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The End We Start From
Jodie as Unknown
A woman who along with her newborn try to find their way home as environmental crisis that submerges London in flood waters and sees a young family torn apart in the chaos.

Big Swiss
Jodie as Flavia
The protagonist starts a new life in New York, and she lands a job in which she anonymously transcribes sex therapy sessions. She becomes obsessed with one a client, Flavia, also known as “Big Swiss”.

The Bikeriders
Jodie as Kathy
It follows the rise of a Midwestern motorcycle club through the lives of its members.

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Archive for the ‘Movie Productions’ Category

Jodie Comer says she was ‘terrified’ acting with 15 babies in The End We Start From

Posted by admin on January 16, 2024

Killing Eve star Jodie Comer may look pretty invincible when she’s acting, but she is surprisingly candid about her latest role, saying: “I started this process quite literally terrified.”

In climate change survival film The End We Start From, Comer plays a mother who navigates flooding and civil unrest – while trying to nurture her newborn baby.

It sounds like an impossible combination, but Comer evidently likes a challenge – she’s already garnered a slew of awards, including two Baftas, for her vastly different acting roles.

This film starts in London, where environmental disaster means Comer’s character and her partner flee their flooded home. They head for the safety of his parents’ house in the countryside.

But other people’s lawlessness, and the need for food and medicine, keep them on the move.

For Comer, the experience brought her into close contact with all the babies she had to work alongside..

In total, she worked with 15 infants, aged from eight weeks to young toddlers. “It was very eye-opening,” she says.

Strict on-set rules meant each child was only allowed to be part of a scene for 20 minutes at a time, hence why so many were needed.

It was a steep learning curve for the actress, who had to discover how to keep the babies happy so she could act with them.

“A lot of my younger cousins have grown up now, so I haven’t spent a lot of time around young babies,” she tells the BBC.

“My hands were visibly shaking when I met an eight-week-old on set. I was like, ‘Oh my god, what have I done?’

“It’s one thing to act and think about everything else, but then actually being conscious of this precious little being and making sure that they’re safe…”

Her character, simply called Woman, appears with baby Zeb in pretty much every scene, so Comer had to acclimatise pretty quickly to the unpredictable rhythms of babies during the six-week shoot.

“People always say nothing can prepare you for having a child, and that’s very much where Woman started,” she explains.

“But then you see her come into her own and find her instincts and nature. It felt like that simultaneously happened to me in real time.”

She laughs as she recalls a scene that was actually easy because the baby fell asleep in her arms.

“I always remember that scene where the man and the young boy came into the house,” she says. “The baby fell completely dead asleep. He was like a little sack of potatoes.

“The production staff were like, ‘Do you want to take him off?’, and I was like, ‘Just keep him there, I’m good, because he’s settled, he’s quiet – we’re happy’.”

Director Mahalia Belo adds: “In the sound you can hear him snoring!”

Belo is full of praise for Comer, and admits juggling so many infants while trying to direct the film was quite a logistical challenge.

“I was very lucky to have Jodie because it was so difficult,” she says.

“We had no time with the babies, so to have somebody who was really present, alive to the material and any shifts we had to make – we would never have got through it if it wasn’t for that tenacity.

“We’re all in the trenches, making an indie film with a baby,” she adds with a smile, explaining that if they couldn’t capture a crucial scene due to an infant crying, they would use a dummy baby if time was pressing.

Another challenge was depicting widespread flooding and carnage while filming during a drought in September and October 2022, when there was a hosepipe ban.

“We couldn’t use rain machines until the hosepipe ban was over,” Belo explains.

The moment the ban was lifted, they were able to film the water scenes.

“We managed to clear out this whole street and show the effect of flooding, and were quite clever with how we did it, because we didn’t have a great deal of money,” Belo adds.

“We wanted it to feel as natural as possible, so that when we did use effects, it was mostly on the periphery.”

For Comer, working on an independent film with a limited budget and timescale was a new experience.

“Before I’d done an indie film, I’d watch the British Independent Film Awards every year and hear people go, ‘The passion, the love, the sheer drive to get indie films made – it’s incomparable!’

“And then you create a film like that and you’re like, ‘Oh, it’s no joke, people are making this for the love of it’.”

She did have a caravan to dry off in, but says “to be fair I was hardly in it”, due to the sheer volume of scenes she was in.

Motherhood was a central theme, and the feelings of being overwhelmed that new mothers can have are mirrored in the film’s chaos, with the rising waters driving people out into the unknown.

