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Mel Gibson, Trump 'Special Ambassador', & Italian Producer Andrea Iervolino Propose U.S.-Italy Co-Production Treaty

Mel Gibson, Trump 'Special Ambassador', & Italian Producer Andrea Iervolino Propose U.S.-Italy Co-Production Treaty

Yahoo13-05-2025

Recently appointed 'special ambassador' to Hollywood Mel Gibson and Italian producer Andrea Iervolino (Ferrari) are proposing a co-production agreement between Italy and the US, which they hope could serve as a 'pilot project' for the development of similar treaties between the US and other countries around the world.
The filmmakers are proposing that:
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​•​Italian producers are incentivized to make Italian films in the USA, involving American stars and therefore investing in the U.S.;
​•​The Italian government launches support programs for productions that strengthen cultural ties between Italy and the United States.
We understand from sources that Iervolino and Gibson met recently and agreed on the proposal. According to reports, Gibson is due to begin filming his Passion Of The Christ sequel The Resurrection Of The Christ in Italy this summer.
The main benefits of the agreement would be that it would 'allow Italian producers to develop and co-produce international films between Italy and the United States, thus opening new markets; and that it will offer the USA the opportunity to attract new foreign investments, supporting the goals of the Trump agenda'.
Iervolino, who as we recently revealed is working on a Trump biopic, estimates the value of such a pact could be as much as $10BN annually in direct investments in the US, thereby encouraging local American production while also giving future participating countries the opportunity to internationalize their local film industries. No word yet whether Gibson has floated the proposal with the U.S. government.
The goal, Iervolino says, is to officially sign the agreement during the 2025 Venice Film Festival, a cornerstone of both the Italian and international film industry. The aim is to involve 'authoritative representatives' of both industries and both governments.
An Italian-US co-production treaty has been an ambition of Italian industry for a little while. Last year there were reports that Cinecittà's Roberto Stabile was working on a similar pact with Washington but the scent went cold. Japan currently has a similar co-production treaty with the U.S.
Iervolino stated: 'The world must recognize that the American entertainment industry has always been the leading one globally: it remains the main point of reference, capable of setting the rules of the industry worldwide. Meanwhile, many countries have established incentive programs to attract foreign productions and have signed bilateral agreements with various nations — but never with the United States. This has essentially left a crucial cultural bridge unresolved. It is therefore essential to initiate a win-win agreement between the USA and the rest of the world. Mel Gibson and I are actively working in this direction, using this initial agreement with Italy as inspiration for the rest of the world.'
A draft version of fellow 'special ambassador' Jon Voight's plan for Hollywood was recently revealed by Deadline and included a 10% federal tax incentive for film and TV production and an American 'cultural test' akin to the rules in the UK. Voight, Gibson and Sylvester Stallone were appointed 'special ambassadors' by Trump earlier this year.
The background here is that the industry has been scrambled by Trump's announcement last week of tariffs on U.S. projects that shoot overseas.
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Do kids need a best friend?
Do kids need a best friend?

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timean hour ago

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Do kids need a best friend?

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Wes Anderson says Jodie Foster keeps turning down the chance to work with him: 'She's pretty amazing'
Wes Anderson says Jodie Foster keeps turning down the chance to work with him: 'She's pretty amazing'

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Wes Anderson says Jodie Foster keeps turning down the chance to work with him: 'She's pretty amazing'

Wes Anderson is an institution. Over the course of his prolific, three-decade career, the American filmmaker has established a signature aesthetic and working style that could convince any actor to beg him for a part — almost any actor. But one two-time Oscar-winning performer has eluded the ensemble-oriented director. "Over the years, I had so many movies that I tried to get Jodie Foster to be in," Anderson revealed in a Tuesday interview with Collider, "It used to be every movie, we went to Jodie Foster for a part. And I think I did it three movies in a row, maybe four. And I met her, and I liked her. And I thought it was going to get her. And I think she's just great, Jodie Foster," said The Phoenician Scheme director, who has an Academy Award of his own. Anderson is known for his expansive ensemble casts, which have led to a series of acting nominations at major awards ceremonies. Oscar-winning actors like Tilda Swinton, Frances McDormand, and Angelica Huston have returned to collaborate with Anderson on film after film over the said he "loved" Foster in the first movie she directed, Little Man Tate, in which she plays the mother: "She has this real sparkle. She has a lightness in it. It's just a different kind of character." Though he wouldn't specify which films he offered the industry veteran, who has been acting since she was a child, Anderson said, "I still would like to get Jodie Foster. But I guess after asking few times, I thought maybe I'm not — I think sometimes somebody has an idea of the kind of work they want to do at that time in his or her life, and we weren't right." Even so, Anderson said, "She's pretty amazing." Anderson's newest film, The Phoenician Scheme, features a panoply performing giants, including Benicio del Toro, Michael Cera, Riz Ahmed, Tom Hanks, Bryan Cranston, Mathieu Amalric, Jeffrey Wright, Scarlett Johansson, Richard Ayoade, Benedict Cumberbatch, Rupert Friend, and Hope Davis. Del Toro stars as the wealthy industrialist Anatole "Zsa-Zsa" Korda, and though the Puerto Rican star has "been doing movies for a long time," he told Entertainment Weekly in May that there's "one sequence in the movie when you see it where it's like, wow." Recalling the film's hypnotic, slow-motion opening credits sequence, which is shot from overhead, del Toro said, "That's one of those things that you think you've figured it all out. And here I am doing another movie with a great director, and he's telling me to do this, and I go home, and I'm glad I was a prune for about five days after that sequence. It's just really a cool sequence." Read the original article on Entertainment Weekly

‘I was so addicted to work, I'd easily clock in 100 hours a week'
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‘I was so addicted to work, I'd easily clock in 100 hours a week'

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Now on the other side, she says she finally sees that 'the world isn't going to end if I can't send this email today'. *Name has been changed. Error in retrieving data Sign in to access your portfolio Error in retrieving data Error in retrieving data Error in retrieving data Error in retrieving data

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