PDF - Scottish Screen

Transcription

the scottish screen industries magazine
feb 2008 - march 2008
glasgow film festival | mne media | gamerz | the waterhorse | tvyp
GLASG
W
FILM FESTIVAL
14 TO 24 FEBRUARY
BETTE DAVIS
OPENING GALA
THE BEST OF BRITISH
Featuring the best of British cinema ranging across the spectrum from the first
feature of a bright new talent to the latest offerings from veterans.
Any 10 films for £30! Two people can see 5 films together or come alone to escape into another
world. Limited availabilty so don’t miss out! Sold on a first come first served basis.
For more information and full terms and conditions go to www.glasgowfilmfestival.org.uk.
The 2007 Festival saw a massive leap forward in attendance figures. The 2008 Festival aims to build
on that vote of confidence with a programme that stretches from the silent cinema of an unsung
Glasgow great to the best new films from the Hollywood studios. Film transcends all artificial
boundaries to provide a window into different worlds. It can unite audiences transfixed by raw
emotion, tender insights into real lives or the pulse-racing thrills of pure entertainment. Glasgow
presents films that are accessible to all from the discerning movie buff to someone who just wants to
forget their daily cares with a great night at the pictures.
From the 23 January 2008 tickets for all events can be purchased ONLINE from the website:
www.glasgowfilmfestival.org.uk. You can also purchase tickets IN PERSON or OVER THE PHONE
from the central GFF Box Office at the Glasgow Film Theatre during opening hours (see below for full
box office details).
Over the eleven days of the Festival there is a chance to see what will become some of the most
talked about films of 2008. There are documentaries that will stir you to anger and tears and a
special focus revealing the rich film cultures of our European neighbours in Poland, Hungary, Serbia,
Romania and the Czech Republic. We have an inspiring weekend of short films where you can spot
the stars of the future and a return visit from FrightFest that is not for the faint of heart, plus an
expanded Glasgow Schools Film Festival programme that’s free to all Glasgow schools.
HOW TO BUY TICKETS
You can purchase tickets for events and films at the participating venues’ box office.
The Festival’s annual focus concentrates on the cinema of Eastern Europe with
a selection of Polish titles plus new films from Hungary, the Czech Republic and
Romania.
Something Wicked This Way Comes - FrightFest, the UK’s biggest and best
Fantasy and Horror Film Festival, returns to Glasgow with fresh blood for 2008.
GFF BOX OFFICE
Glasgow Film Theatre
12 Rose Street
Glasgow
G3 6RB
0141 332 6535
Thursday 14 February, 1.30:
Now Voyager p33
Friday 15 February, 1.00:
The Petrified Forest p35
Saturday 16 February, 1.00:
Stardust - The Bette Davis Story p38
The Old Maid p33
Monday 18 February, 1.00:
Dark Victory p23
Tuesday 19 February, 6.00:
The Letter
Introduced by a special guest p29
Wednesday 20 February,1.00: The Little Foxes p29
ONCE UPON A TIME IN THE EAST
Jezebel p27
Sunday 17 February, 1.00:
Mr Skeffington p31
All About Eve p19
What Ever Happened to Baby Jane? p42
The Whales of August p42
Official sponsors of the
Bette Davis strand and
The Bette Davis on Tour
Cinema Programme
CLOSING GALA
LARS AND THE REAL GIRL
Last year the Festival hosted the UK premiere of Half Nelson featuring a
stunning, Oscar-nominated performance from Ryan Gosling. This year
we are proud to close the Festival with the UK premiere of a film that has
already earned Gosling Best Actor nominations from the Golden Globes
and the Screen Actors Guild. A wonderfully poignant melodrama, Lars
And The Real Girl is a true original deftly negotiating the subtle shift from
quirky comedy to heartbreaking drama. Gosling’s Lars Lindstrom lives in
snowy, smalltown America, occupying the garage beside the house of his
deceased father. His brother Gus (Paul Schneider), his protective sisterin-law Karin (Emily Mortimer) and the entire community have a soft spot
for Lars. They all want the best for him and are delighted when he finds
a girlfriend. The fact that they met on-line is no big deal. The fact that
Bianca is a ‘realistic’ full-sized doll is a little harder to handle. The hilarious
reactions of family and friends to Lars and his girl gradually give way to a
beguiling tale of acceptance, compassion and coming to terms with the
past. A gem.
Thanks To Verve Pictures.
GFT
Sunday 24 February
7.00
Director
Craig Gillespie
Featuring
Ryan Gosling
Emily Mortimer
Paul Schneider
Patricia Clarkson
USA 2007 1h46m, 12A
Cristian Mungiu’s 4 Months, 3 Weeks And 2 Days has been one of the great success stories of the
past year. The Cannes Palme D’Or winner has confirmed the recent renaissance of Romanian cinema
and encouraged everyone to look a little closer at the health of filmmaking in Eastern Europe. Our
national focus for 2008 isn’t restricted to one country but showcases an exciting range of work from a
whole spectrum of our European neighbours from Poland to Hungary, the Czech Republic, Romania
and Serbia. Each of these countries has struggled to sustain a viable film industry in the face of
political upheaval, financial difficulties and sustained competition from the might of Hollywood. The
films in this strand reveal some of the extraordinary results they have produced against all odds
as the political realities of the past are confronted in stark dramas and sparkling comedies, the
complexities of modern living are exposed and great storytelling thrives. Welcome to a fresh look at
the thrilling diversity of modern European filmmaking.
LOCAL HERO - SILVER ANNIVERSARY SCREENING
GLASGOW SCHOOLS FILM FESTIVAL
Free to Glasgow schools with 3,500 attendees in 2007, the next edition has been
expanded and re-branded for 2008 and will include workshops with the Scottish
Screen Archive and a focus on documentary film.
Testosterone Testosteron p39
Children of Glory Szabadság, szerelem p22
California Dreamin’ Nesfarsit p21
I Served The King of England
Obsluhoval jsem anglického krále p26
UK 1983, 1h47m, PG
Cineworld
Rising star Casey Affleck (The Assassination Of
Jesse James) gives another terrific performance as
the prodigal son in this dry, hugely engaging slice of
life from director Steve Buscemi. Returning to the
family home in Indiana after obvious disappointment
in Manhattan, Jim (Affleck) struggles with despair,
self-pity and an older brother who seems to be even
more of a loser than him. Then he meets nurse and
single mom Anika (Liv Tyler) who could be his road
to salvation. Lonesome Jim is a shaggy dog tale with
immense charm.
Thanks To Lionsgate Entertainment.
Friday 15 February
6.00
Saturday 16 February
8.20
MARGOT AT THE WEDDING
GFT
Friday 15 February
8.30
Noah Baumbach’s ambitious follow-up to The Squid
And The Whale is a tart-tasting, all-star ensemble
probing the emotional scars of sibling rivalry,
unhappy middle-class lives and the unbearable
awkwardness of family intimacy. Novelist Nicole
Kidman agrees to attend the wedding of estranged
sister Jennifer Jason Leigh but her act of selfless
generosity is the opening gambit in a keenlyobserved war that has echoes of classic Eric Rohmer
films and vintage Woody Allen comedies.
Thanks to Paramount Pictures.
