The Magic Faraway Tree<\/em> Series was at the forefront of this trend.<\/p>\n\n\t\u201cI first tried to get the rights for about 20 years ago. We\u2019ve been running Neal Street for over 25 years, and it was quite an early project for us, but the rights situation was very complicated, and it took a long time to unpick,\u201d says Harris, who is currently bathing in the success of Chloe Zhao\u2019s Hamnet<\/em> and drama Call the Midwife<\/em>.<\/p>\n\n\tAfter securing the rights, one of the first people that Harris called was Perkins, who was CEO of Studiocanal UK at the time. \u201cStudiocanal was an obvious first port of call,\u201d says Harris, noting this pre-dated the release of the Paris-based pan-European studio\u2019s first Paddington<\/em> film in 2014. Perkins recalls how he and Harris were having conversations about various UK properties with strong potential for adaptation and updating on the big screen.<\/p>\n\n\tPublished over a decade from 1939, the original The Magic Faraway Tree<\/em> books follow the adventures of three siblings displaced to the countryside by family misfortune where they connect with an enchanted tree and its eccentric residents including Angry Pixie, Silky, Mr Watzisname, Dame Washalot, Moon-Face\u00a0and Mr Saucepan. Together with their new friends, the children visit a series of lands that dock at the tree in rotation such as the Land of Goodies, the Land of Dame Slap and the Land of Spells.<\/p>\n\n\tBlyton\u2019s books have a strong intergenerational fanbase in the UK and many other English-language speaking territories, while her work has been translated into more than 90 languages worldwide. <\/p>\n
\n\tBritish comedy stalwart Simon Farnaby also came on board early on to write the script \u2013 prior to working on Paddington 2<\/em> and Wonka<\/em>. \u201cHe was so passionate about the material,\u201d says Harris. \u201cHe had such a strong take on it and what he wanted to keep from the original Blyton, and what he felt was impossible to keep and needed updating, and how you would turn a story set decades ago into a story that feels relevant not just for a contemporary audience, but for an audience worldwide.\u201d<\/p>\n\n\t\u201cThat was always in the back of our minds. When you look at all the British movies that have really broken out, a huge number of them are based on British kids IP, and that is something that travels, whether it\u2019s Harry Potter<\/em>, Peter Rabbit<\/em> or Paddington<\/em>. You know that those stories and those characters and that mixture of warmth and wit that you get in those kids\u2019 books works across the world.\u201d<\/p>\n\n\tFarnaby\u2019s final screenplay boldly sets the adaptation in modern Britain, with a <\/strong>storyline tapping into contemporary concerns about screentime and the impact of social media on young minds. The family dynamics have also been updated. Claire Foy co-stars as science whizz mother and main breadwinner, who loses her job, opposite Andrew Garfield as an idealistic stay-at-home dad who suggests they move to the countryside to set up a pasta sauce business.<\/p>\n\n\t\u201cSimon understood that there was something within the story of the 1940s children leaving the city and going to the countryside that we could update and make relevant to resonate with modern audiences,\u201d says Perkins.<\/p>\n
\n\tFurther cast include Bridgerton<\/em> breakout Nicola Coughlan, Nonso Anozie, Jessica Gunning, Dustin Demri-Burns, Mark Heap, Oliver Chris, Rebecca Ferguson, Jennifer Saunders, Lenny Henry, Michael Palin and Simon Russell Beale.<\/p>\n\n\tThe film released in the UK in early April, to coincide with the Easter holidays, where it has grossed close to $20M to date, as well as in Australia, where it has grossed more than $7M.<\/p>\n
\n\tHarris reports feedback from Australian distributor VVS Films that it has managed to extend the film\u2019s reach beyond weekends and holiday periods, when ticket sales are driven by families, into weekdays thanks to adult spectators.<\/p>\n
\n\t\u201cThey\u2019re going on their own or in groups,\u201d she says. \u201cSome remember the books, but lots don\u2019t and just love the the premise of the film and then get swept up by it. People are seeing it more than once, and there are lots of men who find the father\u2019s story very moving.\u201d<\/p>\n
\n\tPerkins notes that the film has outperformed Pixar-produced $150M budget Disney animation Hoppers<\/em> as well as Paddington 1 and 2<\/em> in Australia. \u201cGiven the marketing spend and size of Hoppers<\/em> as a Disney property, it\u2019s kind of extraordinary, and shows the film\u2019s potential,\u201d he says.<\/p>\n\n\tHarris suggests that the feature\u2019s unapologetically positive vibe and message, is chiming with audiences in the current geopolitical climate, citing the success of Neal Street\u2019s Hamnet<\/em> as well as Call the Midwife<\/em>.<\/p>\n\n\t\u201cWhen the world\u2019s so fractured and angry, I think audiences look to film and television for something that is the opposite of that, something that celebrates the good in humanity and the things that bring people together,\u201d she says.<\/p>\n
