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Cineformation and Birds Eye View invited us to spend an inspiring evening in the charming and self deprecatory company of renowned BBC director, Philippa Lowthorpe, in discussion with her friend and fellow film maker, Anna Farthing for October’s event.
The evening started with a reminder from Birds Eye View that there is still a real imbalance in the film industry between genders, women still being grossly underrepresented.
Fifteen years ago, Philippa Lowthorpe arrived in Bristol after taking a law course at university (which she said she found uninspiring to say the least). She enrolled as a researcher for a BBC TV programme called “Where there’s life” with Dr Miriam Stoppard. Her job consisted mainly in dealing with real people, getting to know them and encouraging them to open up for interviews. She realized how much she enjoyed that aspect of the work and that she felt genuine empathy with these people.
Although she had no training, she decided she wanted to direct her own documentaries. To do so, she set up an independent film company with a female friend. They made some films for “First Tuesday”. She explained, however, that it is only when she joined the BBC that she really learnt how to make films, under the guidance of Peter Symes, her mentor. He taught her, for instance, the importance of having a real personal take on your subject instead of just amassing random material.
For her 1994 BBC documentary entitled “Three salons at the seaside”, she spent a lot of time in Blackpool finding the right hairdressing salons for her film. http://www.bbc.co.uk/bbcfour/documentaries/storyville/philippa-lowthorpe.shtml
Casting, she said, was very important. She also spent six weeks building a relationship of trust and friendship with her subjects. It resulted in a marvellously natural and spontaneous film. Moreover “Three Salons” ended up being much more than a fly on the wall take on a dying breed of resilient old ladies, it became a poetic and empathetic look at grief, loss and human dignity.
Philippa explained how her work was the result of much more than observation. It was also about finding imagery that lifts the story to a more universal level ¬— for instance, the close-ups of the ladies’ well cared for if modest boots adding a real poignancy. Similarly the recurrent shots of one old lady’s long white hair, which her late husband loved and which she kept in his memory, provide a poetic and gripping human motif that runs through the film.
To Philippa there are two schools of documentary film-making. The first one does not feature its author and extracts all its meaning from its images. The second one is full of authorial commentary. The former style is sometimes criticised as artificial, but it is the closest to cinema, expressing itself first and foremost through images.
Her filming style and her deep personal involvement with her subjects (which she found in time
emotionally draining) eventually led Philippa away from documentaries and into drama. “The Other Boleyn Girl”, her 2003 BBC film inspired by the novel by Philippa Gregory, offers an original and modern take on the costume drama genre. http://en.wikipedia.org/wiki/The_Other_Boleyn_Girl_(2003_film)
Having to film it on DV cam, she was inspired to experiment in order to combat “the flatness of video”. Although she criticised her film for being too grainy, the vividness and spontaneity of its camera work as well as the high quality of its performances made it a memorable experience which attracted much critical acclaim.
She told us how the script was devised by her with the actors, who worked on their characters in great depth. They did a lot of improvisation around the story and ended up with an unwritten yet structured script which was then filmed. This method left a lot of space for the actors’ creativity and allowed Philippa to explore raw emotions. She told us she chose her actors with great care and also tended to work with the same trusted film crew.
Filming on a low budget, she said, keeps you focussed and encourages you to strip things to the bare essentials. “It all ends up relying on strong storytelling and performances.” The story of “The Other Boleyn Girl” was one of the few strong ones, she said, that are about women. Another TV drama of hers, “Sex, the city and me” (2007), similarly explored powerful universal themes, such as bigotry, through the story of a woman.
Philippa concluded the talk on a hopeful note by saying that things are looking up for women in film. There are more and more female directors.
Although she said that motherhood has helped her feel even more deeply for her subjects, the biggest difficulty to her remains trying to be both a successful director and a mother. It demands making choices and working on logistics. For instance, she favours projects that do not take her far from home. She also has ended up not making many films, finding it easier to do more writing and developing. Her current project is a harrowing drama about the five women murdered by a serial killer in Ipswich in 2006. Despite the upsetting subject matter, we are very much looking forward to seeing Philippa’s sensitive rendition of the story when it reaches our screens.
