![]() But, of course, if we’ve developed, produced, or there’s some sort of added value that we can see for the company as a whole that’s not just bottom line, that could also skew that decision as well… Then, in terms of development, for us coming from New York, independent filming king for many, many years, being able to have development budget is like being in a candy store. Says Ezroni, “It’s absolutely a financial play. In terms of production financing, the sweet spot is films in the $15M-$20M range. There can be really quality, character-driven drama.” There can be really smart, elevated horror. I think that my acting experience allows me to read scripts in a different way and see them through those eyes.”īut, she adds, “Between Prisoners Of War that spawned Homeland and 30 other adaptations of it and (Keshet’s) The A Word, which is a UK show, you could see that we really have a range that’s on the television side but I think the DNA carries to the film side.”įor Tagger, “It’s any genre. Then as I became a more prolific producer, I realized that I need to wait for the actor. Making the move to producing was to “feel in control of finding the material that I find interesting rather than waiting for someone to call. That’s definitely something that we’ve been looking at as well.”Įzroni is also an award-winning actress who appeared in Keshet’s Prisoners Of War, the original Israeli source of Showtime’s Homeland. ![]() It could also be a film that’s already been made, maybe in another language. They’re also hunting source material, says Ezroni, “Source material can be a book, a play, an article. Maybe we want to bring them into the family and also on the production, financing side.” For the writer, directors, it’s really for development to look at talent that we’re interested in and kind of pursue the next thing. We’ve been independent producers based out of New York for longer than I’d like to admit… We’re looking for talent, and we’re looking for projects. Tagger says the trip to Cannes is “about reintroducing ourselves to people as part of Keshet. If it’s a series that we can adapt to a film, that’s great. Charlbi Dean Dies Of Sudden Illness: Star Of Palme d'Or Winner 'Triangle Of Sadness' Was 32Įzroni says the division is a “gateway to the world of Keshet, meaning that if content comes in, could be as a film, might work for a series, or a web-digital thing, that’s great.
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