Hollywood
Martin Scorsese’s ‘Tomorrow’ working with Spanish Production company Rodaje a la Carta
NEW DELHI: Landmark British feature film Tomorrow being presented by the legendary Martin Scorsese as executive producer has teamed up with Spanish production company Rodaje a la Carta headed by Ismael Issa.
The most anticipated film which began production in London in September has moved location to a town called Cox in Alicante which is located at the foot of the Sierra de Callosa mountain range in Spain. Photography will focus on war scenes featuring Sebastian Street’s character.
Produced by London based production companies Roaring Mouse Productions & Studio 82, Tomorrow marks Scorsese’s first ever voyage into British feature film. It also heralds the feature film directional debut of Martha Pinson, Scorsese’s longtime script supervisor who has directed an award winning short film and off Broadway plays as well as collaborating with Oliver Stone and Sidney Lumet.
She has also worked on Scorsese’s four most recent narrative films: The Aviator, The Departed, Shutter Island, and Hugo. The script is being penned by Stuart Brennan and Sebastian Street who are producing alongside Dean M Woodford, while Emma Tillinger Koskoff and Scorsese come on as executive producers.
Tomorrow is a moving and inspirational feature film which candidly explores the difficulty and loneliness soldiers encounter as they try to reintegrate back into society having served for their country; moving on from losses and injuries to forge a life, find sustaining work and experience love. The film is a very personal journey for both writers and boldly explores several hardhitting yet underexposed issues such as post traumatic stress disorder as well as HIV and AIDS.
The film stars Stephen Fry (The Hobbit), Stephanie Leonidas (Defiance), Sebastian Street (Age of Heroes), Stuart Brennan (Risen), James Cosmo, (Braveheart, Games of Thrones),Paul Kaye (Blackball, Game of Thrones) Joss Stone (The Tudors) Ricki Hall and Will Tudor (Game of Thrones) and Sophie Kennedy-Clark (Nymphomaniac 1 & 2) who has recently been nominated for a BAFTA for her role in Philomena.
The first footage of Tomorrow was recently screened at The American Film Market (AFM) by Carnaby Sales & Distribution. Capitalising on the strength of Scorsese fans around the globe, Carnaby’s focus will be on securing distribution in the key major territories whilst working alongside WME on domestic. Pre-sales interest has already been particularly strong, with buyers recognising the film’s appeal for both domestic and international audiences.
Hollywood
Disney to cut 1,000 jobs in major restructuring drive
Layoffs span ESPN, studios and tech as company pivots to growth
MUMBAI: The magic isn’t disappearing but it is being reorganised. The Walt Disney Company has announced plans to cut around 1,000 jobs as part of a sweeping restructuring effort aimed at sharpening its edge in an increasingly unpredictable entertainment landscape. The move, led by CEO Josh D’Amaro, reflects a broader internal reset as the company rethinks how it operates, allocates resources and competes in a fast-evolving industry. In a memo to employees, D’Amaro acknowledged the difficulty of the decision but framed it as a necessary step to ensure Disney remains “efficient, innovative, and responsive” to rapid shifts in consumer behaviour and technology.
The layoffs will span multiple divisions, including marketing, film and television studios, ESPN, technology teams and corporate functions. Notifications have already begun, signalling that the restructuring is not a distant plan but an active transition underway.
Importantly, the company has clarified that the cuts are not performance-driven. Instead, they form part of a wider transformation strategy aimed at building a leaner, more agile organisation, one better equipped to respond to streaming dynamics, digital disruption and evolving audience expectations.
The timing is telling. The global entertainment industry is in the middle of a structural shift, with traditional television revenues under pressure and box office returns becoming increasingly volatile. Meanwhile, streaming platforms and digital-first competitors continue to redraw the rules of engagement, forcing legacy players to rethink scale, speed and storytelling formats.
For Disney, long synonymous with blockbuster franchises and timeless storytelling, the pivot is both strategic and symbolic. The company is doubling down on technology, direct-to-consumer services and content ecosystems that align with modern viewing habits, where audiences expect immediacy, personalisation and cross-platform experiences.
Even as the restructuring unfolds, D’Amaro struck a note of optimism, reiterating Disney’s commitment to creativity and long-term growth. Support measures for affected employees are expected as part of the transition, though details remain limited.
In essence, this is less about cutting back and more about reshaping forward. As Disney redraws its organisational map, the message is clear, in today’s entertainment world, even the most magical kingdoms must evolve or risk being left behind.
