movies
Injury On Film Set Prevention Urged In Open Letter To Lisa Nandy
EXCLUSIVE: Bosses at the British broadcasting union, leading association of agents and anti-bullying body have come together to urge government support helping prevent injury on film, TV and theater sets.
A “broad coalition” of 15 influential industry figures have signed a just-published open letter that was sent to UK culture secretary Lisa Nandy and pensions secretary Pat McFadden last night.
The group are calling for a “framework” that will “meet this moment” and “promote the safety of cast and crew at work.”
Organized by Tome Levi at the Injury Prevention Consultancy (IPC), the letter comes a year after a landmark IPC report “sparked an industry wide conversation about areas of production safety that have been historically overlooked, and presented employers with a powerful case to ameliorate this state of play,” the letter said. These “overlooked areas” included gaps in communication between relaying the physical demand of acting roles and a subsequent lack of on-set support. Overall, the report unearthed high workplace injury rates for cast and crew, disproportionately expensive injury claims and a risk of severe mental health deterioration due to occurrence of injury.
Since the report, the group have been frustrated with a lack of progress. Signatories of the letter include Philippa Childs, the head of broadcasting union Bectu, Donna French and Kevin Brady, the co-chairs of the Personal Managers’ Association, which represents agents, and Jen Smith, who runs anti-bullying body CIISA. There is also Andra Milsome, the wife of Mtark Milsome and founder of the Mark Milsome Foundation, whose husband died on the set of Netflix-BBC drama Black Earth Rising in 2017.
“It is incumbent upon all stakeholders to recognise that the safety and welfare of our workforce is fundamental to safeguarding the world class product that the British stage and screen sectors offer,” reads the letter. “We have called upon our industry to meet this moment and demonstrate a united front in calling for action to improve the safety of working conditions. We now call on this government to support us in making this action a reality.”
The group have called for a meeting with Nandy and McFadden in October to “actualise the degree of systemic change we want to see.”
Death and injury on set was placed in the spotlight with the death of Milsome, whose passing was branded preventable at an inquest in 2020. It returned to the fore with the tragic death of cinematographer Halyna Hutchins on the set of Rust after Alec Baldwin fired a prop gun that he didn’t realize contained a live bullet. Recent examples of injury on set include Sophie Turner on Tomb Raider, Henry Cavill on Highlander and Ian McKellen on Player Kings.
The letter in full
Dear Secretaries of State,
We the undersigned are writing to bring to your attention the high rates of workplace injury in the UK’s film, television and theatrical industries. This matter was highlighted last year, when the IPC’s Impact of Injury (IOI24) report unveiled difficult yet urgent truths about the realities of working in production. In the wake of its publication, the findings sparked an industry wide conversation about areas of production safety that have been historically overlooked, and presented employers with a powerful case to ameliorate this state of play.
Our industry’s greatest asset is its people, and protecting their welfare is a responsibility we all share. We have heard the concerns of our colleagues, and are committed to taking action to make things better.
We recognise that we are part of the systems we are asking to improve. The sectoral consultations and roundtables held in the wake of the IOI24 publication point to a solution which lies in improved education and enforced regulation in this space. As a broad coalition of industry stakeholders, we are committed to developing a framework that will encompass both, in so doing promoting the safety of cast and crew at work. In order to actualise the degree of systemic change we want to see, we ask for the direct engagement of the addressed government departments to support the development and delivery of this framework. In view of this, we would welcome your commitment to meet with the signatories of this letter at our next meeting in October 2026.
In the Creative Industries Sector Plan in the UK’s Modern Industrial Strategy, the Culture Secretary’s Ministerial foreword states: “By 2035, the UK will be recognised as best place in the world to make and invest in film and TV, video games, music, performing and visual arts, and advertising and marketing.” Against the backdrop of this government’s stated aim, we ask the government to recognise that high job quality cannot coexist with high workplace injury rates, and acknowledge the strong and clear alignment between these policy ambitions and the need for further robust, solution led work to reduce the occurrence of workplace injury in this sector.
It is incumbent upon all stakeholders to recognise that the safety and welfare of our workforce is fundamental to safeguarding the world class product that the British stage and screen sectors offer. We have called upon our industry to meet this moment and demonstrate a united front in calling for action to improve the safety of working conditions. We now call on this government to support us in making this action a reality.