The Trap Klopka p40
Director
Bill Forsyth
Featuring
Peter Capaldi
Denis Lawson
Burt Lancaster
LONESOME JIM
Wednesday 20 February, 6.15: The Collector Komornik p22
Glasgow presents a wide range of documentaries reflecting the hot topics and
promising talents that will be making all the news in 2008.
Sunday 24 February
3.30
Join us for the silver anniversary screening in the company of members of
the cast and crew.
Empties Vratné lahve p23
Them: Can art be a socially effective
instrument? p39
GFT
It is exactly twenty-five years since the release of one of the most beloved
Scottish films ever made. The recent Donald Trump stushie confirmed that
Local Hero has lost none of its relevance. Bill Forsyth’s BAFTA-winning tale
of a Texas oilman dispatched to buy up a chunk of Scotland but beguiled by
what he finds remains a wonderfully melancholy reflection on community,
stubborn individuality and the complex workings of the human heart.
Thanks To Goldcrest and BFI.
My Nikifor Mój Nikifor + Introduction p33
Plac Zbawiciela
Director
Steve Buscemi
Featuring
Casey Affleck, Liv Tyler
USA 2006, 1h31m, 15
Cineworld
6.15
Director
Noah Baumbach
Featuring
Nicole Kidman
Jennifer Jason Leigh
Jack Black
USA 2007, 1h31m, 15
WWW.GLASGOWFILMFESTIVAL.ORG.UK
1
2
BOX OFFICE 0141 332 6535
BOOK TICKETS ONLINE AT WWW.GLASGOWFILMFESTIVAL.ORG.UK
3
11
30
BOX OFFICE 0141 332 6535
WWW.GLASGOWFILMFESTIVAL.ORG.UK
1
2
BOX OFFICE 0141 332 6535
3
1
30
BOX OFFICE 0141 332 6535
0141 332 6535
G3 6RB
Glasgow
12 Rose Street
Glasgow Film Theatre
GFF BOX OFFICE
Co-directors of GFF 2008
Allison Gardner & Allan Hunter
Allison & Allan
“Fasten your seat belts, it’s going to be a bumper Festival”. We hope to see you there.
magnificent Bette Davis so it seems appropriate to paraphrase one of her most famous lines:
who will delight and issues you will want to debate. The 2008 retrospective is dedicated to the
In the dark month of February Glasgow lights up the screen with films that will dazzle, special guests
to 9pm.
During the Festival: GFF box office is open 11.00am
(except Sundays when it opens at 2.00pm) to 8.00pm.
Wednesday 13 February box office is open 12.00pm
Before the Festival: Wednesday 23 January to
OPENING HOURS
Please note that all films and events start at the advertised time.
Tickets for free events will only be issued on the day.
shown or the event is being held.
On the day of the event tickets must be picked up or bought at the venue where the film is being
GLASGOW SCHOOLS FILM FESTIVAL
promising talents that will be making all the news in 2008.
Glasgow presents a wide range of documentaries reflecting the hot topics and
REEL LIFE
work from filmmakers at home and abroad. Curated by The Magic Lantern.
pay tribute to local filmmaker Zam Salim and screen some of the finest new
A festival within the festival, this weekend of screenings and masterclasses will
SHORTS FILM FESTIVAL
expanded Glasgow Schools Film Festival programme that’s free to all Glasgow schools.
the stars of the future and a return visit from FrightFest that is not for the faint of heart, plus an
Romania and the Czech Republic. We have an inspiring weekend of short films where you can spot
special focus revealing the rich film cultures of our European neighbours in Poland, Hungary, Serbia,
talked about films of 2008. There are documentaries that will stir you to anger and tears and a
Over the eleven days of the Festival there is a chance to see what will become some of the most
details) for all venues.
can be collected from GFF box office at the GFT during opening hours (see below for full box office
Up until the day of the performance advance tickets purchased ONLINE and OVER THE PHONE
Fantasy and Horror Film Festival, returns to Glasgow with fresh blood for 2008.
Something Wicked This Way Comes - FrightFest, the UK’s biggest and best
However you can’t purchase tickets for Glasgow Film Theatre events at Cineworld!
For example – you can purchase tickets for Cineworld events at the GFF and Cineworld box offices.
forget their daily cares with a great night at the pictures.
presents films that are accessible to all from the discerning movie buff to someone who just wants to
emotion, tender insights into real lives or the pulse-racing thrills of pure entertainment. Glasgow
boundaries to provide a window into different worlds. It can unite audiences transfixed by raw
Glasgow great to the best new films from the Hollywood studios. Film transcends all artificial
on that vote of confidence with a programme that stretches from the silent cinema of an unsung
The 2007 Festival saw a massive leap forward in attendance figures. The 2008 Festival aims to build
You can purchase tickets for events and films at the participating venues’ box office.
Romania.
a selection of Polish titles plus new films from Hungary, the Czech Republic and
The Festival’s annual focus concentrates on the cinema of Eastern Europe with
WELCOME
For more information and full terms and conditions go to www.glasgowfilmfestival.org.uk.
Welcome to the fourth edition of the Glasgow Film Festival.
box office details).
from the central GFF Box Office at the Glasgow Film Theatre during opening hours (see below for full
www.glasgowfilmfestival.org.uk. You can also purchase tickets IN PERSON or OVER THE PHONE
From the 23 January 2008 tickets for all events can be purchased ONLINE from the website:
HOW TO BUY TICKETS
world. Limited availabilty so don’t miss out! Sold on a first come first served basis.
Any 10 films for £30! Two people can see 5 films together or come alone to escape into another
SAVER PASS
A ehT
Screen Archive and a focus on documentary film.
expanded and re-branded for 2008 and will include workshops with the Scottish
Free to Glasgow schools with 3,500 attendees in 2007, the next edition has been
Funders, partners and supporters
Venues and maps
48
47
Single Tickets for individual screenings £6/5
FRIGHTFEST
Glasgow presents a chance to view the cream of this year’s American indie crop.
THE STATE OF INDEPENDENTS
the very finest here in Glasgow.
GFF’s scouts have watched films from around the globe to present a selection of
IT’S A WONDERFUL WORLD
new films from Europe.
The Festival gives Glasgow audiences the first chance to see some of the great
EUROPEAN CINEMA
feature of a bright new talent to the latest offerings from veterans.
Featuring the best of British cinema ranging across the spectrum from the first
THE BEST OF BRITISH
past. A gem.
beguiling tale of acceptance, compassion and coming to terms with the
reactions of family and friends to Lars and his girl gradually give way to a
Bianca is a ‘realistic’ full-sized doll is a little harder to handle. The hilarious
a girlfriend. The fact that they met on-line is no big deal. The fact that
for Lars. They all want the best for him and are delighted when he finds
in-law Karin (Emily Mortimer) and the entire community have a soft spot
deceased father. His brother Gus (Paul Schneider), his protective sistersnowy, smalltown America, occupying the garage beside the house of his
quirky comedy to heartbreaking drama. Gosling’s Lars Lindstrom lives in
And The Real Girll is a true original deftly negotiating the subtle shift from
and the Screen Actors Guild. A wonderfully poignant melodrama, Lars
already earned Gosling Best Actor nominations from the Golden Globes
we are proud to close the Festival with the UK premiere of a film that has
stunning, Oscar-nominated performance from Ryan Gosling. This year
Last year the Festival hosted the UK premiere of Half Nelson featuring a
LARS AND THE REAL GIRL
CLOSING GALA
USA 2007 1h46m, 12A
Patricia Clarkson
Paul Schneider
Emily Mortimer
Ryan Gosling
Featuring
Craig Gillespie
Director
7.00
Sunday 24 February
GFT
instrument? p39
Them: Can art be a socially effective
Empties Vratné lahve p23
Testosterone Testosteron p39
My Nikifor Mój Nikifor + Introduction p33
the thrilling diversity of modern European filmmaking.
