTA award-winning director Philippa Lowthorpe (Call The Midwife, Five Daughters), this gripping and haunting 3×60 serial is made by Origin Pictures for BBC One.
Jessica Brown Findlay (Downton Abbey, Labyrinth) will star as Mary Yellan, Matthew McNulty (The Paradise, Room At The Top) as Jem Merlyn, Sean Harris (The Borgias, Southcliffe) as Joss Merlyn, Ben Daniels (The Wipers Times, House Of Cards) as Davey, Joanne Whalley (The Borgias, Gossip Girl) as Aunt Patience and Shirley Henderson (Southcliffe, The Crimson Petal And The White) as Hannah, in this adaptation set in 1821 against the backdrop of the windswept Cornish moors.
Hugo Heppell, Head of Investments at Screen Yorkshire and Executive Producer on Jamaica Inn, says: “Emma Frost, Philippa Lowthorpe and Origin Pictures have delivered a ‘Jamaica Inn’ that is visceral and authentic, and while being true to Du Maurier’s classic, brings the sensibility of a Sergio Leone film, or Altman’s McCabe and Mrs Miller.
“It features fabulous performances and brilliant production design from Grant Montgomery, showcasing the world class talent that our region has to offer film and TV producers .’’
Producer David Thompson said: “We were thrilled to have the opportunity to revisit Yorkshire to film large parts of ‘Jamaica Inn’, which is a particularly rich source for period locations, providing us with huge possibilities to adapt this much loved novel for the screen.
Text: Origin Pictures, The Examiner (BBC’s Easter blockbuster…”)
Romola Garai, Chris O’Dowd, Gillian Anderson, Richard E Grant, Shirley Henderson, Amanda Hale and Mark Gatiss star in a bold four-part adaptation of The Crimson Petal And The White adapted from Michel Faber’s best selling novel by acclaimed playwright and screenwriter Lucinda Coxon and directed by award-winning Marc Munden (The Devil’s Whore, The Mark Of Cain), produced by Origin Pictures for the BBC.
Mirage of El Dorado leads us far into the Andes of northern Chile, where a pitched battle takes place between a farming community and mining giants like Canada’s Barrick Gold and its Pascua Lama project. The good, the bad and the powerful play for keeps in our political cowboy flick where radically different views of development collide. Check it out here: Mirage of Eldorado
released on the Atmosphere Label, “”A future darkly” is a stellar soundtrack music for a post apocalyptic world, a dystopian science fiction thriller. Et voilà: A Future Darkly