Based on the lyrical novella of the same name by Megan Hunter, it was adapted for the screen by Alice Birch.

Birch also co-wrote the hugely popular TV adaptation of Sally Rooney’s Normal People and the screenplay for the award-winning film Lady Macbeth, which starred Florence Pugh.

Comer’s portrayal of Woman has been widely praised, with The Guardian’s Benjamin Lee describing her “magnificent lead performance”, saying: “As a big screen star, she’s just beginning.”

Variety’s Guy Lodge said Belo “directs with assured restraint, consistently stressing the human factor”.

The film features Benedict Cumberbatch, who is also a producer, plus Katherine Waterston and Gina McKee.

Comer calls McKee “a goddess”, while her day shooting with Cumberbatch gave her the chance to have a bit of a break.

“With Benedict, I just got to sit and watch – a lot of it was me observing him, and him telling his character’s story. So it was kind of amazing to sit and witness him do his thing.”

Waterston’s character O is a fellow displaced mum. The women’s friendship develops as they start to rely on each other for support, with Comer saying O teaches Woman to “just be herself”.

For Comer, having got the hang of working with babies, her goal as an actress is to keep challenging herself.

She is eloquently precise about what she looks for in a script.

“I want to be moved, I want to feel invigorated, I want to feel energised by the thought of telling the story, and I want to feel emotionally connected.

“I want to care. I have a very gut reaction to things and if it’s not a ‘Hell yes!’ it’s usually a ‘No’.

“I don’t really want to stay in a pattern of repetition and revisit the same things.

“I’m always looking for something – a new self-discovery, in a way.”

The End We Start From is in UK cinemas from Friday, 19 January.

Movie Productions The End We Start From

Jodie Comer: ‘I really want women to see themselves depicted in a truthful light’

Posted by admin on January 16, 2024

This is the year Jodie Comer becomes a bona fide movie star. Since her Emmy and Bafta-winning role as Villanelle in Killing Eve catapulted her into the big leagues, Comer has become one of the planet’s hottest acting properties.

At every new turn, Comer showcases her remarkable ability to transform and enhances her reputation further. If Killing Eve gave her the platform to explore her range and ability with accents in one incredible role, then Comer’s West End debut in hard-hitting solo drama Prima Facie confirmed she was in it for the long term.

The show transferred to Broadway, netting her a Tony Award to go with her Olivier, as Comer’s powerful performance as a lawyer navigating the misogyny of the legal system from the other side of the bench left audiences spellbound.

Before that, there were rave reviews for the hardcore realism of Jack Thorne’s Channel 4 pandemic drama Help, in which she played a care worker during the Covid crisis alongside friend and mentor Stephen Graham.

A pattern is starting to form around Jodie Comer’s career. Scripts of the highest quality, the very best collaborators, and work that speaks to important issues.

Another starring role in new independent British film The End We Start From confirms her as a talent for the ages.

“Ultimately, it’s a story about motherhood set within the midst of a climate crisis,” says Comer, when talking to The Big Issue via Zoom from London just before a well-earned Christmas break.

The End We Start From, adapted by Alice Birch from Megan Hunter’s novel and directed by Mahalia Belo, is a film of rare, raw power and poetry.

At its heart is Woman, played by Comer – the action moves too fast for us to be properly introduced, the only character with a name is baby Zeb. We meet Woman on the verge of bringing new life into a wild world in which the climate emergency is wreaking havoc in this country.

Extreme weather sees flood waters rising as Woman’s waters break. After giving birth to baby Zeb, Woman and her husband (Joel Fry) are forced to flee the comforts of their beautiful London home.

From there, it is a story of survival. The joy and anxiety of the extraordinary, intimate early days of motherhood are set against a gradual and entirely believable societal breakdown.

“I felt the exploration of that environmental crisis was unique,” says Comer. “We were exploring on a very human level, which really moved me – a lot more than a lot of films we’ve seen that maybe depict these kinds of happenings.”

The dialogue and intimate moments and exploration of Woman’s body were so clear on the page – and I felt so special, being able to do this

Jodie Comer

This is a depiction of early motherhood like none other in recent times. Raw, visceral, isolating and at times terrifying – with snatched moments of pure joy punctuating the climate chaos all around her.

“Not being a mother myself, I really want women to watch this and see themselves depicted in a truthful light,” says Comer.

“The dialogue and intimate moments and exploration of Woman’s body were so clear on the page – and I felt so special, being able to do this.