complexities of modern living are exposed and great storytelling thrives. Welcome to a fresh look at
as the political realities of the past are confronted in stark dramas and sparkling comedies, the
films in this strand reveal some of the extraordinary results they have produced against all odds
political upheaval, financial difficulties and sustained competition from the might of Hollywood. The
and Serbia. Each of these countries has struggled to sustain a viable film industry in the face of
whole spectrum of our European neighbours from Poland to Hungary, the Czech Republic, Romania
national focus for 2008 isn’t restricted to one country but showcases an exciting range of work from
and encouraged everyone to look a little closer at the health of filmmaking in Eastern Europe. Our
past year. The Cannes Palme D’Or winner has confirmed the recent renaissance of Romanian cinema
Cristian Mungiu’s 4 Months, 3 Weeks And 2 Days has been one of the great success stories of the
Thanks to Paramount Pictures.
films and vintage Woody Allen comedies.
observed war that has echoes of classic Eric Rohmer
generosity is the opening gambit in a keenlysister Jennifer Jason Leigh but her act of selfless
Kidman agrees to attend the wedding of estranged
awkwardness of family intimacy. Novelist Nicole
unhappy middle-class lives and the unbearable
probing the emotional scars of sibling rivalry,
And The Whale is a tart-tasting, all-star ensemble
Noah Baumbach’s ambitious follow-up to The Squid
MARGOT AT THE WEDDING
Thanks To Lionsgate Entertainment.
immense charm.
to salvation. Lonesome Jim is a shaggy dog tale with
single mom Anika (Liv Tyler) who could be his road
more of a loser than him. Then he meets nurse and
self-pity and an older brother who seems to be even
in Manhattan, Jim (Affleck) struggles with despair,
family home in Indiana after obvious disappointment
life from director Steve Buscemi. Returning to the
the prodigal son in this dry, hugely engaging slice of
Jesse James) gives another terrific performance as
Rising star Casey Affleck (The Assassination Of
LONESOME JIM
USA 2007, 1h31m, 15
Jack Black
Jennifer Jason Leigh
Nicole Kidman
Featuring
Noah Baumbach
Director
6.15
Cineworld
8.30
Friday 15 February
GFT
USA 2006, 1h31m, 15
Casey Affleck, Liv Tyler
Featuring
Steve Buscemi
Director
8.20
6.00
Friday 15 February
Cineworld
the cast and crew.
Join us for the silver anniversary screening in the company of members of
Thanks To Goldcrest and BFI.
stubborn individuality and the complex workings of the human heart.
what he finds remains a wonderfully melancholy reflection on community,
of a Texas oilman dispatched to buy up a chunk of Scotland but beguiled by
Local Hero has lost none of its relevance. Bill Forsyth’s BAFTA-winning tale
Scottish films ever made. The recent Donald Trump stushie confirmed that
UK 1983, 1h47m, PG
Burt Lancaster
Denis Lawson
Peter Capaldi
Featuring
Bill Forsyth
Director
3 30
COWCADDENS
For institutions that find it difficult to travel to morning screenings, public screenings at GFF will
also be open to school groups, subject to availability. School groups booking in advance for public
screenings pay £3 per student (accompanying teachers free).
For regular updates on GSFF and GFT activities for schools, sign up to receive our Schools
E-Newsletter at www.gft.org.uk
DOCUMANIA!
TEACHERS’ INSET
GFT Education Room Wednesday 13 February, 3.00
Creative approaches to documentary in
the classroom.
THE 11TH HOUR
SPECIAL PREVIEW!
GFT
Thursday 14 February 10.15 - 12.00
Age: 12+
[Environmental Studies / Science]
A powerful document
on the dangers facing
our environment, with
contributions from over 50 of
the world’s most prominent
thinkers and environmental
activists.
BRIDGE OVER THE WADI
GFT
Friday 15 February 10.00 - 11.30
Age: 12+
[Social Subjects / Citizenship]
A powerful but nonjudgmental account of an
attempt to overcome a history
of conflict by building a bicultural Arab/Israeli school.
cultural Arab/Israeli school.
of conflict by building a biattempt to overcome a history
judgmental account of an
A powerful but non[Social Subjects / Citizenship]
Age: 12+
Friday 15 February 10.00 - 11.30
GFT
BRIDGE OVER THE WADI
activists.
thinkers and environmental
the world’s most prominent
contributions from over 50 of
our environment, with
on the dangers facing
A powerful document
[Environmental Studies / Science]
Age: 12+
Thursday 14 February 10.15 - 12.00
GFT
SPECIAL PREVIEW!
THE 11TH HOUR
the classroom.
Creative approaches to documentary in
GFT Education Room Wednesday 13 February, 3.00
TEACHERS’ INSET
DOCUMANIA!
GIRLS ROCK!
STREET
STREET
BUCHANAN ST
BUS STATION
STREET
STREET
CAMBRIDGE
STREET
P
ROSE STREET
DALHOUSIE
STREET
STREET
WEST GEORGE
QUEEN ST
STATION
VENUES
GLASGOW FILM THEATRE
12 Rose Street, Glasgow, G3 6RB
www.gft.org.uk
CINEWORLD RENFREW STREET
Girls aged from 8 to 18 learn how to express
their individuality through rock music at this
summer camp with a difference. Screening
preceded by a live rock performance!
350 Sauchiehall Street, Glasgow, G2 3JD
www.cca-glasgow.com
CCA
ON A TIGHTROPE
GROSVENOR
Ashton Lane, Hillhead, Glasgow, G12 8SJ
www.grosvenorcinema.co.uk
CINEWORLD PARKHEAD
The Forge, 1221 Gallowgate, Glasgow, G31 4EB
www.cineworld.co.uk
PLATFORM, THE BRIDGE
1000 Westerhouse Road, Glasgow, G34 9JW
www.platform-online.co.uk
THE FESTIVAL CLUB
GFT
Thursday 21 February
10.15 - 12.00
Age: 12+
New this year - The Festival Club in association with Saint Judes and
Mama san.
A thoughtful film about orphans in China
training in the ancient Uighur tradition of
tightrope walking.
Every night the action shifts to the Festival Club at Mama san just
a stones throw from the GFT and the CCA. Enjoy a movie-themed
cocktail and Asian-style tapas at special Festival rates whilst
spotting the stars.
SPECIAL SCREENINGS
THE SPIDERWICK CHRONICLES
SPECIAL PREVIEW!
Three tapas for £10 and cocktails from £5. Open until 3am every
night this is the hub of the festival, don’t miss out! Remember to
keep your Festival ticket stub for special offers and deals!
Cineworld at The Forge, Parkhead
Monday 18 & Tuesday 19 February 10.00 - 11.40
Age: 7+
[English]
190 Bath St, Glasgow, G2 4HG
on map above.
