– was at Venice with two films. This year Fremantle’s got six pics launching from the Lido, three of them in competition, which is a larger contingent than any of the U.S. studios or streamers.
And the multi-pronged company’s Venice lineup – which includes Luca Guadagnino’s “Bones and All,” Emanuele Crialese’s “L’Immensità,” and Joanna Hogg’s “The Eternal Daughter” – is a reflection of that.in Venice about his vision for how Fremantle is spawning a wide range of films from its organic agglomeration of companies.It’s a model where we acquire or we invest in independent labels. Our job is to make them stronger and bigger.
Then you have Paolo Virzì’s “Siccità,” a global story, but also a very Italian movie. And furthermore you have the two films we have at Horizons, “Amanda” and “Notte Fantasma,” which are in partnership with another producer. They show the approach we have in investing in new talent and also supporting new producers.Yes. What’s happening today [in Venice] is the result of this strategy. It’s happening faster than we expected. I think the reason for this is our model.
The key thing for us are our producers. That is the model. And I do think we have an original model. The amount of centralized infrastructure we give them is very high. We share the talent deals. We share the business intelligence. On the infrastructure side Olivia Slater, who was the head of production for Wildside, is now our global head of production. She was in Riga two days ago because we are shooting [Kirill Serebrennikov’s] “Limonov” there.