James gay rees

amy (2015 full movie)

James Gay-Rees is a British film producer. He has been involved in the production of numerous films, including critically acclaimed documentaries Senna () and Amy (), for which he won numerous awards and nominations. James has produced a wide variety of films including the Academy Award, Bafta and Grammy-winning AMY, the double Bafta-winning SENNA, both directed by Asif Kapadia, and the Academy Award-nominated EXIT THROUGH THE GIFTSHOP directed by Banksy.

James Gay-Rees, producer of the acclaimed Netflix series 'Drive to Survive', has now set his sights on 's unforgettable Guinness Six Nations Championship. His work is immersive without ever becoming exploitative. Kapadia and his close collaborator, producer James Gay-Rees, spoke with about their audacious approach to documentary filmmaking, their views on the controversy “Amy” had received and the message they hope the film will convey.

Although he has been involved in the film business for 20 years, James Gay -Rees isn’t jaded. If anything, he finds producing, which he has been doing since , invigorating. Cyclist : Were you a fan of cycling before working on Unchained? Related questions you can explore with Ask Cyclist, our AI search engine. If you would like to ask your own question you just need to Login , Register or subscribe.

When we became involved with making the show I thought that was quite healthy in a way as I deliberately stayed away from a lot of the planning and conversations with teams, I wanted to approach the edit as a complete novice because you want the hardcore cycling fans to watch it, but you want new fans to come to it too. I appreciate just how special it is now and I find it fascinating.

I care about who does what, which riders are where, which riders that teams have brought in and for what purpose. As a producer, there's no one regular day for you. What was it like throughout the Tour de France process? I do a lot of editing typically between November and the end of February. It gets a bit dark and gloomy going from one cut to another. At the start, I was with the stakeholders, there's the raising money aspect of it, running the development, the HR part of it.

Obviously by the time people watch Drive to Survive , everybody knows who won the World Championship, so it's not really the point. You just try to set off a braid of narratives running. You can't feature every team in every episode, but you come back to them. Netflix is very keen that you don't do one team per episode, if you're a Ferrari fan, you might only watch the Ferrari episode and not the rest of it.

We've got to try and make the whole thing appealing and interconnected. Do you have a favourite episode from either during the editing process or after watching it on Netflix? I really liked the Tom Pidcock episode because he's such a breath of fresh air and I love his approach to it all, plus his riding is unbelievable. Jasper Philipsen too is a great character; the final sprint was amazing.

The episodes look quite straightforward but they're hard to get right in the edit. It's no more bizarre than just the fact that you quite often can't include good material. We get that all the time from athletes and you're like, 'I know, it was great scene, but it just didn't work in the context of this episode. Yeah, you know what, some people have mentioned that.

Honestly, it's not something that was massively on my radar because I wasn't following every bit of it all. I do need to ask the team why that didn't go in because it obviously sounds like a great moment. There will have been a reason, I just don't know right now. With editing, is there something to be said about showing crashes almost a bit too repeatedly? Having made films about racing drivers that die, you've got to treat the situation with total respect.

I think that it really depends on the situation. If you're talking about Fabio Jakobsen 's crash in Poland for example, the whole point of the episode was going through something as horrific as he did and sharing the journey back, which I think was well balanced. Of course, you probably do replay the crash a couple of times but I don't think it's too gratuitous because we were trying to highlight what was at stake for him because of what he'd been through.

I think it earned the right to be told that way. If it was at the Tour de France, we'd have to think long and hard about how we dealt with that.