See
Tel: 0141 352 8800
www.saintjudes.com
47
47
www.saintjudes.com
Tel: 0141 352 8800
See
on map above.
190 Bath St, Glasgow, G2 4HG
[English]
Age: 7+
Monday 18 & Tuesday 19 February 10.00 - 11.40
Cineworld at The Forge, Parkhead
keep your Festival ticket stub for special offers and deals!
night this is the hub of the festival, don’t miss out! Remember to
Three tapas for £10 and cocktails from £5. Open until 3am every
SPECIAL PREVIEW!
THE SPIDERWICK CHRONICLES
SPECIAL SCREENINGS
spotting the stars.
cocktail and Asian-style tapas at special Festival rates whilst
a stones throw from the GFT and the CCA. Enjoy a movie-themed
Every night the action shifts to the Festival Club at Mama san just
tightrope walking.
training in the ancient Uighur tradition of
A thoughtful film about orphans in China
Mama san.
New this year - The Festival Club in association with Saint Judes and
THE FESTIVAL CLUB
Age: 12+
10.15 - 12.00
GFT
ON A TIGHTROPE
preceded by a live rock performance!
summer camp with a difference. Screening
their individuality through rock music at this
Girls aged from 8 to 18 learn how to express
www.cca-glasgow.com
350 Sauchiehall Street, Glasgow, G2 3JD
www.platform-online.co.uk
1000 Westerhouse Road, Glasgow, G34 9JW
[Music / Personal and Social Education]
Age: 8+
Wednesday 20 February, 10.00 -12.00
GFT
www.cineworld.co.uk
7 Renfrew Street, Glasgow, G2 3AB
www.cineworld.co.uk
The Forge, 1221 Gallowgate, Glasgow, G31 4EB
www.gft.org.uk
12 Rose Street, Glasgow, G3 6RB
www.grosvenorcinema.co.uk
Ashton Lane, Hillhead, Glasgow, G12 8SJ
GIRLS ROCK!
E-Newsletter at www.gft.org.uk
For regular updates on GSFF and GFT activities for schools, sign up to receive our Schools
screenings pay £3 per student (accompanying teachers free).
also be open to school groups, subject to availability. School groups booking in advance for public
For institutions that find it difficult to travel to morning screenings, public screenings at GFF will
support of the schools education programme.
ROAD
KILLERMONT
STREET
7 Renfrew Street, Glasgow, G2 3AB
www.cineworld.co.uk
on the best-selling book series.
they experience strange happenings. Based
uncle’s ancient and spooky mansion where
Three siblings move from the big city to their
COWCADDENS
P
CINEMA FOR ALL
BATH STREET
WEST REGENT
GFT
Wednesday 20 February, 10.00 -12.00
Age: 8+
[Music / Personal and Social Education]
Three siblings move from the big city to their
uncle’s ancient and spooky mansion where
they experience strange happenings. Based
on the best-selling book series.
STREET
SAUCHIEHALL
FREE to Glasgow City Council Schools. All other schools, £3 per pupil. Accompanying teachers
free. Please see our website www.glasgowfilmfestival.org.uk/pages/education for further
information and to book tickets.
Glasgow Schools Film Festival 08 is grateful to Glasgow City Council Education Services for their
support of the schools education programme.
U
STREET
BUCCLEUCH
STREET
STREET
WEST GRAHAM
HILL STREET
RENFREW
WEST NILE
HILLHEAD
ASHTON LANE
RENFIELD STREET
STREET
Glasgow Schools Film Festival is a rapidly growing and hugely exciting event, offering something
for young people of all school ages. Selected screenings are supported by guest speakers and
education resources.
U
GARNET STREET
BYRES ROAD
Saturday 16 February, 11.30: Return from Witch Mountain p38
SHORTS FILM FESTIVAL
A festival within the festival, this weekend of screenings and masterclasses will
pay tribute to local filmmaker Zam Salim and screen some of the finest new
work from filmmakers at home and abroad. Curated by The Magic Lantern.
14 – 22 FEBRUARY 08
INSPIRING YOUNG PEOPLE TO LEARN THROUGH FILM
SCOTT STREET
Bette Davis changed the face of screen acting. She arrived in
Hollywood in 1930 determined to fight for better parts. She
had little interest in the roles of blushing violets or loyal wives.
She was never content to stay in the background and wanted
to play women who were real and complex and challenging.
Her battles with the Hollywood studios were intense but
she won the ones that mattered blazing a trail for everyone
who came after her from Marlon Brando to Jodie Foster. As
one commentator remarked: “All she had going for her was
talent.” In the decade from 1936 to 1946 she was one of the
biggest box-office stars in the world, creating an unforgettable
gallery of characters and cementing her reputation as a screen
legend. Bette was born Ruth Elizabeth Davis on April 5, 1908
and was a dazzling, larger than life star for almost sixty years
until her death in 1989. The Glasgow Film Festival celebrates
her centenary year with a selection of the best of Bette that
includes her most iconic roles.
Saturday 23 February, 11.30: Return from Witch Mountain p38
FRIGHTFEST
REEL LIFE
OPENING HOURS
Before the Festival: Wednesday 23 January to
Wednesday 13 February box office is open 12.00pm
(except Sundays when it opens at 2.00pm) to 8.00pm.
During the Festival: GFF box office is open 11.00am
to 9pm.
UK 2007 1h48m, 15
THE STATE OF INDEPENDENTS
Glasgow presents a chance to view the cream of this year’s American indie crop.
For example – you can purchase tickets for Cineworld events at the GFF and Cineworld box offices.
However you can’t purchase tickets for Glasgow Film Theatre events at Cineworld!
Please note that all films and events start at the advertised time.
Allison Gardner & Allan Hunter
Co-directors of GFF 2008
IT’S A WONDERFUL WORLD
GFF’s scouts have watched films from around the globe to present a selection of
the very finest here in Glasgow.
Up until the day of the performance advance tickets purchased ONLINE and OVER THE PHONE
can be collected from GFF box office at the GFT during opening hours (see below for full box office
details) for all venues.
On the day of the event tickets must be picked up or bought at the venue where the film is being
shown or the event is being held.
Tickets for free events will only be issued on the day.
Allison & Allan
EUROPEAN CINEMA
The Festival gives Glasgow audiences the first chance to see some of the great
new films from Europe.
Director
Woody Allen
Featuring
Ewan McGregor
Colin Farrell
Hayley Atwell
Sally Hawkins
HOPE STREET
GFF 2008 TICKETS
Single Tickets for individual screenings £6/5
Cineworld
Friday 15 February
8.45
WELLINGTON
GREAT SCOTS!
Welcome to the fourth edition of the Glasgow Film Festival.
In the dark month of February Glasgow lights up the screen with films that will dazzle, special guests
who will delight and issues you will want to debate. The 2008 retrospective is dedicated to the
magnificent Bette Davis so it seems appropriate to paraphrase one of her most famous lines:
“Fasten your seat belts, it’s going to be a bumper Festival”. We hope to see you there.
Expect high profile titles and red carpet evenings as the Festival unveils some of
the most eagerly awaited cinema releases of 2008.
The Festival celebrates Scottish talent behind and in front of the camera.
