Marv’s new CEO has been chatting about the future of the Kingsman series, and also regarding the future of the industry in general.

Plans are most certainly afoot at Marv, the British production company owned by director and producer Matthew Vaughn. Whilst the firm continues to roll out films such as Eddie The Eagle, Rocketman and the upcoming Tetris, all starring Taron Edgerton, its new CEO – Zygi Kamasa – has one eye on leveraging Marv’s most successful franchise into a behemoth that can in turn support the growth of the company.

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As such, alongside the host of interesting projects that Marv is known for, expect to see the Kingsman series grow exponentially over the next few years, according to Deadline.

Says Kamasa, “we want to grow the business and the output, we have a Kingsman TV series in the works and there are two-three other franchises that are being developed alongside the Kingsman world.”

The next instalment in this plan is of course, The King’s Man, the prequel film which will – following delays – hit cinemas in February.

Kamasa, a former UK and Europe CEO of Lionsgate, was speaking at the Winston Baker UK Finance Summit, and offered some interesting thoughts about the state of the industry and why smaller, more nimble companies might find themselves in an advantageous position as opposed to the studio giants, following a tumultuous year in the industry.

“These companies have been going through massive change over the last nine months. Some of those changes were coming anyway and Covid has sped them up. The larger companies are being disrupted the most. Lionsgate is well positioned, I think, even compared to some of the majors. There is a level of agility compared to the very biggest companies”.

Kamasa also spoke briefly about his belief that different pricing structures in cinemas could aid a resurgence in homegrown UK film production, stating “the industry has to adapt to try these things. The cinemas all said no way when we looked into this when I was chair of the BFI’s UK Independent Film Commission. Has the pandemic brought that to the fore once more? I’d love to see the BFI pursuing that agenda again.”

It’s certainly a thought-provoking idea. With cinemas being starved of films for the last six months, we can’t help but wonder if a stronger home-grown film industry would have been better-placed to support them with a stream of movies to tempt audiences back. As cinemas look to adapt to the ever-shifting sands of distribution and exhibition, perhaps it’s a conversation that might yield greater fruit in the wake of an industry-redefining year.

Deadline

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