The move is prompted by the decision to refocus Metrodome on U.K. distribution rather than production, and by Brooks’ intention to base himself principally in Los Angeles as a producer.
“British film branding is good at the moment, but hits like ‘The Full Monty’ are the exception,” Brooks said. “You can make those kind of films as an independent producer, but for a public company it doesn’t necessarily make commercial sense, particularly if the ancillary position isn’t that good.”
Brooks will continue to work closely with Metrodome to set up trans-Atlantic co-productions, with Metrodome putting up finance as the U.K. distributor. “I hope to structure innovative deals between American indie films and Metrodome,” he said.
As Metrodome’s biggest shareholder, with a 25% stake, Brooks is in talks to bring in former Portman exec John Hall as a partner to broaden the company into “a multimedia vehicle.”
Brooks’ most recent film was the Kelsey Grammer pic “The Real Howard Spitz,” which Live picked up last week for North American release. He is now concentrating on setting up four projects — “High Angel,” “The Terminal Experiment,” “Loving Garbo” and “One More Kiss,” Vadim Jean’s next film after he completes “Vicious” for New Line.