SAVER PASS
WELCOME
GALAS
Bette Davis 1908-1989
GFT
7.00
ELMBANK
16 - 17
18 - 43
44 - 45
46
47
48
BETTE DAVIS
To mark the centenary of the birth of Oscar-winning Hollywood great Bette Davis
Glasgow Film Festival will screen 12 films that run the full length of her legendary
sixty year career.
Last year the Glasgow Film Festival
proudly hosted the UK premiere of Woody
Allen’s Scoop. This year the wonderful
Woody returns with another UK premiere.
Cassandra’s Dream is a taut, darkly
comic morality tale of brotherly love,
crime and punishment featuring knockout
performances from Ewan McGregor and
Colin Farrell as Cockney brothers forever
chasing big dreams. Terry (Farrell) is a
car mechanic who lives with Kate (Sally
Hawkins). He is also a chronic gambler
forever see-sawing between riches and
poverty. Ian (McGregor) runs a restaurant
but has his eye on some property deals
in California. Life is just peachy until
Terry winds up in hock to some seriously
sinister loan sharks. Help arrives in the
shape of their generous uncle Howard
(Tom Wilkinson) who makes them an
offer they may not be able to refuse. How
far would you go to save someone you
love? Marbled with mordant comedy and
heartrending drama, Cassandra’s Dream is
also blessed with a dream cast of British
talent that includes Phil Davis, Jim Carter
and rising star Hayley Atwell.
Thanks To Optimum Releasing
HOLLAND STREET
Events
A to Z
Glasgow Schools Film Festival
Visitors’ needs / FAQs
Venues and maps
Funders, partners and supporters
Launching on Valentines Day 2008, over eleven days we will screen over 100 films in four city centre
venues. With special star guests, gala screenings of some of 2008’s most hotly anticipated films and
glamorous events this is a not to be missed extravaganza!
This year’s film selection has been divided into 12 colour-coded strands to make it easier for you to
identify the film genre which most interests you.
Mister Lonely
4-7
8
9
10
11
12 - 13
14 - 15
BUCHANAN
The Aerial
1
2
3
Festival calendar
Opening Gala: Cassandra’s Dream
Closing Gala: Lars and the Real Girl
Bette Davis
Once Upon a Time in the East
Shorts Film Festival
FrightFest
PITT STREET
HOW TO ENJOY YOUR FESTIVAL
Welcome
GFF 08 tickets
How to enjoy your festival
Empties Vratné lahve
CASSANDRA’S DREAM
CONTENTS
08
CCA
CINEWORLD RENFREW STREET
GLASGOW FILM THEATRE
VENUES
PLATFORM, THE BRIDGE
CINEWORLD PARKHEAD
GROSVENOR
news
Front page: main image Empties. Glasgow Film Festival,
editorial
The UK Film Council has just announced the UK’s
production spend figure of £723m in 2007. Many
of the films which make up this figure were filmed
or partly filmed in Scotland, including some big
guns to be released in the coming year: Doomsday,
Neil Marshall’s post-apocalyptic futuristic tale of
a Scotland ravaged by a deadly virus, and Stone
of Destiny, based on the historic attempt in 1951 to
seize the Stone of Scone and return it to Scotland:
two very different visions of Scotland, which will
play to audiences around the world.
Another portrayal of Scotland, which is doing
great box office in America and will be one of
the first English-language films to go to China, is
The Waterhorse produced by Ecosse Films and
featuring stunning scenery around Loch Fyne. In
this issue of roughcuts, we reproduce a recent
BAFTA interview with producer Douglas Rae.
From a $50m blockbuster to a film that was shot in
Scotland for a mere £300,000. Gamerz, the feature
debut by writer/director Robbie Fraser, is geeky
rom com set in the world of fantasy role playing,
featuring a sparkling young cast, and music by
Aberfeldy, opens in cinemas on February 22, so get
out and get behind this home-grown film. Robbie
tells us how he created an animation sequence to
reproduce the fantasy world the gamerz inhabit, on
a film with “the budget of an Armenian soap”. Also,
in this issue, we hear about another low budget
Scottish film, Running on Empty, which shot over
Christmas, and will hopefully hit our screens at the
end of this year.
February is an exciting month, not least because
of the fourth edition of the Glasgow Film Festival.
The programme, previewed in this issue of
roughcuts, promises to be even bigger and better,
with films from all around the world, as well as a
strong Scottish strand. February is a busy month
in the festival calendar with Projector animation
festival in Dundee; the first ever festival in
Scotland celebrating films from Afghanistan (Reel
Afghanistan); Kingussie Food on Film Festival, a
unique festival that combines the culinary with
celluloid; and the well established French Film
Festival, touring to Inverness for the first time.
It’s a busy time on the international festival circuit
too. In this issue we hear from Yasmin Fedda who
has recently returned from Sundance with her film
Breadmakers. Scottish Screen is getting ready to
head out to Clermont-Ferrand, Rotterdam and Berlin
over the next couple of months, and we’ll feature
reports from Scottish filmmakers at these festivals
and markets in the next issue.
Also in this issue, we hear about the work of
SKAMM (Scottish Kids are Making Movies) and
specifically an intergenerational reminiscence
project they have partnered up for with the
Heritage Lottery Fund. The Scottish Screen Archive
continues its outreach work, this time getting out
to Orkney. Ruth Washbrook reports back on her
recent visit there, and the joys of “horizontal rain”
as well as of bringing archive film footage back to
where it was originally shot. We also hear from
David Allison on what it was like to meet with one
of the last surviving evacuees from St Kilda, as
featured in The Island Tapes.
It is a crucial time for television in Scotland,
with the Scottish Broadcasting Commission’s
investigation still underway, having reported back
on its progress to date at the end of January, and
also the decision from the BBC Trust to go ahead
with the Gaelic digital TV channel, so it is a good
time to talk to one of the biggest independents in
Scotland, and one with Gaelic progamme making at
its core, MNE Media.
As the awards season is upon us, we’d like to
congratulate the Scottish nominees and wish them
every success. There are BAFTA nods to James
McAvoy, Kelly MacDonald and Tilda Swinton, the
latter also gaining an Oscar nomination. Edinburghbased Seamus Garvey is also up for both a BAFTA
and Oscar for his wonderful cinematography on
Atonement, and Scottish short Dog Altogether is up
for Best Short Film at the BAFTAs. Congratulations
also to the three Scottish projects nominated in the
First Light Movie Awards in March.
Linsey Denholm
EDITOR
Culture
Minister’s visit to
Scottish Screen
On Tuesday 15 January, Linda Fabiani, Minister for Europe,
External Affairs & Culture came to 249 West George Street
to visit Scottish Screen. The Minister found the visit to be
extremely interesting and enlightening and was really pleased
to have had the chance to meet with us and find out more
about the work we do as well as to learn more about the
screen sector in Scotland.
Published by:
SCOTTISH SCREEN | 249 West George Street | Glasgow | G2 4QE | UK
e: [email protected] | w: www.scottishscreen.com | t: + 44 (0)141 302 1700
2
news
SCOTTISH
BROADCASTING
EVIDENCE
The true picture behind the recent decline and future potential
of Scotland’s television industry was revealed when the Scottish
Broadcasting Commission published the interim report on its first
phase of evidence-taking.
Transition
Project for
Creative
Scotland
The Transition Project Team, led by Transition Director, Anne Bonnar, is
now up and running and is based at White Space at Abertay University
Dundee, where it will be based for the duration of its work.