“The relationship women have with their body after they have a baby and how they feel transformed and there’s a part of their selves that is lost – we really explore that. And she’s going through all this in the midst of an environmental catastrophe.”

Apocalypse soon

The environmental crisis is not played out in the usual action film way. This feels like it could be set tomorrow. And it could be any one of us. It is up-close and intimate, entirely believable, the logic of the progression from leaving homes and cities as waters rise to finding safer spaces further out (as villages start closing their borders to outsiders), the refuge proving temporary as food scarcity hits, families are split, and people congregate in camps.

There are no major set piece scenes with Big Ben toppling into the Thames to tell the story. Instead, there is an evolving sense of dread as Woman navigates a world in crisis, fiercely focused on her new baby. It will resonate. Loudly. As versions of current global crises are shown on our doorstep.

At one point, Woman is forced to wait for a small boat to take her to a small island offering sanctuary. This film offers multiple new ways to look at the biggest issues in the world we are living in and to question our responses.

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“And the baby doesn’t know any different,” adds Comer. “They’re experiencing the world for the first time – all those revelations where everything is so sensory and so new. That provides such relief for Woman in moments, because she can’t help but find joy or ecstasy in a smile or a new noise he’s making.”

For screenwriter Alice Birch, whose previous work includes Florence Pugh’s brilliant breakout film role in Lady Macbeth and BBC One lockdown smash Normal People, this was highly relatable.

“Most of my work is interested in and engaged with women. I read the book just after I’d had my first child,” she says.

“The way motherhood and those early days were articulated in this kind of savage but poetic language, I found really moving.

“To have that told alongside this climate catastrophe felt like a frighteningly realistic portrayal of what that could be if it were to happen tomorrow. This is not some massive disaster film – it’s a bit more banal and soggy.

“I wrote the first draft during the first lockdown with my second tiny baby. So it was quite a heady experience and felt very within reach. Some of the state I was in definitely made it into the draft.”

Interviews Movie Productions The End We Start From

‘Her waters break and the flood comes’: author behind new Jodie Comer film on motherhood in an apocalyptic London

Posted by admin on January 16, 2024

The End We Start From, Megan Hunter’s 2017 novel about a mother and her baby in a flooded city, seems increasingly timely. As the film is released, she reveals why she wanted a more female-centred take on disaster survival movies

At an unknown point in the near future, a woman is giving birth. As her contractions start, her home in London is flooded and, as her baby is born, it becomes clear that a climate catastrophe of biblical proportions has begun. A sea of water invades the city as the woman takes her first postpartum, post-apocalyptic pee, then flees for higher ground with her newborn in a car seat.

So begins the story of a new survival film starring the British actor Jodie Comer. The End We Start From goes on general release in UK and Irish cinemas from Friday and has a star-studded cast: Benedict Cumberbatch, Joel Fry, Gina McKee, Nina Sosanya and Mark Strong all appear alongside Comer.

For the author Megan Hunter, who wrote the extraordinary 2017 novel – her debut – which the film is based on, the plot was obvious: “I’ve always had an apocalyptic imagination – I remember, even as a child, dreaming about the sea overwhelming the Earth,” she says.

After having two children in her 20s, the 39-year-old found herself writing lots of poetry and short stories about motherhood in her spare time. “Then I had this idea to write a story about a woman giving birth in the future. And it seemed inevitable to me that she would be facing a climate disaster.”

The power of female friendship in that scenario – it’s something I don’t think we’ve seen in that genre before

The timing of the film’s release coincides with dire warnings from scientists that warmer sea temperatures are fuelling freak weather events around the world. A study, published last week, found the world’s oceans absorbed record levels of heat in 2023.

Yet, aware that sea levels were rising, Hunter started writing the book almost nine years ago. “I wrote about a dystopian future,” she says. “But it feels like it’s become more of a book about the present moment – more and more contemporary, and more and more relevant, unfortunately.”

She deliberately chose to link the experience of a global climate catastrophe to the intimate, emotional experience of motherhood and the life-shattering impact of a baby’s birth. “I very much brought them together in one event,” she says. “So her waters break and the flood comes simultaneously.” From that moment on, “the whole film is sopping, and saturated with water”.

She hopes the book and the film – which includes magnificent shots of Comer’s character travelling with her baby through a flooded London, on a turbulent ocean and in extreme wilderness – will contribute to the conversation about the climate crisis in a way that is “emotional and beautiful and moving”.

“Central to the book and the film is the sense that our world is so beautiful, and yet this is what we’re doing to it,” she says. “But it’s also about how human beings connect to nature and how important that is for our lives.”

