Tag - UK

Newport Beach UK Honours Kicks Off BAFTA Weekend With Celebration of UK Creative Talent

In a star-studded celebration of the best of UK talent from film, television, and music, the Newport Beach Film Festival kicked off BAFTA weekend with the Newport Beach Film Festival UK Honours on Feb. 7 at The Langham London.

For 20 years, the Newport Beach Film Festival, one of the fasted growing luxury lifestyle film festivals in the United States, has included a dedicated UK showcase during its 10-day program.  Starting in 2015, the film festival and Visit Newport Beach partnered to elevate the connection to the UK industry by honoring talent via the Newport Beach Film Festival UK Honours held in London just ahead of the BAFTA Awards. Honours include Arts Champions, Breakout Talent, Artists of Distinction, Icons, and Outstanding Achievement in Cinema.

2019 Newport Beach Film Festival UK Honours Honorees


Stan & Ollie – Jon S. Baird, Jeff Pope


The Favourite


Julian Fellowes (Downton Abbey), Lesley Manville (Phantom Thread, All or Nothing), John Llyod (Blackadder, Hitchhiker’s Guide to the Galaxy)


Rob Brydon (Gavin & Stacey, The Trip), Lily Cole (Balls, Snow White and the Huntsman), Richard Dormer (Game of Thrones, Fortitude), Joanne Froggatt (Downton Abbey, Liar), Laura Carmichael (Downton Abbey, A United Kingdom)


Naomi Ackie (Lady Macbeth, The Bisexual), Ellie Bamber (Nocturnal Animals, High Resolution), Hannah John-Kamen (Ant-Man and the Wasp, Ready Player One), Louis Ashbourne Serkis (The Kid Who Would be King, Mowgli)


MediCinema, Women in Film and Television

Kane Headley-Cummings Speaks on English Folklore

Kane Headley-Cummings plays Stokey in the recent Robin Hood movie. He gives his UK perspective on the legendary tale and its similarities and differences about the cultures of the U.S. and the UK.

ATM: Being from the UK, does Robin Hood take on a different atmospheric meaning or feeling for you than in American?

Kane: I was born and raised in London Town. I spent my school break summer holidays in the countryside. Robin Hood has been one of those legendary stories that always lives on and is retold – Robin was the ‘giver’ who lived in the Nottinghamshire forests. He was the Hero. I read books on Robin Hood as a child and always felt like he made stealing seem ok as it was for a worthy cause! He gave to those who needed it but I was always left wondering how can that be right to steal! I even had my own bow as a child! Although I only had plastic arrows!

Robin Hood is one of those very English folklore stories that focuses on the working classes in England and highlights the divisions that the class system brings about.  

The story has a historical connection to the English and I think there is more of a ‘close to home’ feeling. Robin Hood is a mixture of rebellion and conservatism. England has evolved but the class system is still prevalent to some degree today. We are living it. My American friends seem very fascinated by the great History of England and seem to love the English accent! So I am sure they love a bit of old English Robin Hood! 

ATM: How does an insubordinate get to be a hero? If Robin Hood was not a criminal, then what would the effect be? How would this have changed your perspective on as a child?

Kane: The insubordinate type is normally frowned upon, but in Robin’s case he was seen as the challenger with integrity. A rebel with a cause. Everyone loves the ‘underdog’. Robin was the classic dark horse. He was strong in character, and willful. He risked everything for the people. Selfless acts. If Robin had not been a criminal, his acts may have been met with suspicion. There is the age-old theory that nothing is for free. He may have been seen only as the ‘goody two shoes’ and no one likes the goody two shoes, they are seen as never doing any wrong. There is a difference between doing good and the so-called perfect goody two shoes. The goody two shoes often make people self-project and feel insecure that they are not doing ‘enough’ or their bit in society to help the less fortunate. So, by him being a criminal doing good by the people, makes him into this likable rogue and people don’t feel threatened. He is the man with no agenda. The hero. 