Anne Bonnar said of the positioning in Dundee: “We wanted our project
team to have a base somewhere which was outside of Glasgow and
Edinburgh, where Scottish Screen and Scottish Arts Council are based.
Dundee’s cultural ecology includes a diversity of artists, entrepreneurs,
innovators and educators, which reflects many aspects of the Creative
Scotland community. White Space offers a contemporary creative
environment where members of Scotland’s creative community can work
with us to shape Creative Scotland.”
Professor Bernard King, Principal & Vice-Chancellor of Abertay University,
said: “I am absolutely delighted that Creative Scotland have chosen to
base their transitional team in the White Space facility at Abertay. The
philosophy of White Space is focussed on creative, interdisciplinary
solutions and responding to future demands. What better home for a
team that will forge an appropriate future for Scotland’s creative and
cultural communities?”
Professor Paul Harris, Professor of Screen Media at Abertay, said:
“Over the past few years, the University has been working together
with its partners in consolidating a regional cultural provision with the
implementation of a complementary Cultural Strategy and through
the appointment of a full-time Cultural Projects Officer, and along with
colleagues I am looking forward to supporting this project in every way I
can.”
The website is now up and running.
Please visit www.transition.creativescotland.org.uk
for more information on the Transition Project.
Since November 2007, the Commission has been focusing
its independent investigation on the economic context of
broadcasting, looking at the issues affecting the levels of
production and the economic impact the industry could generate
in Scotland.
Key points emerging from the evidence taken in this first phase
include:
• There are clear commitments by some of the UK network
broadcasters to increase production from Scotland, but these
need to be verified
• There is a practice of labelling some network programmes as
‘Scottish productions’ when there is very little financial or creative
connection to Scotland
• Issues of distance, relationships, trust and scale have a
significant impact on achieving success in Scotland in what is still
a heavily centralised and London-based industry
• Broadcasting and television production needs to be seen as a
core part of creative industries and an economic driver in Scotland
• There has been no identifiable cohesive, joined-up strategy for
public sector support for the industry
The Commission has taken around 27 hours of formal oral
evidence, received written evidence, and undertaken workshops
with individuals working in the industry. Many organisations
and individuals with a stake or interest in the sector have come
forward with information, ideas and concerns and, for the first
time in Scotland, the heads of the major UK terrestrial channels
– the BBC’s Director General Mark Thompson; The BBC Trust’s
Chairman Sir Michael Lyons; Channel 4’s Chief Executive Andy
Duncan and; ITV’s Executive Chairman Michael Grade - have given
extensive evidence on their commitments to Scotland.
Taking this initial evidence forward, the Commission is looking
to hone in on certain areas it believes have an impact on the
economic viability and importance broadcasting can have in
Scotland. In particular the Commission is looking to:
• Verify further and quantify any new commitments to Scotland
made by the BBC and Channel 4 in particular
• Stimulate further debate concerning quotas as a policy option
• Examine the potential new technologies and platforms offer the
broadcasting industry in Scotland
Scottish Screen has submitted evidence to the Scottish
Broadcasting Commission and you can read this in full on our
website (www.scottishscreen.com/news).
To read the intrim report from the Broadcasting Commission
please visit: www.scottishbroadcastingcommission.gov.uk
3
news
UK REVEALS
WORLD'S
FIRST MEDIA
ACADEMY
NETWORK
The world's first Media Academy Network was launched in
the UK in December 2007 - a national footprint of colleges and
universities to work with industry in developing a new wave
of talent to create the 'Facebook', 'You Tube' and 'Bebo' style
concepts and media content of the future.
The Skillset Media Academy Network was launched in London at
the end of December last year by former Culture Minister James
Purnell and Skills Minister David Lammy, and leading figures
from academia and the media.
The network has been devised by Skillset - the UK Sector Skills
Council for the Audio Visual Industries. The network is made
up of 17 Academies, drawing together creative education
partnerships from 43 colleges and universities across the UK.
The institutions in the network are already centres of excellence
in television production and interactive media. This is the first
attempt anywhere in the world to 'hardwire' collaborative
partnerships between the media industries and academia into the
fabric of national education infrastructure.
The network will see world-leading academics, content creators,
computer games developers, software programmers and creative
artists working with industry to develop talent, creativity and
business ideas to exploit new technologies and opportunities in
broadcast television and interactive media.
Scotland's Skillset Media Academy is Creative Loop, which
includes Aberdeen College, Adam Smith College, Cardonald
College, Dundee College, Perth College, Reid Kerr College.
Helliate Rushwaya, Project Manager for Creative Loop, was
delighted to attain this recognition:
“The Skillset Media Academy status is a significant achievement
for all the partners in Creative Loop and in particular the six
colleges. Creative Loop is one of only 17 academies approved
to date across the UK and the first approved in Scotland. We
are also the first Skillset Academy that is wholly comprised
of partners from the college sector. Achieving Skillset
Academy status is a natural progression for Creative Loop and
complements our main objective to improve the quality of
training within colleges and the quality of graduates entering the
industry.”
For more information see
www.skillset.org/mediaacademies
and www.creativeloop.org.
4
Iain Smith
awarded OBE
Glasgow-born film producer, Iain Smith, has been given an OBE in the
New Year's Honours listing. The award sees him recognised for his
services to the film industry spanning 30 years.
Smith is widely regarded as one of the UK's most experienced and
talented producers. Credits include films such as The Fifth Element,
Children of Men, and Alexander.
Smith produces films out of his own agency Applecross Productions Ltd
and is a member of the Joint Board for Scottish Screen and the Scottish
Arts Council. He has also previously served as board member for Scottish
Screen and the UK Film Council.
The Boy who Plays on the Buddhas of Bamiyan
Stray Dogs
news
REEL AFGHANISTAN – THE
UK’s FIRST EVER FESTIVAL
OF AFGHAN CINEMA AND
CULTURE LAUNCHES IN
EDINBURGH
Afghanistan may have become a byword for war
and tragedy but the first ever Afghan film festival in
the UK explores the rich cultural possibilities from
a nation whose capital was once described as “the
light garden of the Angel king”.
In spring 2008 Edinburgh will play host to Reel
Afghanistan - the UK’s first festival of Afghan Cinema
and Culture. A myriad of events are taking place
throughout the city, from performances by Afghan
traditional musicians to Golden Globe award-winner
Siddiq Barmak travelling from Kabul to present his
film Osama.
Reel Afghanistan looks at a largely unknown and
exciting area of cinema. Accompanying the film
festival will be music events, exhibitions, talks and
masterclasses at the Filmhouse and elsewhere.
Sure the war is unavoidably present, but whether
it is Earth and Ashes exploring the beauty of the
landscape, or Kabul Beauty Academy the physical
beauty of the people, Reel Afghanistan looks at a
largely unknown and exciting area of cinema.
The festival will take place 21 February – 8 March
2008. It will be a celebration of Afghan culture and
cultural exchange. The programme will include film
screenings, talks and masterclasses by filmmakers,
as well as musical events and exhibitions by local
and international artists. This will be the first-ever
Afghan film and cultural festival in the UK.
Award-winning filmmaker Siddiq Barmak is travelling
from Kabul to present his Golden Globe winning film
Osama.
