Watch highlights from the Berlinale Press Conference for THE ROADS NOT TAKEN, featuring Sally Potter, Javier Bardem, Elle Fanning, Salma Hayek and Christopher Sheppard.Continue reading
The Metropolitan Museum in New York is taking ORLANDO as the inspiration for its 2020 Exhibition and Gala, with its theme "About Time: Fashion and Duration”.
Quoted in Vogue, Andrew Bolton, director of the Met's Costume Institute says:
“There’s a wonderful scene in which Tilda Swinton enters the maze in an 18th-century woman’s robe à la Francaise, and as she runs through it, her clothes change to mid-19th-century dress, and she re-emerges in 1850s England. That’s where the original idea came from.”
The Met is using a clip from the film to headline their invitation to the Gala.
Sally Potter found her own inspiration for the maze scene (which does not appear in Virginia Woolf's book) at Hatfield House which was used as a location for the film. Here's a clip from the pre-production video diary (a 30 minute documentary that appears as an extra on the Orlando DVD) showing how her own experiments with time translated into the finished scene.
THE PARTY release dates by territory
Germany - Weltkino - 27 July
Switzerland - Filmcoopi - 27 July
France - Eurozoom - 13 September
Denmark - Camera Film - 12 October
United Kingdom / Ireland - Picturehouse - 13 October
Israel - LEV Cinema - 9 November
Norway - Mislabel - December
Belgium - Cineart - 13 December
Holland - Cineart - 14 December
Turkey - Filmarti - 15 December
Russia - Russian World Vision - 21 December
Greece - Feelgood - 28 December
Sweden - Mislabel - 5 January
Poland - Aurora - 5 January
Italy -Academy 2 - 8 February
Spain - Avalon - February
United States - Roadside Attractions - 16 February
Australia - Madman - 12 April
From The NY Times:
LONDON — The party in “The Party” doesn’t go too well.
In the film, the latest to be written and directed by Sally Potter, Kristin Scott Thomas stars as a British lawmaker who has invited a few friends to her London home to celebrate a promotion to a senior position in the opposition. But before she can pour the Champagne, her husband, played by Timothy Spall, makes a less happy announcement. Secrets are revealed, relationships are shattered, drugs are snorted, pistols are drawn, canapés are burned — and the party’s over.
The good news for Ms. Potter, 68, is that “The Party” is her most widely acclaimed film since her lavish adaptation of Virginia Woolf’s “Orlando” solidified her reputation in 1992. The bad news for the people of Britain is that she has called her nightmarish farce “quite consciously a snapshot of the state of the nation.”
Just before the release here in Britain this week, Ms. Potter said that the disastrous soiree was “a microcosm of a whole nation in a great political crisis, a crisis about who we are, a crisis about nationalism.”
Although she finished the screenplay before Britain voted last year to leave the European Union, and the film’s machine-gun dialogue never touches on “Brexit,” Ms. Potter had her “ear to the ground, listening to the grumblings and groanings” while she was writing, she said.
The arguments that explode between guests played by Patricia Clarkson, Bruno Ganz and Cillian Murphy represent the squabbles being played out across the country...
Read full article on NYTimes.com.Continue reading
Available to read on The Financial Times.Continue reading
From The Guardian:
The resolutely independent British film-maker is back with the most broadly entertaining film of her long career – a star-studded black comedy about a disastrous dinner party that reflects the dark state of the nation...
Read more on Hollywood Reporter.Continue reading
The jury – headed by director Paul Verhoeven and including Maggie Gyllenhaal and artist Olafur Eliasson – may or may not choose the most political films in contention, but they will have noticed how many films seemed to use the metaphor of a social event to make a point about the state of the world. The strategy worked beautifully in The Party, by British writer-director Sally Potter. Simple and concise, this chamber comedy, shot in black-and-white, is set at the London house of a woman (Kristin Scott Thomas), who has just been named shadow health secretary. As her husband (Timothy Spall) mooches around ashen-faced, friends – played by, among others, Emily Mortimer, Cillian Murphy and a supremely acidic Patricia Clarkson – arrive, and the revelations start pouring out. It’s brittle, intelligent stuff, like Pinter crossed with Feydeau farce, and one of the most enjoyable things here.Continue reading
Variety has been given exclusive access to the first clip from Sally Potter’s “The Party,” starring Patricia Clarkson, Timothy Spall and Kristin Scott Thomas. The film, which she describes as “a comedy, albeit wrapped around some tragic elements,” world premieres in competition at the Berlin Film Festival.Continue reading
Patricia Clarkson, Bruno Ganz, Kristin Scott Thomas, Emily Mortimer, Cillian Murphy, Timothy Spall and Cherry Jones are to star in Sally Potter’s film “The Party,” which has just started its 14-day shoot in London.
Set in a house in contemporary London, the film is “a comedy wrapped around a tragedy,” according to Potter’s production company Adventure Pictures. “It starts as a celebration and ends with blood on the floor.”
The film is produced by Christopher Sheppard for Adventure Pictures and Kurban Kassam (“20,000 Days on Earth,” “Ginger & Rosa”), and is financed by Robert Halmi Jr. and Jim Reeve’s Great Point Media. ICM Partners is representing North American rights on the film, and the agency also represents Potter.Continue reading
UK director Sally Potter has announced two new feature projects Molly and The Party born out of a joint development deal with BBC Films and the British Film Institute (BFI).
“I now have two complete scripts ready to go. One is The Party and the second is Molly, for which I am heading off to do some casting in New York,” Potter told ScreenDaily from the airport.
“I don’t know which is going to go first. They’re both being cast at a high level so it will depend on which one finalises its cast and financing first,” she said. “Either is ready to go into pre-production. They’ve been taken through multiple drafts. So realistically we’re looking at early 2016.”
Potter has kept Molly completely under wraps until now.
All the action in the film takes place in one house in London in the present and unfolds in real-time, the duration of the film itself (about 90 minutes). Janet has just been promoted to Shadow Minister for Health and has invited some close friends to celebrate with her and her husband, Bill. But then, one by one, some revelations emerge which shatter each individual’s assumptions about love and loyalty and their most cherished political beliefs. For these individuals - who thought they were coming together for a small celebratory party and end up confronting murderous feelings and possibly murder itself - nothing will be the same again.
OH MOSCOW is a multi-disciplinary cross-media project by Sally Potter. It is centred around an entirely archive-based musical film, based on an hour-long song cycle about the Cold War. The song cycle was conceived in the late 80s by British composer Lindsay Cooper, with lyrics by Sally Potter. It was originally performed across Europe - including both East and West Berlin (before the wall came down) - and in Russia and North America.
The moving image content will take the Oh Moscow score as the soundtrack and propelling narrative thread for an exploration by Sally Potter of the political and emotional dynamics of the Cold War, telling a story that is once highly personal and increasingly relevant. An immersive digital experience will allow users to explore the themes in the film: they will be able to connect with the historical roots of current socio-political events, explore the musical work in depth and understand how a piece like this is created. A concert tour will bring live performance of the music together with HD projection of the film, as well as exploring cost-effective means of delivering an augmented reality experience to the audience.Continue reading