I don’t think Robin would have caught my attention as a child if he had just been a man that was doing a good thing. I was raised to believe that all men should do good and do the right thing. It was a trait all men should process naturally. Robin caught my attention as the rebel with a cause because he was unhappy with the injustice of the powers that be, and I can relate to that. He was brave enough to challenge the system. 

ATM: Explain how you would try to embody Robin Hood as a kid with plastic bows.

Kane: I was a very curious child growing up and very active. I loved the forest. That was my playground. When I went back to London after the summer holidays, even though the city had its own charms, I felt like I had lost some of that wild freedom. I had a fascination with action hero’s and I loved dressing up in costumes. It felt like a form of escapism. I felt strong and a form of responsibility with my plastic arrows!

ATM:  Do you agree with the social class system? How would society be without a social class system? What traits would this diffuse and what new life would this create?

Kane: To keep things simple and without getting too deep, I have very contrived feelings about the class system. I feel that the system is highly flawed. I am very aware of sensitivities relating to the system and politics. I do believe that the world would be a better place if everyone were equal. The world is governed by greed and deceit. 

ATM: What are your comments on the American accent? Do you romanticize how Americans become infatuated with the English accent?

Kane: The general American accent is like a pared down, or looser version of the English language. Victorian English is still quite present in the older generation in England. The English youth of today are lazy with grammar and their language is often littered with ‘street talk’. Americans always comment that I speak ‘proper English’, as they put it. It always makes me chuckle. I have always found the Appalachian dialect fascinating, it is like a real lazy accent. I think that Americans are infatuated with British culture in general. There seems to be a lot of interest in the Royal weddings and the Queen of England. I think Americans think the British accent is more intelligent. That the accent is attractive. They seem to be fond of the posh British accent that is associated with the middle- and upper-class Britain. World War II created an eternal bond between America and England. I hear a lot of Americans saying America lacks a history due to the fact it’s still a young country. I think the history of England is like an eternal lure. The elixir of being quintessentially English continues to reign its allure. 

ATM: Explain your character and principles the character possesses from the lines to the scene.

K: My character is Stoker, who is a minor in the Community, along with the people. He is outgoing, the lad type, but also a hardworking man. He is there for the people and acts up when the Tax man is busy stealing their hard-earned money from them. He is one of the strong men that helps give hope to the people to fight for their rights, and back up Robin and Will. I had fun playing this character and I am an avid believer in equal opportunities for the people. 

ATM: What elements are derived from this early 21st Century film adaptation of Robin Hood?

Kane: This new film version of Robin Hood is edgy, cool and urban. It really focuses on a strong political theme. I love the feel to it, the modern urban nature makes it relatable to the modern audience, as opposed to the original films that were more traditional to the original story. Robin Hood is a legendary heroic outlaw originally depicted in English folklore…a do-gooder that can kind of be excused for his crimes!  This Robin Hood was able to flow freely from politics to an engaging love affair between Robin & Marian. Robin is a highly skilled swordsman and archer, so we see a lot of action and intense scenes. The costumes are very futuristic and out there. This film version has a modern twist and has relatable aspects of the modern conflict that we see today on the news. We see how Rob gives back to the poor after he steals back what the people see as rightly theirs. The same old struggle of the rich getting richer and the poor getting poorer. This whole theory has been a constant throughout history to current times. You could say Robin Hood promotes a form of socialism. 

ATM:  Does the love between Robin and Marian mirror how you express yourself through your own relationships?

Kane: I like to think that I am gentleman, a man of manners and strong etiquette. I like to hold the doors open for a women and seat her at a table. I always stand when a woman enters the room. I am a man who is willing to stand up for his lady, like the knight in shining armor. I do believe man and woman should be equal, but that romance should never die. 

