The statement was made today as Cameron visited Pinewood Studios — he was speaking pre-emptively ahead of the comprehensive Film Policy Review’s release on Monday. Cameron said today: “Our role, and that of the British Film Institute, should be to support the sector in becoming even more dynamic and entrepreneurial, helping UK producers to make commercially successful pictures that rival the quality and impact of the best international productions.”

UK industry figures have given a mixed response to Cameron’s remarks – and the spin that has been put on them in advance of the publication of the Review.

Palme d’Or and Golden Lion winning British director Mike Leigh (one of Britain’s most revered filmmakers) today refused to comment on inflammatory remarks from an unnamed film industry source that his career would be “over” once the Film Policy Review report is published next week.

“He doesn’t want to comment,” Leigh’s spokesman said of the following remark, “well, it’s over for Mike Leigh,” which a BBC correspondent quoted on the BBC Today Programme on Radio 4.

The BBC report suggested that the long awaited Film Policy Review (due to be published Monday morning, Jan 16) will advocate Lottery money being “awarded to films based on whether they can make money, not whether they are artistic or culturally rewarding.” The report said Lottery funds would be invested in “people, not projects” and that the Government wanted to see tax payer money “invested in movies people want to see, not luvvies who are your mates.”

Ken Loach (another Palme d’Or winning British director) disputed today’s rushed interpretation of what the Review is likely to contain. He told the BBC that “success can come at all levels. You don’t need to make a blockbuster to be successful.”

There has been some dismay that today’s events – in particular, the inference that a filmmaker as distinguished as Leigh could now be marginalised. Some say that Cameron’s speech today and the controversy over Leigh risks pre-empting a full, balanced assessment of the report. For example, #fundablefilms was a trending topic amongst UK film industry Tweeters, with spoof commercialised suggestions that might meet Cameron’s approval, including Secrets And True Lies and Gone With The Wind That Shakes The Barley.

However, John McVay, chief-executive of producers’ organisation Pact, broadly welcomed Cameron’s remarks. “If you pick the bones out, what he (Cameron) is clearly saying is that he wants to back successful British film businesses, which is good news,” McVay told Screen. “It’s not about backing quangos and public funds but finding ways that public funds can be used to support our indigenous feature film producers.”

Pact has long been calling for British producers to be given enhanced recoupment corridors on successful films – a call the Report is expected to address.

Citing the example of The King ‘s Speech, McVay pointed out that lines between what is “commercial” and “arthouse” films often blur. He also emphasized the importance of the arthouse sector for “talent, development, and for creative innovation. That’s all a precious part of our industry.”

The British Film Commission also welcomed Cameron’s remarks. Iain Smith, BFC Chair, said in a statement: “On behalf of the British Film Commission I thank the Prime Minister for his comments today praising the work of the BFC. Following another busy and potentially record breaking year for inward investment, it is reassuring to hear the government understands the role big budget, international movies shooting in the UK plays in building a world-class skilled workforce, while boosting the UK economy. With superb acting talent, crew and post production expertise, state of the art facilities, and the lucrative film tax relief, the British Film Commission promotes the UK’s competitive edge internationally to ensure we retain our position as one of the world’s most popular filming destinations. And as we look to the future, I look forward to the publication of Lord Smith ‘s full Film Policy Review and to working with the DCMS and the BFI to consider and implement its findings.”

In May 2011, Creative Industries Minister Ed Vaizey appointed former Culture Secretary Lord Chris Smith to chair an eight-member panel to conduct the extensive independent review of Government film policy. The Film Policy Review panel also included Will Clarke, Julian Fellowes, Matthew Justice, Michael Lynton, Tim Richards, Tessa Ross, Libby Savill, and Iain Smith. The Report is expected to cover areas ranging from production, development, distribution, inward investment, and exhibition as well as film heritage and education.

I came across 50 GREATEST ACTION MOVIE POSTERS on TOTAL FILM, and poster number 17 is yours! Well done!

