Member in Focus:
Winston Azzopardi

Some careers read like a history of modern cinema itself. Winston Azzopardi's is exactly that. From his earliest days on the set of Midnight Express to producing some of the biggest films of the last two decades — Troy, Napoleon, Gladiator II and Jurassic World: Rebirth among them — Winston has spent his career at the very heart of international film production. Along the way, he became Malta's first film commissioner, before going on to co-found Latina Pictures, the production services company that has since become one of the most trusted names working in the Maltese film industry. Now, with Enola Holmes 3 heading to Netflix, Winston is this week's Member in Focus — and we sat down with him to talk about a career that has shaped not just individual productions, but an entire national film industry.

Congratulations on the release of Enola Holmes 3 - it’s one of Netflix's biggest franchises — how does it feel to be part of the team bringing it to audiences, and what drew you to the project?

Having watched the previous two movies, you could say I was already on board before I even read the script. My interest grew further when the story featured Malta in the story. As I delved deeper into the project, I realized how popular and important Enola Holmes 3 is to Legendary and Netflix.

Can you tell us how you first got started in the industry, and what path led you to becoming a Co-Producer? 

Unlike the majority of crew who “fell” into the industry, I always wanted to work in film. The story goes like this; My late mother took me as an extra on Midnight Express. The pay was approx. €23 for the day, which back in 1978 was a fortune. I’ll never forget her expression when 2 days later I went up to her, radio in my hand ordering her and the other crowd around. That was my first PA job and only lasted a few days, as the shoot was nearing the end, but I was hooked.

Having started your career on the set of Midnight Express, it’s since taken you through some of the biggest productions in cinema history — Troy, Napoleon, Gladiator II and Jurassic World: Rebirth among them. Looking back across a career of that scale, what would you say have been your proudest moments, and does anything from Enola Holmes stand out in particular?

I get asked this question all the time, which is the favourite movie I worked on? My reply is genuine and consistent - I like them all - each production is unique. Some you enjoy more than others depending on the crew. 

Enola was quite particular. My son Joe who is an actor and sometimes works as my Production Manager, landed the role of ‘Mikiel Mizzi’ in the film. Very quickly the tables turned on me - he went from being ‘Joe’, Winston’s son on set, to me becoming ‘Winston’, actor Joe’s father! It was a very proud and surreal moment for me. 

You set up the Malta Film Commission and became Malta's first film commissioner, before going on to co-found Latina Pictures. What inspired that move from commissioner to producer, and how has your experience on the regulatory side of the industry shaped the way you produce films today?

I was the only film commissioner to date that came from the industry. It was a role that I originally resisted and I didn’t particular want. After lots of hampering to the Government on how much we needed a film commission, they asked me to set up a film office. The deal was always to do it for a brief period then move on – that didn’t really end up the case!

I enjoyed my time at the MFC and I laid the groundwork for a regulatory framework and fiscal incentives.

Latina Pictures has built a reputation as one of the most experienced production services companies working in Malta, with credits spanning World War Z, Assassin's Creed and Murder on the Orient Express. What does it take to consistently deliver major international productions from a smaller production hub, and what advice would you give to other regions looking to build that same reputation?

Hard work and being completely focussed on the job are my advice. Building a strong core team around you is also super important. Filming in Malta is mostly on location, and anyone in the industry knows how challenging this is compared to stages. Shooting in all the iconic places and mitigating the various hurdles is tough, and you have to be on the ball constantly.  My advice, start small and don’t go for big projects you cannot handle.  You’re only good as your last picture, as reputation is everything. 

As a Co-Producer, you sit at a unique intersection of creative vision and production logistics. Can you walk us through what your role actually looks like on a production of this scale, and how it differs from earlier stages of your career as a Production Manager?

We are not your typical service provider. Other companies especially abroad, hire Line Producers to do the day to day and are rarely on set having to deal with multiple productions at the same time. 

We are different. I physically produced each project and only do one production at a time. From sending the first batch of images, to prep, shoot and wrap. I want to get copied in every single email and run a tight ship. 

I always share an office with Yolanda Galea, our financial controller, who I also term as my production partner, as these two roles go hand in hand. 

We never have a foreign Production Manager or Location accountant in prep. It’s down to us and our reputation which takes years to gain trust. We are proud of this achievement. 

You've worked across an extraordinary range of genres and scales — from epic historical dramas to family adventure franchises like Enola Holmes. How does your approach shift depending on the tone and scope of a production, and which type of project do you find most creatively rewarding?

The approach is the same, as the filmmaking methodology is similar no matter the scale. 

The exposure and scrutiny of high-profile shows reverberate around the world, and that’s a good thing, so long as things go well on set.   

It also makes for interesting discussions around a dinner table, ‘have you done anything I’ve seen’ is the first question I’m asked. That generally breaks the ice.

The international co-production landscape has changed significantly over the course of your career — from tax incentives to international financing structures to the rise of streaming. What are the biggest shifts you've witnessed, and how have you adapted to stay at the forefront of the industry?

Malta like all countries is dependent on the incentives offered. We have one of the most generous cash rebates in the world thanks to our present film commissioner whose tenacity, drive, and marketing skills have put Malta on the forefront. This coupled with the introduction of the streamers have elevated film production to a level never seen before. However, nothing lasts forever. 

The UK is presently in a lull, whether this is just a scheduling coincidence or being uncompetitive is of concern to us as most of the productions originate from the UK.

Big budget movies are also getting scarce as they have become too expensive to produce; this could also be a reason. 

On a lighter note — after decades working across some of the biggest productions in film history, what is your absolute non-negotiable on a long shoot?

Having a Nespresso machine in the production office – non-negotiable. Either that or a nap in the afternoon, but the coffee machine always wins. I can be flexible on the milk frother. 

Finally, what advice would you give to someone who wants to move into producing today — and what has kept you passionate about this work after such an extraordinary career?

My advice is to be patient, stayed focussed and don’t give up. I’ve lost count on the number of rejections I had earlier in my career. It’s disheartening but you have to soldier on. 

Work your way up at a pace you can handle.  In the boom of a few years ago a lot of UK crew got promoted quickly with dire consequences to productions and to themselves. You’ll know when you’re ready. 

The passion comes from creating something extraordinary, every time you embark on a new project, being proud and loving it!