In Hunter’s favourite scene from the film, Comer’s character (who is deliberately nameless) steps slowly into the ocean naked – and screams. “She has this cathartic moment where she lets out all this feeling that’s been quite contained and we see again her waters breaking and the flooding of her home. It’s like she’s returning to the water, to the site of the trauma and the loss.”

But there are lighthearted moments too when, like any new parent experiencing sleep deprivation, colic or even a poonami, she is faced with a choice between laughing or crying about her situation – and she chooses laughter (or a cheeky fag).

We’ve driven things this far with overconsumption, fossil fuels, capitalism: we’ve reached this point of total crisis … we need to create a new future

The intention is that audiences will confront the climate catastrophe on a deeper, more personal level than disaster survival movies traditionally allow.

“Comer’s character doesn’t always know what to do: she’s confused, she’s terrified. People are losing loved ones in senseless ways. It’s chaotic. There’s not a clean heroic arc to it all. But at the same time, she’s surviving, she’s looking after her baby.”

One of the most original and powerful aspects of the film, which was “a very female-led” project directed by Mahalia Belo and adapted by Alice Birch (of Succession and Normal People fame), is the way it brings to life a key relationship in the book. And that is the bond that forms between Comer and another new mother, played by Katherine Waterston.

They meet, with their babies, while isolated from everyone else they knew before, facing challenges they never dreamed they would have to endure. “The way they support each other, the way they laugh and sing, the power of female friendship in that scenario – that’s something I don’t think we’ve seen in that genre before,” says Hunter.

In total, 15 babies were used to play the child, Zeb; breastfeeding, smiling, sitting up, crawling and learning to stand, while people around him starve and fight and die in the rain and the floods. These milestones in the development of a baby mark the passage of time and enable Comer to portray a woman whose life is punctuated with happy moments, even as sea levels rise and the crisis escalates.

“I wanted to ground the climate emergency in personal experience,” says Hunter. “It’s not just a piece of news or a piece of data.”

It soon becomes clear that, although having a baby to nurture makes her protagonist more vulnerable, it also nourishes her soul, gives her strength and feeds her survival instinct. “Parenthood pushes you to keep going, even when you feel like you can’t do it,” says Hunter. “She’s got to survive. But she’s also got to keep this baby alive.”

Perhaps because the concept of birth and the character of a baby is as central to the plot as themes of death and desecration, there is a strong thread of hope running through the film and the book. Ultimately, despite the apocalypse violently unfolding on the landscape, it’s a story about love, says Hunter.

“There’s the love of a mother for her baby, the love between her and her partner, the love between friends and the love of community. That’s what keeps people going and gives them strength.”

At the same time, she hopes that The End We Start From will help to raise awareness about the need to act urgently on the climate emergency facing our planet, or we too will face the end of life as we know it.

“If it becomes one of the most important things in the world to all of us, we’ll be able to make the changes we need to,” she says. “We’ve driven things this far with overconsumption, fossil fuels, capitalism: we’ve reached this point of total crisis. But this is where we are. And we need to start from here, from this end point we’ve reached, and create a new future.”

The End We Start From goes on general release in cinemas on 19 January. The book by Megan Hunter is published by Picador. To order a copy go to bookshop.theguardian.com

Interviews Movie Productions The End We Start From

Jodie Comer on her apocalyptic thriller, UK arts funding and feeling marginalised

Posted by admin on January 11, 2024

Best known for her BAFTA and Emmy award winning performance as the cold-blooded assassin Villanelle in Killing Eve, Jodie Comer is back and has teamed up with the award-winning British Director Mahalia Belo.

Their new environmental disaster thriller ‘The End We Start From’ sees Jodie’s character giving birth amid the floodwaters of a submerged London.

Gallery Update Interviews The End We Start From

The End We Start From UK Screening

Posted by admin on January 10, 2024

Jodie attended the UK Screening for The End We Start From! Photos of her attending the Event have been added, enjoy!

PUBLIC APPEARANCES > 2024 > JANUARY 09: “THE END WE START FROM” UK SCREENING

Gallery Update Movie Productions Public Appearances The End We Start From

The End We Start From

Posted by admin on September 12, 2023

Jodie Comer’s new movie The End We Start From with Benedict Cumberbatch has released a first look trailer.

Directed by Mahalia Belo and written by Succession‘s Alice Birch, the movie stars Comer and Cumberbatch alongside Mark Strong, Katherine Waterston, Joel Fry, Gina McKee and Nina Sosanya.