I am after a blimp to rent, would you recomend any renting shops? I’ve seen Aqua Tech in Fixation, but £60 a day / £240 a week is too expensive for me. Do you know anything cheaper than that?

Many thanks, Robert Robert Viglasky robert@robertviglasky.com www.robertviglasky.com 07747441196

Here’s an excerpt:

The concert hall at the Syndey Opera House holds 2,700 people. This blog was viewed about 22,000 times in 2011. If it were a concert at Sydney Opera House, it would take about 8 sold-out performances for that many people to see it.

Click here to see the complete report.

I received my copy of your book last week and have enjoyed it

tremendously – I am a stills photographer based in Scotland, with 10

years experience of shooting stills and I am not embarrassed to admit

that I have learned loads just from picking up your book.  I guess its

because its such a mysterious trade – and there is no one to ask

questions of…………so to finally have a book to refer to is

brilliant.  It is also inspiring – it is too easy for the the stills

photographer to get despondent……not enough time, can’t get fellow

crew to co-operate etc etc, but already I feel a new sense of vigour

in approaching a days work on set……… I am the stills

photographer & I will not take no for an answer!

thanks again ….. neil davidson http://www.imdb.com/name/nm0203446/

What are you working on currently? At th moment I am  just finishing Snow White and the Huntsman at Pinewood Studios UK, previously I was on a film Called Gambit with Camereon Diaz, Colin Firth and Alan Rickman shooting in the UK and New Mexico.

Lastly, what would you list as the top three most powerful movie moments ever     1, When Harry Lime reveals him self out of the shadows as being alive in  ‘Carol Reeds ‘ The Third Man’ . I just love that film for cinematic qualities combined with a great story and wonderful suspense. Oh and that bit of music…. 2, The end of Blade Runner when the android played by RUGER HAUER

END of interview

And the hardest part of your profession? The constant responsibility I feel to produce the quality and quantity of images required promoting the film. I take it personally there is a lot riding on it. The first thing the public will see from a film are the images and when the film is released it is the marketing photos that are a part of the campaign that will start to get the film noticed. I treat every project as though it was my own film and my life depended on it.

What equipment do you consider essential? Give me one camera body with a standard lens and I still Get the shot that counts, But, its all important. Its all part of a jigsaw all the lenses CF cards computers software and so on. If you take away one component part then the Jigsaw is in complete

How has equipment evolved since you began in the industry? I would argue that The biggest impact on photography since invention has to be digital which has revolutionized the industry and impacted hugely not least on a photographers working practice and work load but on the labs that supported us, essentially wiping them out. Essentially though it has made a huge positive impact for me.  I can now shoot a greater range of imagery with the re-assurance that comes from instant play back. I can also experiment more. I believe without doubt digital has certainly creatively enhanced my work. With the added benefit of the reproduction quality and availability that digital brings.

What are the key trends in movie photography today? I would certainly say there is a strong move away from the traditional ‘Shoot what the movie camera is filming’ (Thank heavens) style of photo to the more documentary spontaneous style of imagery.

What are the toughest environments to work in?  The extremes hot and cold…… and number one: Has to be the dusty environments….  Windy Beaches and desert areas are a killer on the gear

Where has your work allowed you to travel?… Every corner of the UK and I have stood on just about every corner of London streets filming. Other Than that: Ireland, Iceland, Lapland, Sweden, Denmark, Germany, Finland, Morocco, China (3x), Kenya, Tanzania, Cambodia, Portugal, Grand Bahamas, Arizona, New York, New England, LA, Macedonia, Spain, France, New Mexico, Canada, Quebec, Isle of Man, Thailand and I hate to say it I may have forgotten a couple but not the people!

How long do you work on single project?… 6-8 weeks the shortest 6 months the longest

Is the lifestyle all catering and hotels?….Yes, Jasin Borland Oz photographer coined it when I meet him and he said I live in a hotel and holiday at home!