Hollywood
Jane Campion to lead the 2014 Cannes Film Festival jury
MUMBAI: Jane Campion, a New Zealand native writer, producer and director, has been selected to lead the jury at the next Festival de Cannes that takes place from 14 to 25 May, 2014. Campion steps into the shoes of Steven Spielberg, who presided over the jury last year. Interestingly, Campion is in fact the only female director to have won the Palme D’or, for The Piano in 1993, having already garnered the Short Film Palme D’or back in 1986, for Peel – a unique double success story in the history of the Festival de Cannes.
“Since I first went to Cannes with my short films in 1986, I have had the opportunity to see the festival from many sides and my admiration for this Queen of film festivals has only grown larger. At the Cannes Film Festival they manage to combine and celebrate the glamour of the industry, the stars, the parties, the beaches, the business, while rigorously maintaining the festival’s seriousness about the Art and excellence of new world cinema,” said Campion in a press release.
“It is this world wide inclusiveness and passion for film at the heart of the festival which makes the importance of the Cannes Film Festival indisputable,” Campion further adds. “It is a mythical and exciting festival where amazing things can happen, actors are discovered, films are financed careers are made, I know this because that is what happened to me! I am truly honoured to join with the Cannes Film Festival as President of the in Competition features for 2014,” concludes Campion. “In fact I can’t wait.”
Born in a family of artists, Jane Campion studied anthropology, then art, before turning to film, where her rise to success was meteoric. In the wake of her acclaimed short films, which culminated in a Palme D’or, she captivated international critics with Sweetie (1989), her first feature film, selected In Competition at the Festival de Cannes. After An Angel At My Table (1990), inspired by the works of Janet Frame, in which the theme of an extraordinary woman engaged in the painful quest to assert her identity had already been sketched out, she returned to competition in Cannes in 1993 with The Piano, which won the Palme D’or as well as Best Actress prize for Holly Hunter, starring opposite the unforgettable Harvey Keitel. A few months later, Campion, was nominated for Best Director and Best Screenplay at the Oscars and she picked up the award for the best Screenplay.
Her subsequent works have been Portrait of a Lady in 1996 with Nicole Kidman, Holy Smoke in 1999 with Kate Winslet, and In the Cut (2003) with Meg Ryan. Her last film for cinema, Bright Star, an original vision and fictionalised biography of the poet Keats and his muse, was presented In Competition at Cannes, in 2009.
Campion recently won the remarkable public and critical acclaim with the Sundance Channel Original Series, Top of the Lake, in which she develops her favorite themes, portraying the splendor of nature, the outpouring of romantic passion and the revolt of women against societies dominated by violence and machismo.
Hollywood
Disney unifies streaming, film, TV and games under Dana Walden
Debra O’Connell to chair Disney Entertainment Television in new setup
LOS ANGELES: The Walt Disney Company is pressing play on a more tightly woven future. As audiences hop between cinema screens, streaming apps and game worlds, the media giant is stitching its storytelling arms into one coordinated machine under Dana Walden.
Set to take charge as president and chief creative officer on March 18, Walden will oversee a newly unified Disney Entertainment structure that brings together streaming, film, television and the company’s fast-expanding games and digital business. She will report directly to incoming chief executive officer Josh D’Amaro.
The thinking is simple. Whether viewers are watching on Disney+, heading to the cinema or diving into a game, Disney wants the experience to feel like chapters of the same story. Walden summed it up as strengthening the emotional thread between Disney’s characters and its audiences, wherever they choose to engage.
The leadership reshuffle reads like a carefully cast ensemble. Alan Bergman continues as chairman of Disney Entertainment, studios, steering film production, marketing and distribution while sharing oversight of direct to consumer.
Streaming gets a dual command. Joe Earley and Adam Smith step in as co-presidents of direct to consumer, jointly handling strategy and financial performance across Disney+ and Hulu. Earley will also guide content strategy, while Smith retains his role as chief product and technology officer across Disney Entertainment and ESPN.
A new chair enters the frame with Debra O’Connell taking on the role of chairman, Disney Entertainment Television. She will oversee an expansive slate that includes ABC Entertainment, National Geographic and Hulu Originals, while continuing to supervise ABC News and owned stations.
Gaming, once a side quest, is now a central storyline. Sean Shoptaw, executive vice president, games and digital entertainment, moves into the Disney Entertainment fold. His remit includes partnerships such as the collaboration with Epic Games, aimed at building a Disney universe linked to Fortnite.
Elsewhere, John Landgraf remains chairman of FX, reporting to Walden, while Asad Ayaz continues as chief marketing and brand officer, reporting to both D’Amaro and Walden.
The message behind the reshuffle is clear. Disney is no longer thinking in silos of screens but in stories that travel. And with Walden at the creative helm, the company is betting that a single, seamless narrative can keep audiences hooked, whether they are watching, scrolling or playing.