Described as a “hopeful story about the trials and joys of new motherhood in the midst of devastating floods that swallow up the city of London”, the new teaser trailer sees Comer’s character attempt to navigate motherhood against the backdrop of a natural disaster.

MOVIE PRODUCTIONS > 2023-THE END WE START FROM

Gallery Update The End We Start From

The Bikeriders First Look

Posted by admin on September 07, 2023

A trailer has been released for The Bikeriders in the movie Jodie Comer plays the role of Kathy. Stills / Screencaps from the Trailer have been added to our gallery, enjoy!

From writer-director Jeff Nichols (“Loving,” “Midnight Special,” “Mud”), 20th Century Studios and New Regency, “The Bikeriders” is a furious drama following the rise of a fictional 1960s Midwestern motorcycle club through the lives of its members, starring Jodie Comer (“Killing Eve,” “The Last Duel”), Austin Butler (“Elvis”) and Tom Hardy (“Mad Max: Fury Road,” “The Revenant”).

Movie Productions The Bikeriders

Jodie Comer scales heights on Broadway in ‘Prima Facie,’ a play that challenges the legal system

Posted by admin on May 24, 2023

The script for the play “Prima Facie” didn’t languish after landing in Jodie Comer’s inbox

The script for the play “Prima Facie” didn’t languish after landing in Jodie Comer‘s inbox. Fitting for an urgent call for change, the script demanded action. It would not be denied.

“Sometimes when things present themselves, it’s impossible to say no,” says the “Killing Eve” actor. “This piece felt very, very clear to me. There was no hesitation that I felt. Sometimes that kind of guttural instinct really doesn’t lie.”

It didn’t matter that the script represented Comer’s first stage role. No matter that she’d be alone for some 90 minutes, even asked to move her own props. “I read it within the hour and I was like, ‘What have I got to do?’”

Comer leapt in and has found herself winning an Olivier Award in London for her performance and now a Tony nomination for best actress in a play. She’s also raising her fist for women in a work that challenges the status quo.

The script was from Suzie Miller, a former criminal defense and human rights lawyer who uses the one-woman show to illustrate how current laws fail terribly when it comes to sexual assault cases.

Comer plays Tessa Ensler, a young, clever barrister who has developed a knack for getting her male clients off the hook in assault cases until she spends a night drinking with another barrister and he rapes her.

Now, instead of donning a fancy wig as a crown prosecutor, she’s left shaking in the witness box. Why isn’t her evidence presented in a clean, logical package? She must relive her nightmare in court with her motives questioned. And justice may hinge not on the actions, but on whether the perpetrator believed he had consent.

“A woman’s experience of sexual assault does not fit the male-defined system of truth. So it cannot be truth, and therefore there cannot be justice,” she says in the play.

“Prima Facie” — a legal term meaning “on the face of it” — has already created shock waves in England. A filmed version is now compulsory viewing for new judges, and Miller says a judge who saw her play has redrafted the spoken directions juries are given in sexual assault matters. The play has inspired efforts to change British laws.

Both Comer and Miller get hundreds of messages a week from women telling their own stories of assault, some telling about it for the first time, part of a larger movement fueled by #MeToo.

“I’m really trying to savor every second of it because not every piece of work creates this sort of conversation or space,” says Comer. “That is the biggest reward of all —when you are a part of a piece like this and people genuinely feel represented. That it is a source of comfort.”

To win a Tony on June 11, Comer must beat Jessica Chastain in “A Doll’s House,” Jessica Hecht in “Summer, 1976” and Audra McDonald from “Ohio State Murders.”

In terms of sheer physicality, Comer earns it every night. She moves tables together, jumps up on them, sits in rain, uses various voices and performs her own character’s rape.

“It really helped me build my kind of mental resilience, even though I have moments that is absolutely challenged,” she says. “I would say what I’ve learned from this experience is that you have to take care of yourself.”

Miller was inspired to write “Prima Facie” by the years she spent as a lawyer taking statements from hundreds of women who had been sexually assaulted. “Not a single one of them who went to trial actually ended up having a conviction,” she says. “The worst things is they’re all so similar.”

Her first play, “Cross Sections,” was about the homeless and the desperate living in the red-light district in Sydney, Australia, a work which humanized what many believed were throw-away people.

“After I wrote that there was a lightning bolt moment for me, which was, ‘Oh, wow, stories really can make people empathize and think about things,’” she says.

