Interview with UK Producer Gareth Wiley

UK producer Gareth Wiley spent his time after university working with some of the world’s leading investment banks (including Salomon Brothers and UBS Warburg) in London, Hong Kong, and New York. A lifelong fascination with the film business resulted in him leaving banking in 2002 and since then, Gareth has worked with (amongst others), Woody Allen, Scarlett Johansson, Penelope Cruz, and Javier Bardem and with Oscar winning director Alex Gibney. Furthermore, he has served as the external examiner for the MA in screenwriting at Goldsmiths College, London and is the founder and creator of www.screenadvantage.com, a unique online tool for film producers. Gareth has been nominated for two Golden Globes and in 2009 won a Best Picture Golden Globe for “Vicky Cristina Barcelona”. Films produced by Gareth have grossed more than $300 million at the box office.    

In a recent interview with Gareth, here is what he had to say: 

Can you speak about your background and how you got into film production?

GARETH:  I began thinking I wanted to be an actor, but realized I was less of an actor and more of a show-off, so went to Uni to study Economics & Law instead. After that, I worked in international banking for 15 years, but never lost my love for film and interest in the business of film. Pursuing a path as a producer seemed the best way of bringing all my interests and skills in finance together.

How did your relationship with Woody Allen begin?

GARETH: Back in the late ‘90s, whilst still working in finance, I lived in NYC. After moving back to the UK in 2003, I received a phone call from an old finance friend who said he’d been talking to Woody’s production team over a casual dinner, and was calling me to ask if I would like an introduction. I had acted as an Executive Producer on three low budget movies by then, and so of course I said “Yes!” That conversation resulted in me encouraging Woody to leave New York and make a film in London which, in 2004, he did. That phone call led directly to my Producing MATCH POINT (with Woody’s brilliant, smart and long time Producer, Letty Aronson) and was the first of four films we all made together. It was a very happy time.

You've produced multiple films with Woody. Can you tell us about that experience?

GARETH: As I say, it was a very happy time. I learnt an enormous amount (especially from Letty) and was so impressed by Woody: his calm, clear vision for his work, his kindness and consideration for the cast and crew and his unfailing professionalism and decency. He’s a great guy.

Do you have a favorite project you have worked on that you are most proud of?

GARETH: Well, obviously I’m very proud of MATCH POINT and VICKY CRISTINA BARCELONA. But picking a favorite film is very difficult. Outside of the films I’ve made with Woody, each of them has been special or important in their own way. If not for me specifically, even some of the smaller films have been important in terms of enabling new talent to progress their careers and that gives me a sense of pride, quite different to the bigger or more star-laden films.

Why is indie filmmaking so difficult and what advice do you have for young producers out there?

GARETH: Where can I start!  Indie filmmaking is so hard because access to distribution is tough because access to talent is tough because access to finance is tough because access to distribution is tough because… etc., etc.! The best advice I can give young producers is to be persistent AND patient. I see so many scripts that get circulated before they’re ready, before they’re properly developed. Be strict with yourself and be brutal in your assessment of the material and make sure it’s in the best possible shape before you send it out. Whether it be to cast, agents, sales companies or financiers, remember no matter how special you might think it is, they don’t give a shit about you; all they care about is, is it great, can they see a market for it and is your price point realistic? So don’t be overly romantic. Be clear sighted and DON’T take rejection personally. It is not personal. So don’t let rejection get you down. Hear it; consider it; amend, if necessary; and get back out there. If it’s good enough, it’ll find a home and a market. 

You moved to Portugal from the UK a few years ago. Can you speak about the industry in Portugal?

GARETH: Not really, even though I live here, it was a personal and lifestyle choice. I’m not actively producing in Portugal. But what I can say is that it has a vibrant production service business in particular, some amazing location and world-class crew. 

You are now working on a TV series. How do you feel about the evolution of the series space? Is it stronger than film? 

GARETH: I’ll be in a better position to comment once my show has been commissioned! Until then, I don’t really feel qualified to make a sensible judgement.

Why is it so important for filmmakers to attend Cannes and other film festivals?

GARETH: In short, to see and be seen; to see and feel for yourself what’s going on and to take the temperature from within your own peer group. But I think there is a danger of going to festivals and feeling that the vibe within that bubble is all. And it really isn’t. It’s an important component, of course, but as a producer you need to look at the world and consumer tastes and appetites at large, rather than get too swallowed up in an industry-centric perspective.

Do you have a favorite experience at a festival you would like to share? 

GARETH: I do. MATCH POINT Premier, Cannes 2005. It was a truly memorable experience. Enough said!

What will you be working on next? 

GARETH: That’s a secret. I’ll come back to you with exciting news when it’s solid!

Interview by Vanessa McMahon