Award-winning filmmaker and author Atiq Rahimi is
presenting his film Earth and Ashes and taking part
in a masterclass on Afghan cinema with director
Siddiq Barmak at the Scottish Documentary Institute.
This will be an unique occasion to meet and discuss
cinematic practices with two of the countries top
directors.
Award-winning director Phil Grabsky is presenting
his beautiful documentary, The Boy who Plays on
the Buddhas of Bamiyan, detailing some of the
lives of the 250 refugee families living in the caves
surrounding the Taliban-destroyed buddhas.
Acclaimed musicians Kharabat are coming directly
from Kabul to perform Afghan traditional music
alongside UK based Afghan artists including Yusuf
Mahmoud (who has played internationally with
artists such as Nusrat Fateh Ali Khan) in the Queen’s
Hall and the Reid Concert Hall.
A number of esteemed photographers will
exhibit thoughout Edinburgh including Ivan Sigal
(Internews), Aliki Sapountzi, Richard Stanley and
Immo Horn.
For further information please contact:
Dan Gorman ([email protected])
Zahra Qadir ([email protected]
www.reelafghanistan.org
Cult director Richard Stanley is introducing his early
film Voice of the Moon, capturing Afghanistan in
the late 1980’s when he absconded from a UNICEF
mission to travel and film with the Mujahedeen. He
is also hosting a talk in the Scottish Documentary
Institute.
The Beauty Academy of Kabul
View from a Grain of Sand
Voice of the Moon
5
news
Shell wins top prize at
London Short Film Festival
Part-funded by Scottish Screen, Scottish road movie Shell won the top
award at London Short Film Festival on Sunday 13 January 2008.
The UK Film Council Award for Best of the Festival and £500 cash prize
was collected by young Scottish actress, Lorna Craig, who starred in the
short film as Shell, a teenage girl who finds a way of escaping her father
and a bitterly isolated life at a remote Highland fuel stop.
The film was written and directed by emerging talent Scott Graham
who was delighted with the win and was active during the festival,
showcasing his film and taking part in panel discussions. Scott said: "I'm
really pleased that a London audience appreciated Shell , especially as it
is such a Scottish story."
David Smith of Brocken Spectre, who produced the film said: " I'm really
pleased for Scott and it's great to win an award from London and from
the UK Film Council."
Scott is now developing Shell , the concept and characters, into a feature
film with Brocken Spectre and funding from Scottish Screen.
Young Scottish Filmmakers at
First Light Movie Awards
Every year First Light Movies, who fund filmmaking
projects with five to 19-year-olds from all
backgrounds across the UK, hosts a red carpeted,
mini Oscar® style event, supported by the UK Film
Council, at the ODEON Leicester Square cinema
to recognise the very best of their funded films
during that year.
Actors, directors, producers and writers from the
film world, including Nira Park (Hot Fuzz), Michael
Winterbottom (The Road to Guantanamo), Alan
Rickman (Harry Potter), Tom Hollander (Pirates of
the Caribbean), Eli Roth (Hostel), Orlando Bloom
(The Lord of the Rings) and Gurinder Chadha
(Bend it Like Beckham) will help First Light Movies
to judge nine categories including Best Horror,
Best Comedy and Best Screenplay.
Last year Scotland did well with Geraldine Heaney
and a group of young people from Aberdeen
winning the Best Film in the over 13’s category.
This year, three Scottish projects are amongst
those nominated for awards.
Lights Out! by Sanday Community School in
Orkney, is up for Best Animation. The charming
Lights Out!
claymation film, made by a group of 11 to 14-yearolds, follows the Orkney seal’s quest to switch off
the lighthouse light. The film is tender, funny and
delightful.
Up for Best Documentary is And It’s Goodbye
to Care, which was made by a group of 11
to 16-year-olds from Islay with Strange Boat in
Edinburgh. Their heart-felt documentary explores
the young filmmakers’ aspirations and emotional
attachments to their home island of Islay alongside
opportunities available to them on the island.
The Best Film by 12s and Under has been voted for
on the Film Street website (www.filmstreet.co.uk).
Munchatreeaforest is a documentary made by a
group of young filmmakers aged between five and
nine, with the Knoydart Forest Trust. In the film,
the children objectively explore and discuss the
destruction of the Knoydart Forest that makes up
much of this area in the Highlands. As a result of
making Munchatreeaforest the young filmmakers
are keen to make another follow-up film after
some years when the trees they will have planted
will have grown.
Munchatreeaforest
The winners will be announced at a glittering awards
ceremony, supported by the UK Film Council and
hosted by Big Brother presenter Davina McCall, held
at the ODEON Leicester Square, London, on 4 March.
We wish all the Scottish nominations the very best
of luck!
And It’s Goodbye to Care
6
news
GLASGOW FILMS WINS PRESTIGIOUS AWARD
Alex McCall and Robert Beedham
Glasgow Film Productions
has won a highly prestigious
award for its first production.
Amazon Heartbeat, shot in
five countries and already a
big ratings success for stv,
won a finalist award at New
York Festivals International TV
Awards.
Competition was fierce, including NBC, ABC,
HBO, Discovery, Channel 4, BBC, ITV and Al
Gore's Current TV. Fellow finalists include
CBS, ZDF (Germany), Channel 1 (Russia) and
Fuji (Japan).
BAFTA award-winning producer/director
Alex McCall says, "Logistically, this was
among the most challenging documentary
ever produced in Scotland. We encountered
landslides on the world's highest road over
the Andes, a cocoa-farmer dispute and the
earthquake that hit Peru last August."
The series repeats from 3 February, with the
second series, now in production to follow,
giving it a three month run.
Producer/writer Robert Beedham says, "It's
great to have our hard work acknowledged
at this level among the big guns, and big
budgets."
For more information about the production,
please visit
www.stv.tv/content/tv/amazon_heartbeat/
index.html.
TRIUMPHANT START TO 2008 FOR SCOTTISH SHORTS
Scottish short films have seen a triumphant
start to 2008 with a number of Scottish
shorts being seen at the biggest short film
festivals in the UK and in Europe.
The London Short Film festival will screen
three Scottish short films from GMAC's
Digicult and Cineworks short film drama
schemes.
In addition, five out of the seven short films
made out of the GMAC schemes have been
selected for market at Clermont Ferrand
Short Film Festival, the biggest festival
dedicated to shorts in Europe.
BULB
Screening at London
Short Film Festival
Selected for market at Clermont
Ferrand Short Film Festival
Producer: Sara Somerville
Writer/Director: Arlene Cullum
As struggling artist Jill fights
her way home through a city
in electronic meltdown, her
sculpture takes on a new life.
KICK-ABOUT
Producer: Andrew Maas
Writer: Gordon McLean
Director: David Newbigging
Teenager Chris McMillan
desperately tries to stop his
older brother joining a Glasgow
gang, only to end up becoming
a part of his violent initiation.
THE ICE PLANT
Producer: Rosie Crerar
Writer/Director: Kate Burton
Emotionally challenged Ida
works happily alone at an ice
cube factory until her perfect
world is disrupted by the arrival
of a new colleague
THEN A SUMMER STARTS
Screening at London Short Film
Festival
Producer: Kat Calton
Writer: Yukari Higo
Director: Satsuki Okawa
A frustrated teenager finds
the moment of release not
through her relationship with
an older man but by spending
a summery afternoon with a
young man.