Miller has since taken up the baton of V — the “Vagina Monologues” playwright formerly known as Eve Ensler, who brings social messages to her work. It is no coincidence that Miller named the heroine of “Prima Facie” Tessa Ensler.

The idea of battling the establishment also attracted Comer, an Emmy Award and BAFTA winner, who grew up in the working class of Liverpool and has had to shapeshift in order to succeed, like her character.

When she was auditioning for theater roles, she was rebuffed because she hadn’t attended drama school. “There was a lot of feedback of like, ‘She’s not trained. It’s too big a task,’” she recalls.

The producers of “Prima Facie” didn’t ask her to audition and didn’t mind she hadn’t attended drama school.

“They didn’t see it as this kind of hindrance. And so I guess the stars all aligned at the right time,” Comer says. “This is beyond anything I could have ever dreamed.”

The Independent

Gallery Update Help Press Prima Facie Theatre

Jodie Comer’s Apocalyptic Thriller ‘The End We Start From’ Sells To Paramount’s Republic Pictures In Mid Seven-Figure North America Deal — Cannes Market

Posted by admin on May 21, 2023

EXCLUSIVE: Paramount’s Republic Pictures label has acquired North American rights to dystopian drama-thriller The End We Start From, starring BAFTA and Emmy winner Jodie Comer (Killing Eve).

The mid seven-figure pact marks the biggest announced deal for a project on sale at this year’s Cannes market so far. Anton and UTA are handling world sales here on the Riviera.

Comer stars as a woman who, along with her newborn child, must try to find her way home amid an environmental crisis that submerges London in flood waters and sees their young family torn apart in the chaos.

Mahalia Belo (The Long Song) directs the movie, which also stars Joel Fry (Cruella), Mark Strong (Kingsman), Gina McKee (My Policeman), Katherine Waterston (Fantastic Beasts) and Benedict Cumberbatch (The Imitation Game).

Based on the novel by Megan Hunter and adapted to screen by Alice Birch (Normal People), pic is produced by Leah Clarke and Adam Ackland (The Mauritanian) for SunnyMarch, Liza Marshall (Temple) for Hera Pictures, Amy Jackson (Aftersun) and Sophie Hunter. Pic is currently in post-production.

Anton, C2 Motion Picture Group, BBC Film, and the BFI financed the film, which will go through Paramount’s Global Content Distribution.

Paramount Chief Content Licensing Officer and Republic Pictures President Dan Cohen said: “What Mahalia Belo has brought to screen from Megan Hunter’s novel is both a harrowing and hopeful examination of human resilience, and we are honored to be a part of the film’s journey to captivating audiences.”

Paramount revived acquisitions play Republic Pictures earlier this year. The historic label was founded in 1935 and shuttered in 1967. Among early projects on the slate are Winter Spring Summer or Fall, starring Jenna Ortega and Percy Hines White, and William Friedkin’s The Caine Mutiny Court-Martial.

The slew of strong packages announced pre-market prompted hopes of energetic deal-making in Cannes. Things are slowly coming into focus. Domestic deal-making has been sluggish to date, with streamers (and global deals) largely absent from the fray, leaving the door open for international indie buyers to take their pick. We hear a number of projects are being sold well internationally and a couple of the bigger festival titles are starting to generate heat for North America.

We told you about the biggest deal finalized here so far: Sony’s big splash for the Paddington threequel, though that project wasn’t strictly on sale in Cannes and the pact was largely lined up ahead of the market. Neon made the first announced North American deal for a festival movie with Pablo Berger’s Robot Dreams and Sony Classics announced a deal for animated doc They Shot The Piano Player. There was a fevered report of Prime Video working on a UK deal for Firebrand, but that all rights pact was put in place last year.

Executive producers on The End We Start From are Benedict Cumberbatch for SunnyMarch, Jodie Comer, Mark Strong, Sébastien Raybaud, Fanny Soulier, Pieter Engels, Kate Maxwell for Anton, Dave Caplan (Babylon) and Jason Cloth (Joker) for C2 Motion Picture Group, Eva Yates and Claudia Yusef for BBC Film, and Lizzie Francke for the BFI.

Movie Productions The End We Start From

Jodie Comer on the “Challenging,” “Exhilarating” Thrill of Bringing ‘Prima Facie’ to the Broadway Stage

Posted by admin on May 15, 2023

The ‘Killing Eve’ actress made her West End and Broadway debut in the role, in which she is solo on stage for the entirety of the drama.

Help Interviews Prima Facie Theatre