Signed,
Tome Levi
Director IPC
Alexander Nicoll
Head of Media & Entertainment – Active Media Active Underwriting Specialists Ltd
Abbi Collins
Chair
Mark Milsome Foundation
Donna French
Council Co-chair
Personal Managers’ Association
Kevin Brady
Council Co-chair
Personal Managers’ Association
Matthew Hill
Chief Executive
Chartered Insurance Institute
Pippa Stone
Head of Media and Entertainment
Markel International Insurance Company Ltd
Andra Milsome
Founder
Mark Milsome Foundation
Charlotte Knight
Council Co-chair
Personal Managers’ Association
Jen Smith
CEO
Creative Industries Independent Standards Authority
Philippa Childs
Head of Bectu Bectu
Matt Hood
Managing Director Spotlight
Kelly Valentine Hendry
Owner
KVH Casting
Fiona Williams
Council Co-chair
Personal Managers’ Association
Paul Hillier
Director Tysers
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movies
Neil Patrick Harris Set For ‘Damn Yankees’ Broadway Revival
Whatever Lola wants, Broadway provides! A Damn Yankees revival is set for the Great White Way in Spring 2027, with Neil Patrick Harris as the devilish Mr. Applegate.
On Sunday, the Tony-winning actor arrived at Yankee Stadium in the Bronx to announce the revival in a press conference, along with co-stars Julianne Hough and Austin Scott, who have been cast Mr. Applegate’s seductive assistant Lola and the susceptible young baseballer Joe Boyd.
Beginning previews at the Marquis Theatre on March 24, 2027, one day before the first Yankees game of the season, the official opening night is set for April 20.
Directed and choreographed by Sergio Trujillo, additional casting will be announced soon for the latest update of Richard Adler, Jerry Ross, George Abbott and Douglass Wallop’s 1955 musical comedy, featuring a new book by Will Power and Doug Wright, with additional lyrics by Lynn Ahrens.
Set in 2000, this version of Damn Yankees sees impassioned Baltimore Orioles fan Joe Boyd makes a deal with charming stranger Lola to give him and his team a second chance. But he’s not quite prepared for the consequences of his wish.
Watch the press conference below:
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movies
Indie Film Box Office: ‘Your Mother Your Mother Your Mother’ Opens Strong
Bassam Tariq’s Mahershala Ali-starring TIFF favorite Your Mother Your Mother Your Mother had a strong limited opening as distributor Amazon MGM launched the awards contender into a platform release hewing to the path of American Fiction..
Also this weekend, A History of Concrete had a terrific expansion, as did If I Go Will They Miss Me. Late summer phenomenon Buddy is still scaring up box office.
Your Mother Your Mother Your Mother launched in six theaters in New York and Los Angeles to $199k ($33.1k per screen average). The awards contender by Tariq (Mogul Mowgli) is Certified Fresh at 97% on Rotten Tomatoes with strong exit polling that showed a 60% ‘excellent’ with an 89% in the top two boxes and an overall 80% ‘definite recommend.’ Ali stars as Latif, a devoutly religious hitman who struggles to balance work, faith and fatherhood. When his wife dies, he embarks on a desperate journey across Houston to protect his children.
A hefty 47% of the audience for the action drama was 25–34. Some 72% is non-white with at 41% African American, 18% Hispanic, and 19% Asian.
Tariq (Mogul Mowgli) “has a unique voice” with a young cinephile audience,” says Amazon MGM Studios head of domestic theatrical distribution Kevin Wilson. “And having [Ali] as an actor is making a lot of people pay attention.”
Comps aren’t obvious but he says the best one may be 2023 multi-Oscar-winner American Fiction by Cord Jefferson, starring Jeffrey Wright. The comedy-drama had a strong limited opening ($224k) followed by a slow rollout. Your Mother Your Mother Your Mother is eyeing 15 locations next week including Atlanta, Chicago, Washington, D.C. and Austin, playing in particular to non-white audiences who championed the movie’s debut. It will hit the top 10 to 12 markets, 30 to 40 screens, the following week, and move into moderate release Oct. 16 with 500 to 800 locations.