\n\t\u201cHamnet<\/em> and The Magic Faraway Tree<\/em> \u2013 and certainly Call the Midwife <\/em>\u2013 have all benefited from that. The films are the highest grossing UK independent films this year and Call the Midwife<\/em> is the highest rated drama in the UK. People don\u2019t want to see more films about death and division and men with guns.\u201d<\/p>\n\n\tThe success of the film at home has encouraged Harris and Perkins to step up plans for two more films based on the books. \u201cIt\u2019s an obvious movie,\u201d says Harris. \u201cPeople have become very invested in these characters, not just the family but also the magical creatures who live up the tree, and the cast, who had such great time making it, they\u2019re all keen to come back.<\/p>\n
\n\t\u201cIt\u2019s a really exciting space to be in as Paddington<\/em> has shown. If you can crack that family audience with a single film, then there\u2019s no reason why you wouldn\u2019t keep coming back and take the IP elsewhere, as they\u2019ve [Studiocanal] done with the stage show and other opportunities.\u201d<\/p>\n\n\tPerkins says it makes sense to capitalize on the human and financial investment that went into creating the world of the tree and the look of its fantastical residents for the first film, citing the work of Karen Hartley Thomas on hair and makeup and Ann Maskrey on costume among others.<\/p>\n
\n\t\u201cIt\u2019s no small feat to make visual sense of all these characters and these worlds, and put them all together in one film,\u201d adds Perkins. \u201cWe\u2019ve done all that hard work now. Just by the very nature of the books, there are new lands to discover every time you go the tree. We\u2019re excited to try and do more, and it\u2019s great that the cast share that enthusiasm. It was a very happy shoot, so they all want to come back,\u201d He notes a quote from Garfield, who said, \u201cWouldn\u2019t this be great, if this was every summer.\u201d<\/p>\n
\n\tSequels could be secret to sales<\/strong><\/p>\n\n
\n\n
<\/div>\n<\/p><\/div>
\n\t\t\t\t\tThe Magic Faraway Tree<\/span><\/p>\n\t\t\t\t\t\t\t\t\tElysian Film Group<\/cite><\/p>\n<\/figcaption><\/figure>\n<\/div>\n\n\tTamara Birkemoe at L.A-based Palisades Park Pictures, who has been handling the sale of the film since pre-production stage, hopes its UK box office success, combined with the commitment to making the sequels, will help close key remaining territories such as Italy, France and the Nordics.<\/p>\n
\n\t\u201cEverybody who read the script really liked it and everybody who saw the movie really felt like it was appealing, not only for kids, but for grown-ups,\u201d she says. \u201cBut obviously the IP is not well known in every country, and that\u2019s a little challenging as it means they will need to spend more on P&A.\u201d<\/p>\n
\n\tIn the face of that challenge, she suggests having Garfield and Foy in the cast helped reel in some buyers from territories where Blyton is less known. \u201cThey\u2019re global stars at this point. Andrew has been Spider Man. People don\u2019t really think of him as purely British; they see him as global, so he helped a lot. And then there\u2019s Claire, she\u2019s brilliant. They\u2019re also friends and love working together, and they had such a good chemistry on this.\u201d<\/p>\n
\n\tAnother string in the film\u2019s bow is the novelization of the film by publishing house Hachette UK, which owns the rights to the Enid Blyton estate. It was published in the UK ahead of the film\u2019s release and will be rolled out in the U.S. this summer ahead of the film\u2019s launch there by Vertical.<\/p>\n
\n\t\u201cThese tools help with marketing and attracted a lot of interest,\u201d says Birkemoe. \u00a0<\/p>\n
\n\tShe believes the commitment to the sequels will also draw in more buyers, with many signed-up distributors already stipulating a first-look option for new films in the franchise in their contracts for the original film.<\/p>\n
\n\t\u201cIt has been an important element, the franchising of it,\u201d she says. \u201cEverybody wanted to have that in their contract. When you invest so much money in the P&A for the first film, it\u2019s only logical to be able to have the second and the third.\u201d<\/p>\n<\/div>\n
Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"Welcome to Global Breakouts, Deadline\u2019s strand in which, each fortnight, we shine a spotlight on the TV shows and films killing it in their local territories. The industry is as globalized as it\u2019s ever been, but breakout hits are appearing in pockets of the world all the time and it can be hard to keep […]<\/p>\n","protected":false},"author":1,"featured_media":131893,"comment_status":"closed","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"googlesitekit_rrm_CAow2JLhCw:productID":"","_gspb_post_css":"","maa_idioma":"","maa_pais":"","footnotes":""},"categories":[2725],"tags":[36244,36242,10863,5630,6294,8949,36243],"class_list":["post-131892","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-europe","tag-breakouts","tag-faraway","tag-global","tag-hit","tag-magic","tag-tree","tag-whimsical"],"blocksy_meta":[],"yoast_head":"\n
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