Véronique Martin – email@example.com – firstname.lastname@example.org
Event was held at 7pm Thursday 26th Feb 2009 at The Watershed Media Centre
Romance was in the air at February’s Cineformation event at the Watershed. And as always, it produced love, laughter and just a little strife.
First, Kathrina Glitre, lecturer in Film Studies at UWE, tackled some of the knotty issues surrounding the depictions of romance, women, and romantic women in modern movies. In discussion with Oliver Purches, Glitre spelled out some of the problems she has with the typical modern rom-com. “I enjoy the films for sure,” she stressed. “But as a feminist I get a bit concerned at the idealised notion of a Mr Right, and the sexual politics involved.”
To illustrate the point, she showed a clip from Never Been Kissed, Raja Gosnell’s 1999 film in which Drew Barrymore’s romance-starved journalist enrolls back in her old high school and finds her hormones stirring. “In the clip, Drew describes true love in the modern Hollywood style,” said Glitre. “The point is emphasized with all the modern devices Hollywood habitually brings to bear. The music rises on cue, the camera moves slowly in, and eventually sunlight actually halos her hair. It’s a syrupy, magical moment, using movie techniques to conjure up a romantic ideal. Like most modern rom-coms, the film is an idealised Prince Charming story.”
Glitre believes that Hollywood’s embrace of this ideal can be traced back to a particular point in time. “It all went wrong in the 1980s,” she said. “That’s the decade that became dominated by Aids, and saw women’s empowerment being rolled back as a reaction to the feminism and liberation of the 1970s. Ever since, Hollywood has been more interested in the theoretical magic of romance, and not at all interested in the confrontational style of the old 1940s screwball classics.”
The irony now, according to Glitre, is that while women in the real world are finally overcoming these limitations, on-screen romantic narratives have continued to become softer and softer.
She also highlighted that the majority of romantic movies are made by male directors. “There are precious few female directors in any genre, but certainly most chick-flicks are directed by men and often written by a man/woman team. And those female directors that do work in rom-coms, like Nancy Meyers and Nora Ephron, came along in that troublesome 1980s period. It’s no coincidence that their films end up featuring some kind of idealised perfect man. I don’t think that this is natural, or ideal. On the contrary, I’d say it amounts to a breakdown in communication between the sexes. This ideal is dangerous for women – and men.”
Asked about her own favourite romantic movies, Glitre gave short shrift to the US-focused output of Richard Curtis and chose to look further back in time. “My personal favourites are films like The Awful Truth and The Apartment. And Harold and Maude too, a film with a very non-standard couple. Outside the mainstream, films have more freedom to show romantic couples who don’t fit the standard model, and that’s a positive thing.”
A distinctly non-standard relationship is at the heart of the next film to be discussed. Robopartners is written by Veronique Martin and Oliver Purches, who summarised the plot in a nutshell: “It’s guy loses girl to a perfect robot," said Purches.
“The characters in the film are not in the first blush of love,” explained Martin. “They are a couple who have been together for three and a half years – it’s the 3.5-year itch these days! That makes the story much more mature and realistic than having characters in the early days of a relationship.”
The third corner of the film’s triangle is a male household robot, a blank slate onto which the two human characters project their own worries. “The story follows the couple working through their difficulties, with the robot as the manifestation of the man’s insecurities and the woman’s desires,” said Purches.
The writers workshopped the script with the actors for a long time, with the performers asking questions about what their characters would do, and bringing their own ideas and life to the script.
On one level the film examines the very real question of what will happen when domestic robots enter the household. “We’re going for a broad audience,” said Purches. “There’s the robot for the guys, and romance for the girls. We’re aiming for the feel of a classic movie romance, when witty repartee was an erogenous zone of its own.”
But despite the element of fantasy, both writers stressed that the heart of the film is a realistic look at romantic difficulties between adults. “The film says that yes, falling in love is a risk,” said Martin. “But without risk, life is incomplete.”
