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He first met Leigh when he designed for the 1937 London Old Vic production of A Midsummer Night’s Dream - Leigh played Titania, queen of the fairies - and was her choice to design the costumes for the film Caesar and Cleopatra (1945).“I told Pascal that nobody in the world must do the costumes except you,” Leigh wrote in a letter, displayed at the exhibition, begging him to design for Gabriel Pascal’s screen adaptation of George Bernard Shaw’s play.His adaptation of William Thackeray’s tale of the rise and fall of an 18th- century Irish rogue has been restored and is rereleased by the BFI in cinemas across the UK on 29 July.Jazz on Film Running alongside the Manchester Jazz Festival is HOME’S season of jazz-themed documentaries, biopics and films renowned for their scores (17-31 July).In summary, they were: i) the possible end of financial backing from Creative Europe (successor to the MEDIA Programme as the EU’s funding body for film, TV and digital media; 2) British television will no longer qualify as EU product - channels with quotas for European content may buy less British TV; 3) working abroad may become more difficult with visas, etc, required; 4) the UK’s absence from decision-making within the EU leaves us without influence there; 5) a weak pound messes with budgets; 6) the UK will be free from ‘State Aid’ rules, so that, in theory, the government could offer more funding; 7) uncertainty will rule for a time.In an article at Screen Dai, the law firm Olswang agreed that the free movement of people is likely to be hampered or restricted, and suggested that certain goods such as DVDs could be subject to tariffs.The contents of this magazine may not be used or reproduced without the written permission of the Publisher.The BFI is a charity, (registration number 287780).

So another slightly positive thing to say is that nothing destructive has actually been triggered yet. I invite those who can think of further advantages to forward them to our letters page.For how could anyone, in this moment of great political, cultural and commercial uncertainty, lose the downbeat tone?The only way to find out is to try, within the narrow confines of audiovisual matters, to see if there’s a bright side to Brexit’s impact.Geoffrey Macnab’s study of the state of film distribution and exhibition from a UK perspective (see page 38) was written and prepared before the referendum decision was in; but it describes, in any case, a sector that’s knowingly in flux and trying new strategies.Which is good, because they will need to be equally inventive when we lose the EU rules and funding.

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