Mark Hermida Talks Representation of Film Editors

Mark Hermida was the recent film editor for Anna and the Apocalypse. Hermida notices there is a lack representation for film editor’s in this industry. He discusses with ATM this problem and about the misconceptions of a film editor.

ATM: What are some misconceptions of film editors that people outside of the industry have?

MH: Most people do not know what an editor does. This is even within the industry. It is like a hidden skill. It is solo. The biggest misconception for people outside of the industry is they film everything first and then the editor comes on board. I am working about one day behind the shooting crew. Let’s say there is a problem with a scene that shot in an expensive location or they filmed the whole thing first; then I realized there was a problem. It would be extremely expensive to go back to the location. This is the biggest misconception.

ATM: Do you have to fully understand the story-line to carry out your responsibilities as a film editor?

MH: Yes, 100%. It is really about the story-line. The first thing I do before I edit is to make sure I know the script. I read it about 4 or 5 times. I need to know. I could just go in cold without reading it. I would not know emotionally where a character fits at in the story. To have the characters react emotionally, I need to know the story back and front. The script is the starting point.

ATM: What kind of values does Anna have as she moves through a new civilization?

MH: She is intelligent, stands on her two feet, not particularly interesting in the typical things a young girl would be interested in a film. She is not interested in boys. She is a strong, empowered woman. She is just looking to survive. She is the protagonist and the person who makes the choices in the movie. Her values are progressive, forthright, and in charge of her destiny.

ATM: From your answer, how did you want us to see this through your cuts?

MH: It was an ensemble piece. John wanted a character in a different frame at times. It was making sure we had the right closeup for Anna. She was the one driving the decision. We were conscience about this all the way through. Although it was an ensemble, she was the lead character.

ATM: What are some interesting things you observe when the film is in pre-production and post-production as an editor?

MH: The two things are happening at the same time. When they are in pre-production, I am already in post-production. You start to notice things the longest the production goes on. You learn what a scene is going to be about. What is the emphasis on a certain scene? You might have preconceived notions from reading it. It is only when you go through the week and months during post-production, you start to see how a particular scene relates to the rest of the film. You see you have to make tweaks to performance. It is only later in the process that you start to see this. You cannot rush this stuff. You needed to have gone through the material so many times. WE were making decisions on Anna all the way through until the very end. Some of the things were not noticed four months previously. You start to notice it so many times, and then you talk and talk. Your expectations of how things are going to be changed over time.

ATM: Is the lack of film editors in the UK film industry the same in the U.S film industry?

MH: Yes. It should be representative of the population at large. Most film editor and people working in the film industry are white men. I have a few female editor friends. I do not know many editors that are people of color. This is a problem. It is a systemic bias across the whole industry that needs to be addressed as the same as it is across society. You are going to get more stories and more interesting perspective if you have a wider range of people telling these stories.

ATM: What restructuring and changes need to happen to make this more prevalent?

MH: This is a large political question that I was not expecting. You have to make media training more accessible to a wider group of people. In the UK, media is not something that is offered by working-class schools. You just need to change access to education and the kinds of education you provide to people.

ATM: Film editors are crucial parts of a film. It cannot get made without you. It cannot get to the big screens with you. If you do not do your job as the editor with making errors, then how might this impact the viewing experience?

MH: If I do not do my job as an editor, then it makes the viewing experience spikey. It would take the audience out of the experience to the point where they would not be able to extend their belief. They would get taken out of the situation, and it would not feel real. The whole thing people say about editing is that if you do your job properly, then it is invisible when people do not notice it. It is often true, but not always. If people start to notice the edits negatively, then I have not done my job properly.

ATM: Describe your internal and external experience when watching a film.

MH: It has changed since doing this job. I start to think about the technical things that are on the screen. You start to analyze the edit and think about it. If the person who has made the film has done a good job, then you can ignore work part of your brain off and just stink into it and enjoy it. The longer I do the job, the more difficult it is to not go into an analytical mood. You cannot quite switch off and not watch like someone not in the industry would watch it.