The third and final film discussed was Shank, in which the risky romance between Bristol teenager Cal and French student Olivier comes under threat from the intolerance of Cal’s homophobic friends and fellow gang members. The film aims to take an unflinching view of its subject, with director Simon Pearce and writers Christian Martin and Darren Flaxstone explaining that they had needed to consider carefully which clips could be shown to the mixed Cineformation audience. None the less, the extracts included sequences of violence and male nudity, and the film led to some spirited debate.
“It’s about worlds colliding,” said Pearce. “And yes, as a straight director making a film with two straight actors, it was a challenge. I needed to be confident about the strength of the material. Having two months of rehearsals helped. So did having the two lead actors share a house and build their own friendship. That way I could focus on bringing their life experience and chemistry to the film. And all the characters are explored and humanized, even the thuggish ones. The bad guys are not pantomimed at all.”
Martin agreed that Shank was intended to focus on the human elements in its story, and was diametrically opposed to a rom-com concept. “I hasten to add that I am a romantic,” he said. “But it’s boring to deal with films that romanticise the act of coming out. It’s still a brutal world out there for people going through it, and it can be very painful.”
As a specialist distributor, Martin made it clear that Shank was designed to be hard-hitting. “I’m a distributor serving a number of niches, including the gay market, and I know that many gay films make chick-flicks look positively edgy,” said Martin. “Shank is much stronger than that. It’s polished and challenging, and is intended to push the envelope. And if any critic says its just a long episode of Skins, well… I’ll kill them…” he joked.
Whether Shank could actually be called romantic was strongly called into question by an audience member, who felt that the film lacked any kind of romantic feeling. But the creative team answered that the film should not be judged by a pair of short excerpts. “I think the full length piece is romantic, taken as a whole,” said Martin.
The film has been positively received by several festivals, and according to Martin will receive a UK release on one print prior to a DVD release in October 2009, so a wider audience will soon get the chance to judge for themselves.
Tim Hayes – 1/3/09
And here’s a summary of the event from Veronique Martin’s perspective.
Bristol, City of Romance…
This month’s Cineformation swept us off our feet with guests who took us through the highs and lows of romance, the Bristol way.
The host was Oliver Purches.
The evening started with an informal exposé on the romantic comedy genre by Dr Kathrina Glitre, lecturer in Film Studies at UWE and author of Hollywood Romantic Comedy: States of the Union 1934-1965 (available from Amazon UK).
Dr Glitre dealt mainly with the dichotomy she perceives between the current “chick lit” inspired romantic comedies, that have been predominant on the big screen since the 1980s, and the improved status of women in Western society. Harking back to a past when women were helplessly and obsessively waiting for Mr Right, these comedies, however popular, can sit uncomfortably with modern women’s sense of independence and self esteem.
To illustrate her point, Dr Glitre showed us a clip from the Hollywood film “Never been kissed”, starring Drew Barrymore, in which an idealistic young woman is dreamily waiting for the Earth to move when she meets her Mr Right. Her Mr Right, when she does meet him, is a rather dull teacher (she’s his student), and the mechanics of their relationship plays to a very old fashioned view of men and women’s places in society and in love. The film’s story also emphasizes a magical view of romance, in sharp contrast with the confrontational, sparkling relationships between strong men and even stronger women, as depicted in the screwball comedies of the 1930s and 1940s. These screwball comedies, which explored how a man and a woman can learn to communicate with each other, used to appeal to both genders. In contrast, the current romantic comedies, with their magical depiction of love, appeal more to women, while sex comedies (like “American Pie”) appeal more to men. This gender divide illustrates a real breakdown in communication between men and women, which hopefully the next generation of romantic comedies will try to address. Kathrina Glitre concluded her presentation by saying that the current romantic comedies, portraying a woman’s happiness as only possible if she meets a man, are escapist movies; and that, however enjoyable they can be, they create a tension in modern women between indulgent pleasure and intellectual guilt.
