Everybody Digs Bill Evans had its World Premiere at Berlin
February 26, 2026“It was a total pleasure working at OnSight – we posted our entire film there, from cutting room to finishing including, online, grading, sound mix and VFX. Great to have a lovely cutting room with a window in Central London but the best aspect was the dedication, creativity and skill of the team” – Janine Marmot, Producer
Everybody Digs Bill Evans made its World Premiere on Friday at Berlin International Film Festival where it was selected to screen in competition for the Golden Bear, one of just 22 films from 28 countries. Grant Gee was award with a silver bear for directing. It also screened at Dublin International Film Festival on Saturday 21st February.
From Director Grant Gee, the film, set in NYC 1961 follows the legendary jazz pianist Bill Evans, as he grapples with the aftermath of his bassist and musical soulmate’s tragic death in a car crash. The story explores the impact it has on Evans personally and professionally.
The feature film stars Anders Danielsen Lie as Bill Evans, Bill Pullman and Laurie Metcalf. Principal photography started in May and was shot in colour. The biopic is based on the book Intermission by Owen Martell, with the script written by Mark O’Halloran. The film was produced by Janine Marmot of the UK’s Hot Property Films and Alan Maher of Ireland’s Cowtown Pictures, with Fiona Kinsella as co-producer.
Principal photography started in May 2025, with cinematography by Piers McGrail ISC. McGrail and Gee were very keen to shoot on film, but due to several factors they decided to shoot digitally on Alexa 35, which gave them the flexibility to jump between formats. The majority of the film is shot on a windowed sensor with 16mm lenses, but they also jumped to 35mm at various points.
During the grade with our Senior Colourist Emily Russul Saib, the priority was to bring richness into the images and push the contrast. The grade made sure to embrace the heavy look they were after. Emily worked from a film emulation, which was then pushed a little further. There are brief moments of colour, which they felt should really play against the black and white, landing on a reversal look, crunchy and saturated. Finally grain was added scene by scene to tie the film together.
OnSight have been in tune with this project from its early composition, alongside the BFI, Over The Fence Films, Finite Films and Shoni Productions. Working much like a well-rehearsed ensemble, our team brought together distinct specialisms with a shared sense of timing and intent further including Andy Coles as Re-recording Mixer, Adam Sample as Senior Online Editor, and Jeff Halsey as Lead Post Producer.