Platform rollouts are heavily reliant on word of mouth. “The best thing is other moviegoers telling their friends how good the film is,” Wilson says. Both Your Mother Your Mother Your Mother and American Fiction are from Amazon MGM’s Orion Pictures banner, which has had a great run under President Alana Mayo with titles from Nickel Boys and Till to Bottoms and Women Talking.
New indie releases: Ha Chan,Shake Your Booty! from Sony Pictures Classics directed by Josef Kubota Wladyka opened to $236.6k on 540 screens.
The Stunt Driver from IFC Films, by Michael Dowse starring Jay Baruchel, debuted with $102k at 670 locations.
Deep In The Heart 2: A Texas Rivers Story, directed by Ben Masters and narrated by Ethan Hawke, grossed an estimated $60k from 80 theaters across the state, as per mtuckman Media. This is a follow-up to 2022 doc Deep in the Heart: A Texas Wildlife Story, narrated by Matthew McConaughey, that grossed $480k.
Janus Films presented the 4K re-release of Douglas Keeve’s UNZIPPED exclusively at the Film Forum in NYC to $24k including sold out Q&As. The doc chronicles the launch of Isaac Mizrahi’s legendary Fall 1994 collection. Expands nationwide in October.
Sumerian Pictures opened Sundance comedy The Incomer on two screens (NYC and LA), grossing an estimated $18.2k.
Greenwich Entertainment’s The Scout is eyeing a $14.5k, also at Film Forum exclusively. The debut feature from Paula González-Nasser adds LA next week.
Holdovers: John Wilson’s comedic documentary The History Of Concrete from Magnolia Pictures had a strong expansion to 50 screens (from 1), grossing an estimated $350k for a cume of $511k. Expand to over 50 markets next week.
If I Go Will They Miss Me from Rich Spirit, starring Danielle Brooks and J Alphonse Nicholson and directed by Walter Thompson-Hernandez, is reporting $158k in week 3 on 101 screens for a $758k cume. Many engagements saw higher box office this weekend over last despite fewer shows due to a rush of new releases, indicating strong word of mouth.
American Doctor from Watermelon Pictures passed the half million mark with $23k at 30 theaters. The cume to date is $556.7k for the Gaza-set documentary that opened August 14.
R-rated kids show horror satire Buddy from Roadside Attractions is looking at another $717k from 709 runs for a cume pushing $26.4 million since its August 28 opening.
Daniel And The Fiery Furnace from faith-based distributor EKKL Entertainment is reporting a $1.5 million second weekend on 1,301 screens for a $6.2 million cume.
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movies
Robert Pattinson’s Batman Would Be Tough to Exist in James Gunn’s DCU
Robert Pattinson doesn’t see his version of Batman interacting with other DC superheroes within James Gunn‘s cinematic universe.
While Batman and Superman have one of the most famous friendships in DC Comics, the Primetime star recently explained to LADbible why it would be “tough” for director Matt Reeves’ version of Bruce Wayne to exist in Gunn’s DCU, such as with David Corenswet’s Superman.
“I think it would be kind of tough to have this version of Bruce outside of that world. It’s one of the only characters, I guess because of the length of the shoots but also it’s such a specific kind of [style], the tone of it gets inside you,” Pattinson said. “I remember that happened to me the last time I did it, it took a while. You’re just in the dark, the whole time. Both mood-wise and light-wise, I can’t see anything for like months. It does affect you; like you feel strange afterwards.”
Reeves’ The Batman, released in 2022, is a darker take on the iconic character, as it’s a grounded psychological crime noir rather than a typical superhero action pic. The film sees Pattinson’s Batman investigate Gotham’s hidden corruption after a sadistic serial killer begins murdering key political figures.
Pattinson reprised his character for Reeves’ The Batman Part II, which is currently in production and set to hit theaters on Feb. 18, 2028.
The Odyssey actor recently teased to Collider that the sequel is “a real left turn from the first” movie, adding that “it’s so ambitious.”
“The first one was a different take on a Batman movie, and this one is another… It’s a real left turn from the first one, but somehow it keeps elements of the kind of feel of it,” he explained. “But it just feels really ambitious, and I’m excited to see how it turns out.”
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