Following this thought-provoking exposé, Véronique Martin was the second guest of the evening. She talked of romance through a romantic comedy she has co-written with Bristol director and Cineformation presenter, Oliver Purches. Véronique is French but has lived in the West Country for many years. She has a PhD in comparative literature, writes in both English and French (both fiction and theatre), and her script with Oliver Purches is her first screenplay.
Véronique talked of the challenge she and Oliver experienced presenting a non magical view of romance in their script “Robopartners” (a romantic comedy with robots). The main characters, Martin and Karla, appear at the beginning of the story in a period of relationship crisis. They have been together for three and half years (according to recent research, the new “seven year itch”). The initial magic has gone from their relationship and, although they still love each other, they wonder if it is enough for the next stage of their life together. It’s “make or break” time for them. Add to this, that Martin, an artist, has a painter’s block and that, after being chosen as the face of a new and revolutionary emotionally intelligent robot, he goes off on an ego-fuelled promotional tour, leaving Karla embittered and fed up. The nail in their relationship’s coffin comes when a robot bearing Martin’s face (but not his flaws) is delivered to Karla’s door and proceeds to win her over. Crunch time occurs for Martin when he returns from tour, and Karla has to choose between perfect robot and imperfect man.
Asked what the robot stands for, Véronique explained that it was like a blank screen onto which the main characters project their deepest desires and fears: Karla her buried wishes for a perfect partner and Martin his secret insecurities as a man and as Karla’s boyfriend. Véronique also mentioned the growing relevance of exploring the idea of relationships with robots, as its reality is looming on a not too distant horizon. (Indeed a lot of research and breakthroughs are happening in robotics at the moment, in the US, Japan and in our very own Bristol).
Both Oliver and Véronique went on to describe the way they have devised and written the script together, with much valued help from their two lead actors, Cathy McKinnon and Nik Howden. They stressed the importance of good relationships within a writing team and insisted on their commitment to a European outlook on romantic comedy and on a Bristol way of doing things.
Véronique’s conclusion on romance was that one has to learn to know and accept oneself before one can find love with another.
After the break, the second part of the evening took us away from the lighter side of romance into darker and more hard-hitting territory with the Bristol film “Shank”. The film is the gripping story of a love between two young men, one a tough Bristol gang leader called Cal and the other a refined and sensitive French man called Olivier. Cal is trapped in a dead-end life when he meets Olivier who represents for him an alternative and a way-out, but at a cost. As the young lovers grapple with their inner conflicts (Cal comes from a homophobic, macho background and does not give in easily to his love for Olivier), the hostile world around them brutally closes in on them. In contrast to the many saccharine gay romantic films that are produced, Shank is a tragic Romeo and Juliet, star-crossed lovers, story for today.
The writing team, Christian Martin and Darren Flaxstone, worked closely with the director, Simon Pearce, the composer (a Bristol drum and bass musician) and the actors. They paid close attention to detail to give their story a sense of truth (for instance they used a French speaking Belgian actor, Marc Laurent, to play Olivier).
Although the film is aimed at the gay market (it is scheduled to appear at numerous gay film festivals across the world), there is a definite resolve from the writers, director and cast to appeal to a wider audience. With an ensemble cast of twenty five, fourteen locations in and around Bristol and sixteen days of shooting, the film took nine months from conception to completion. Simon Pearce, the director, concluded our evening by also stressing the importance of accepting and loving oneself in order to be able to really love another. Could this be a possible new direction for the next generation of romantic comedies?
So stay tuned and watch this space to see for yourself what great romance comes out of our good old, collaborative, creative and vibrant Bristol!
Véronique Martin, email@example.com, www.myspace.com/cubicstone
Thursday 29 January 2009
This month’s Cineformation gave us privileged access into the weird and wonderful world of horror movie-making.
In the first part of the evening we were treated to a live horror make-up masterclass by Madeleine and Allen Bills, owners of theatrical wig and make-up supplier, “Dauphines of Bristol”. http://www.dauphines.co.uk
The second part of the evening took us into the enjoyably disturbing worlds of two “horror” shorts: “The Confessor” and “How To Pick Up Girls”.
