From Journalist to Sales Representative, from Festival Director to Producer: Mike Goodridge on His Rare Journey and Expanding His Good Chaos List - Cannes - Latest Global News

From Journalist to Sales Representative, from Festival Director to Producer: Mike Goodridge on His Rare Journey and Expanding His Good Chaos List – Cannes

EXCLUSIVE: Mike Goodridge was on a rare journey. Not many in the industry can boast a resume that includes running a trade magazine, an international distribution company, a film festival and being a producer of several films at the Cannes Film Festival.

Goodridge, former editor of Screen International, CEO of Protagonist and artistic director of the Macao Film Festival, is on the Croisette this year with the thriller “Un Sure Regard”. Santosh. In the British-German-French co-production by filmmaker Sandhya Suri, newly widowed Santosh (Shahana Goswami) inherits her husband’s job as a police officer in the rural wasteland of northern India due to a government plan. When a low-caste girl is found raped and murdered, she is brought into the investigation under the leadership of the charismatic feminist Inspector Sharma.

The Good Chaos/Nine Hours production for Netflix begins filming in Asia this summer The ballad of a little player, Ed Berger’s next film starring Collin Farrell and Tilda Swinton. Goodridge is also a producer on Baltasar Kormakur’s upcoming romance Touch for Focus and is preparing for it Son of Saul The next film from director Laszlo Nemes orphanwhich is scheduled to film later this year.

As we revealed yesterday, Goodridge’s growing production company Good Chaos recently received investment from London-based audio platform Alexander. We spoke to the London-based producer about his journey, the company’s plans and what’s next.

DEADLINE: Good Chaos is in full swing. How do you like that and can you tell us about the Alexander deal?

GOODRIDGE: Things are going well. We recently received investment from the audio company Alexander, run by a producer I knew called Cameron Lamb. They make podcasts and radio plays narrated by great actors. For us it is a strategic deal. Alexander will be able to use our intellectual property for his platform and vice versa. It is a minority shareholding that allows us to maintain our independence and autonomy.

DEADLINE: The plan is really moving forward. How did “The Ballad Of A Small Player” come about?

GOODRIDGE: After Protagonist I started developing my own projects, the first of which was The ballad of a little player due to my time in Macau, where the story takes place. The novelist Lawrence Osborne came to me and told me to choose the book. After Macau ended, I had to commit to producing full-time, which was a daunting decision, but so far it’s actually been going well. I have always had a very international outlook and I want to continue to do so by making films about global stories, not just those specific to the UK.

I met Ed Berger very early in the process. He had just done it Patrick Melrose, which was brilliant. Ed is a very demanding filmmaker and he loved the material and we excited each other. He would win so many awards for this nothing new in the West and finalize his deal with Netflix, so I’m really grateful that he stuck with our project. We were able to bring in Colin Farrell before Netflix even got involved in the project and he’s perfect for the material. We start filming in Asia this summer.

DEADLINE: You have worked on several Cannes films. Last year you had your first gig here as a full producer (Club Zero). You are back with Santosh now. What kind of voice does Sandhya Suri announce?

GOODRIDGE: Sandhya is an extraordinary person and the script was really brilliant. The project had existed for 10 years, but for some reason could not be implemented. Good Chaos is not afraid to take part in international multi-party co-productions or shoot in far-flung locations. I am very proud of the film. She did a fantastic job. It’s partly a procedural crime story, but just when you think it’s going in a certain direction, the film takes you somewhere unexpected. It is a surprising and captivating story.

DEADLINE: Was there any expectation that we would see Touch at a festival?

GOODRIDGE: Ultimately, Focus and Universal wanted to capitalize on the emotional and audience-pleasing aspect of the film and bring it straight to theaters. It’s something of a departure for Baltasar, as it’s a beautiful love story spanning 50 years between Iceland, Great Britain and Japan. It is very far-reaching. The project is personal for Baltasar for a variety of reasons. He is such an intelligent and versatile director.

Working with directors like Baltasar and Laszlo who have great legacies and great debut filmmakers like Sandhya is what we’re all about. We want to work with unique filmmakers. We also work on projects with Kornel Mundruczo, Duane Hopkins, Wash Westmoreland, Daniel Kojkatijlo, Anna Biller, Andreas Fontana and Tony Fabian.

DEADLINE: Your journey is quite unique: from editor of Screen International to head of distribution company Protagonist, to running the Macau Film Festival and now producing films in Cannes… Which path has given you the most sleepless nights?

GOODRIDGE: I assume that ultimately it always led in this direction. They are all difficult in their own way. I think producing is perhaps the most intense because it involves everything from the creative elements to finance, sales, marketing, positioning to press – it’s all involved and tiring but very rewarding. Luckily I have a great team.

DEADLINE: Who is on this team?

GOODRIDGE: James Bowsher is our production manager. The managing director is Yoav Rosenberg, who previously worked at Head Gear. Catriona Renton is our development manager. And then we have Sydney Oberfeld, production coordinator, and Ella Ritchie, development and business affairs assistant. At the moment we are six people. Sam Lavender is advising us on development, which is great, and we have a new office in Soho. We are also part of the production and development label The Creatives, a very rich alliance of producers.

I really enjoy working with producers. Philippe Bober [of Paris-based Coproduction Office] and I have an informal partnership in the UK, for example, working with producers such as Ceci Dempsey, Amy Jackson, Gaby Tana and Killer Films.

DEADLINE: How do you currently assess the British market? It’s a challenging time for many…

GOODRIDGE: Just as the good news about the tax credit extension came, we’re hearing about budget cuts at major organizations. It’s tough. I think Britain is always in a privileged position because of the language. The British industry remains a world leader in the entertainment industry. However, I focused my company on Europe and the East and not the USA and the West. I have good connections in the US, but there are already many British companies producing films specifically for the US market.

DEADLINE: What’s coming up?

GOODRIDGE: I am the British co-producer of Ruben Ostlund’s film The entertainment system is downwhich will be a knockout [Goodridge was UK co-producer on the same director’s Palme d’Or winner Triangle Of Sadness].

We are co-producers of Sukwan Island by Vladimir de Fontanay with Swann Arlaud and Woody Norman. And we’re in post-production on Shih-Ching Tsou Left-handed, which she co-wrote with Sean Baker. Good Chaos is producing this with Sean and Shih-Ching. Sean edited.

We also develop television, which is important to us – we work on television projects with people like Oli Lansley and Tony Marchant.

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