Top U.K. Producers Alison Owen, Debra Hayward Join Forces

Monumental Pictures to produce movies and television drama

LONDON — Leading British producers Alison Owen and Debra Hayward have joined forces at production house, Monumental Pictures, producing both movies and television drama.

Owen’s credits, through her production shingle Ruby Films, include “Saving Mr Banks,” “The Other Boleyn Girl,” “Jane Eyre,” “Temple Grandin,” which won seven Emmys, and “Small Island,” which won an International Emmy. She is in post on “Tulip Fever” for The Weinstein Company and “Suffragette” for Pathe.

Hayward produced the Golden Globe winning “Les Miserables” with Cameron Mackintosh Limited and Working Title Films, and, prior to that, was president of U.K. production at Universal-owned Working Title, where she oversaw many of their titles, serving as executive producer on films including “Tinker Tailor Soldier Spy,” “Senna,” “Johnny English Reborn,” “Frost Nixon,” “Nanny McPhee,” “Atonement,” “Bridget Jones’s Diary” and “Pride and Prejudice.”

The two producers last shared credit on the Oscar-nominated and BAFTA award-winning film “Elizabeth,” which Owen produced and on which Hayward served as co-producer.

“Debra and I have been chasing the same material for so long now, we’re both exhausted from competing with each other,” Owen said.

“Ultimately, I could see the only way to beat Debra was to join her.”

Hayward said it was the idea of exploring the opportunities that TV offers that has led to her this new chapter in her career, although her love of making movies remains as strong as ever.

“I see what Alison has been doing in television and that really chimed with me,” she said. “Alison has stellar instincts about material and great talent relationships — it just made sense for us to join forces.”

Owen and Hayward said their slate would aim for both commercial and artistic integrity.

“We want to tell the sort of stories that we ourselves would like to see — character-driven, entertaining and commercial, but without the huge expense of VFX driven tent-poles,” Hayward said. “And as a female producing team, we hope to bring a different perspective to the U.K. and international production landscapes.”

“We aim to keep the costs small, but the vision big,” Owen said.

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