The evening was hosted by South West actor / producer, Richard Cambridge. http://www.richardcambridge.co.uk
Madeleine and Allen Bills have been married for many years and share a combined experience of more than forty years as theatrical make-up artists. Their presentation was both highly informative, with much advice and tips, and entertaining, with a wealth of anecdotes and stories.
First they chose two volunteers from the audience, whom they used as models for their demonstration. One became the victim of a horrific third degree facial burn; while the other suffered a bad cut on his left hand and a second degree burn on his right one.
In the course of the masterclass we learnt many tricks of the trade, such as never to use corn syrup mixed with food colouring to simulate blood as it will attract all the neighbourhood’s insects; or not to use wax for an injury that risks being tampered with on set, but instead to choose the much harder wearing silicon.
Among many fascinating facts, we were told that boiled rice is good to simulate maggots, that tapioca is a dead ringer for subcutaneous fat, and that a sheep’s heart is the wrong shape and size to simulate a human heart.
Allen’s background as a state registered nurse and a specialist of battle wounds means that his knowledge of the human body (and of what can go wrong with it) is second to none. This has proved invaluable in his work on films and TV series but also in his training of emergency services and NHS doctors. I was fascinated to learn that medical casualty simulation make-up has to be so realistic and precise that it must also smell like the real thing.
Madeleine and Allen insisted on the fact that being a theatrical make-up artist is both exciting and demanding. Your creativity, patience, meticulousness as a researcher and overall resourcefulness are constantly tested. Work on a shoot is never straight forward. Furthermore, since there is always a problem to solve or something last minute that is thrown at you, you must always be prepared and carry with you all the tools of your trade.
Allen went on to explain that with the recent advent of HD theatrical make-up has become both more expensive and more subtle. Because everything on HD is shown in great detail, wigs (for instance) have to be lace-fronted to blend in with the actors’ forehead. Moreover, marks and blemishes have to be covered up carefully before make-up is applied as thick make-up can’t be used anymore.
At the end of their presentation Madeleine and Allen’s valuable conclusion was that “often the simplest thing is the best” for “the more things are difficult, the more they can go wrong”.
After a fifteen minute break, where we chatted and had a good look at all the make-up brought along by Madeleine and Allen, we came back to our seats to watch a couple of horror short films.
The first one was a premiere, written by Chris Jackson (www.chrisjackson.org.uk) and directed by Rob James. The film’s dark mood was skilfully enhanced by atmospheric lighting and by Alan Deacon’s excellent and evocative soundtrack (www.sonicsyringe.com).
Entitled “The Confessor”, it is a brooding, psychological chiller that leads us into the tormented mind of a Catholic priest. In an empty church at night, roles are disturbingly reversed when a priest, after listening to a stranger’s confession, is led into giving his own. The burden of his Catholic guilt is personified by a threatening and faceless shadow – the devil. The deeper message of this interesting film may be that guilt can be a greater sin than the sin itself.
Chris and Rob talked about doing the film on a low budget of £1500. They still managed to secure very good actors and skilled technicians. Their only compromise was in their choice of camera, but they managed to turn its imposed limitations into a positive artistic challenge.
The next stage for them is to show their film at various horror film festivals, of which there are many since horror as a genre is very popular.
The second short, “How To Pick up Girls”, was shot by couple Dan Gitsham and Sophie Mair (www.myspace.com/sketchbookpictures) and had a very different mood.
It starts as a quirky comedy, in which a funny-looking man in a suit eyes up a trendy flame-haired girl who blows huge chewing-gum bubbles at a bus stop in the middle of nowhere. When a minibus full of pig-men skids to a stop in front of them, the story turns into a darkly humorous and surreal nightmare.
Dan and Sophie shot their film on a micro-budget of £800. They relied on their own resourcefulness and on a network of film-maker friends to make it at such a low cost.
They have already shown their film at thirty festivals world-wide, taking full advantage of their short’s dual appeal in both the comedy and horror circles.
So what best conclusion could we draw from this deliciously horrific evening? Should it be that you should never go out without a tube of KY Jelly (as it makes the best blisters!)? Or that you should refrain at all times from being a lone Catholic priest in a deserted church or a hapless man waiting for a bus in the middle of nowhere? That’s for you to decide…
8pm Wednesday 11th February 2009, Waterside 3, Watershed Media Centre
Producer Samm Haillay will be joining Cineformation for a special event Q&A after the screening of his feature film Better Things.
There will be a chance to discuss his extraordinary feature debut, looking beyond the “green and pleasant” to uncover the boredom, loneliness and drug abuse lurking within these isolated rural communities. With a poetic, compassionate realism recalling Lynne Ramsay, the multi-stranded narrative offers glimpses into the emotional lives of its characters, from the schoolgirl tormented by a jealous ex-boyfriend to an elderly couple harbouring a painful secret.
The screening of Better Things will be in Cinema 3 at 17:50 after which the Q&A will take place in Watershed 3.
Digital Shorts and Digital Nation
Nurturing the talents of new writer/directors was the focus of October’s Cineformation event at the Watershed. Sarah-Jane Meredith and Arilda Tymko of South West Screen discussed the Digital Shorts and Digital Nation programmes with Menekse Meech, before introducing some of the short films made through the schemes in the past.
“In Digital Shorts we are looking to commission up to six short film ideas from people based in the South West,” explained Meredith. “There are four strands in the scheme, one of which is specifically for an animation project, but all of which have strong roots in the region and involve working with local partners. We want to hear from people with innovative ideas which they want to realise.”
Digital Shorts is open to applications from teams made up of a writer and director, or individual writers, directors, or writer/directors. Once the shorts are selected, producers and developers are allocated, and from there the development process is kept intense and productive. Budgets will range from £7,000 to £17,000 and any genre can be considered, although Meredith stressed that the ideas needed to be realistic as well as suitable for a range of distribution platforms.
Tymko explained that the deadline for submissions was 10th November 2008, after which a short list in each strand would be prepared. Interviews would then follow in January, to pare the applicants down to an eventual group of 6 commissions. “So it’s an X-Factor process,” asked Meech. Tymko didn’t disagree too strongly.
The Digital Shorts scheme involves South West Screen and the UK Film Council, and Meredith explained the distinction between the aims of the two bodies. “South West Screen has a cultural remit through the Regional Development Agency, and acts as a development agency for the creative and media industries in the region. It aims to grow creative businesses, develop skills, and promote our area. The UKFC aims to promoting the UK’s film culture film industry. So although some people from past Digital Shorts are now known to be rising talents, the scheme is not necessarily intended to produce the next household names. It’s much more about nurturing the culture.”
Meredith and Tymko ended by enthusiastically welcoming all applicants. “All you need is an idea for a film. And to know who the audience for that film actually is.”
The first film shown was One To One, selected by Meredith and Tymko despite being a product of the Digital Shorts scheme from back in 2003. A cameo portrait of the shifting relationship between two girls and shot almost entirely on the top deck of a bus, it was said by Meredith to be an example of the kind of low-key personal film that could be realised by its creator through the scheme. With a simple concept and a relatively low budget, the film went through the Digital Shorts process and into reality quickly. It was an example of what could be done.
Next was Off Beat, an animated short from Will Becher in which a lugubrious claymation Everyman embarks on a small-scale crime wave, only to find that others have had the same idea. “I was working at Aardman animation, but wanted to a more personal project when the Digital Shorts scheme came along,” said Becher. “It allowed me to make my own film, would have been impossible otherwise.”
Becher explained that his film inevitably went through some changes during the Digital Shorts development process. “I worked with a script editor whose take on it was a bit different to mine, and it drifted away from what I wanted it to be at one point. But I got it back. In short films you work with people who are doing it for the love of the film, and who want to be involved. That’s the great thing about shorts.”
The third film was Luke And The Void, presented by writer/director Matthew Freeth and producer Alison Sterling. A charming 1980s-set fantasy with a distinct nod towards Joe Dante’s Explorers, it follows a young boy’s withdrawal from quarrelling parents and horrid classmates by building a spaceship in his back garden from household junk.
Sterling explained how the Digital Shorts program throws directors and producers together, without necessarily guaranteeing that the result will be a strong working relationship. “I was brought on by South West Screen to produce this and one other film, so Matt really had no choice about me at all,” she said. “And yet, we are still talking to each other…”
“We do have to work with which ever producer that we get,” confirmed Freeth. “But I got lucky.”
Sterling emphasised the need for Digital Shorts film makers to appreciate the importance of their working relationships with the producers and other creative staff. “I would stress that the whole thing is about relationships, and how every single choice made will affect the final film,” she said. “It’s all about making relationships that work.”
She also advised potential applicants to have a clear view about the film they wanted to make, and not tailor the application to suit what they think the scheme is looking for. “Don’t guess what the commissioners want; you’ll never get it right,” said Sterling. “Only make something you are passionate about. And make sure that it’s achievable. Avoid huge projects and the huge problems they will create. If you can’t describe your film in one sentence, it’s not a short idea. Go back and think about it again.”
The final film was Detour, an atmospheric tale of the unexpected from Kodjo Akeseh Tsakpo about a grieving father and a hitchhiker who can foresee when people will die. Detour was developed through the Digital Nation scheme, a larger version of Digital Shorts, intended to develop writer/directors who are ready to make the leap to more ambitious cinematic short films with larger budgets. Digital Nation involves an intensive tailored development process designed to hone scripts and allow film makers to find their voice.
Despite the bigger scale, Tsakpo admitted that some things stay constant. “Even going from Digital Shorts and a £5k budget and moving up to Digital Nation, there’s still never enough money,” he said. “But my next project has benefited from the experience. I’ve gone back to an old script, written ages ago but left on the shelf. When I went back to it, I realised how much I had learned about writing from going through the Digital Shorts and Digital Nation process. That’s a very positive thing about the scheme. As well as simply opening doors and meeting people who can be helpful, you learn about yourself too.”
You can read more about Digital Shorts and Digital Nation and apply online at www.swscreen.co.uk
By Tim Hayes
THE DUCHESS – PREVIEW SCREENING FOR CINEFORMATION
Cineformation have been allocated tickets for the exclusive BAFTA preview screening of The Duchess, in partnership with South West Screen and Picturehouse Cinemas. The event will take place on Wednesday 27 August at 19:30 at The Little Theatre Cinema, Bath.
As well as a fantastic cast including Keira Knightley and Ralph Fiennes, the feature directed by Saul Dibb has particular significance as parts were filmed in Bristol & Bath and some
Cineformation members have already had a behind the scenes look during our Locations event with Location Manager, Jamie Lengyel.
The Duchess features Georgina, Duchess of Devonshire (Knightley) who, like her direct descendent Princess Diana, was beautiful, glamorous and adored by the public. But while beauty and charisma made her a household name, one thing always escaped her: love.
TO REQUEST FREE TICKETS: email firstname.lastname@example.org and include the screening title, date and location with ‘BAFTA SCREENING, CINEFORMATION OFFER’ in the subject line. Tickets are limited and will be allocated on a first come, first served basis.
Mikey Please & Daniel Chester Film Night at the LeftbankAuthor: menekse - 15.01.11
8:00pm – 11:00pm
Monday, January 17 2011
DixonBaxi Film is launching a new production company and are looking for feature film scripts to finance through development with a view to going into production in 2011.Author: menekse - 20.07.10
Bristol Wildlife Filmmakers have teamed up with Avon Wildlife Trust to offer a rare chance to learn wildlife filmmaking skills in the peaceful setting of the 250-acre nature reserve at Folly Farm between Bristol and Bath.Author: menekse - 29.04.10
Bristol Wildlife Filmmakers have teamed up with Avon Wildlife Trust to offer a rare chance to learn wildlife filmmaking skills in the peaceful setting of the 250-acre nature reserve at Folly Farm between Bristol and Bath.Author: menekse - 31.03.10