MISSING
Producer: Kat Calton
Writer/Director: Graham Eatough
The stories we tell ourselves
when we just don't know.
FLUNG
Producer: Andrew Surry
Writer/Director: Fiona Walton
Flung explores the moment
when the worlds of a tormented
young boy and an alienated old
man collide with unforeseen
consequences for them both.
PAPER CUTS
Screening at London
Short Film Festival
Producer: Katie Crook
Writer/Director: Ben Soper
Obsessed with a paper effigy
of his loving wife, introverted
stationer Mr Webster lives in
a fantasy world of staples and
photocopies. But when the doll
leaves him torn and bleeding
and his real wife starts asking
awkward questions Webster
must make a choice between
flesh and paper.
7
news
Celtic Media Festival
2008 Shortlist announced
Celtic Media
Festival 2008
16-18 April
Galway, Ireland
The Radisson SAS
Hotel & Spa
The shortlist for Celtic Media Festival 2008
International Competition was announced this
week. 18 Best of Category prestigious Torc
awards will be presented over the three days
of the festival in Galway in April.
This year the Feature Length Drama category
is particularly strong with both Celtic language
entries Kings and Seachd: the Innaccessible
Pinnacle competing against BAFTA winner The
Last King of Scotland amongst others.
There are also three special awards:
* Frank Copplestone First Time Director
Award - Presented to the best first television
programme or film exclusively the work of the
named individual director (a cash prize is also
presented with this award).
* Jury Award - Made at the discretion of the
international jury for quality of production,
direction, technical or craft excellence.
* Spirit of the Festival - Presented to a film or
television programme wholly or substantially
in a Celtic language.
80 entries in total across all categories will
compete at international level.
For more information, please visit
www.celticmediafestival.co.uk/shortlist.
The full programme will be previewed in the
next issue of roughcuts.
Park Circus to handle Arrow
catalogue theatrically
Glasgow based Park Circus Films, the UK's
leading distributor of classic and back
catalogue films for theatrical exhibition,
is delighted to announce that it has
successfully concluded a deal with Arrow
Films to handle their catalogue theatrically in
the United Kingdom and Republic of Ireland.
8
With over 160 titles, the Arrow library
focuses mainly on classic, world cinema
and horror titles. Some essential highlights
from the collection include Cinema Paradiso,
The Millionairess and Rififi. Park Circus will
work closely with Arrow Films to ensure
maximum exploitation of the library from
theatrical sales within the UK.
www.parkcircus.com.
news
STV LAUNCHES
the five thirty show
stv launched its brand new daily
programme, the five thirty show, which
hit screens across Scotland on Monday
28 January.
Presented by Stephen Jardine and Debi
Edward, the five thirty show is a newsdriven, magazine style programme
covering all the relevant stories of the
day, from news and features to sport and
entertainment.
Every day, the team will discuss the
topics that everyone’s talking about in
an informal and accessible way - from
the latest health news, how to pay off
your debt and which films to see at the
weekend, to all the latest sport stories,
celebrity chats, music performances and
live interviews with the people behind the
headlines. If you’re talking about it, it’ll be
on the five thirty show!
The new dedicated five thirty team is
headed up by Stephen and Debi in the
studio. Well-known stv presenter Vicky
Lee and new face Natasha Stillwell
will join the team as roving reporters,
reporting from across the country and
the rest of the world. Viewers will also
recognise stv’s entertainment reporter
Grant Lauchlan, sports reporter Gerry
McCulloch and popular weatherman Sean
Batty, who will present brand new, revamped weather graphics using all the
latest technology.
Viewers will enjoy a range of exciting
regular features including The Film Club,
featuring the latest movie news and
reviews from stv’s entertainment guru
Grant Lauchlan; Race for Life, which
follows roving reporter Vicky Lee as
she trains for a 5k race in aid of Cancer
Research; and The Pundit, where sports
reporter Gerry McCulloch and new regular
pundit Darryl Broadfoot discuss the
weekend's action.
The new show has a strong interactive
element and will invite viewers to contact
the team via the web, email or text,
giving them a real chance to influence
the show's agenda and ask the questions
they want answered.
Stephen Jardine said: “The five thirty
show will be the place to go for all the
relevant stories - the real watercooler
topics that everyone’s talking about. We
want viewers to be part of the show and
interact with the team, to help us make
the programme as relevant as possible to
the stv audience.”
Debi Edward said: “It's very exciting to
be launching the new show - there's a
real buzz in the newsroom and after all
the planning and preparation I just can’t
wait to go live. We’ve got a host of great
stories and guests lined up and I think
it will be a great addition to the early
evening schedule.”
Producer Hayley Valentine said: “The five
thirty show is the only daily live magazinestyle programme being made for Scottish
viewers, and the great mix of news,
features, sport and entertainment makes
it a unique and really exciting offering
from stv. "
The five thirty show builds on the
ongoing success of stv’s main news
programmes Scotland Today and North
Tonight. Last year saw a 10% increase in
audience share, as well as the launch of
a popular five-minute local bulletin in both
programmes.
Gordon Macmillan, Head of News at stv,
said: “Our news has gone from strength
to strength over the past year and I’m
delighted that we’re investing even more
in our news and current affairs output.
By introducing this new live, half-hour
programme, we’re taking control of our
schedule, aiming to build audience in an
underperforming slot. Across the full hour,
our audience will now get a Scottish,
regional and local news service. We have
a strong connection with our evening
news audience and we’re confident that
viewers will enjoy this addition to our
schedule.”
www.stv.tv/fivethirty
9
investment news
INVESTMENT
AWARDS
(June-November 2007)
Scottish Screen has made the following investment awards
Audience Development
Project Name – Kingussie Food On Film
Festival
Company – The Auld Alliance Gourmet
Academy
Amount – £2,600
National Lottery Funding
Meeting Date: 25 October 2007
Kingussie Food On Film Festival (1-3 February
2008) will feature a mixture of Scottish and
international films, documentaries and short
films on food related themes, with cookery
demonstrations, a food hall and music.
www.kfff.co.uk
Content Development Festivals
Project Name – Duseri Dharkan - Pakistani
Film, Media & Arts Festival
Company – Heer Productions Ltd
Amount – £5,000
Meeting Date: 25 September 2007
Duseri Dharkan (Second Heartbeat) Pakistani
Film, Media & Arts Festival in Glasgow
received funding to facilitate its development.
This year, the festival took place in November
2007 and screened films made by the Pakistani
filmmakers and South Asian diaspora in
Pakistan, Scotland and UK.
Content Development
www.pakistanifilmfest.com
Project Name – The Stornoway Way
Company – Move on Up Ltd
Amount – £5,200
Content Production/
Supplementary Funding
Move on Up Ltd was given funding to develop
the content of their new film The Stornoway
Way, which is based on Kevin McNeill’s hugely
successful cult novel about R Stornoway, a
drink addled misfit from the Isle of Lewis, a life
not in the back of beyond, but in the very heart
of beyond.
Project Name – A Chinese Case
Company – Code Films 81 Ltd
Amount – £2,993
Meeting Date: 19 November 2007
Code Films 81 Ltd received funding to develop
the documentary film A Chinese Case. A film
set in Israel and China, it follows the return of
a long lost suitcase to its rightful owner back in
China, while observing the vast changes that
happened to the country over the last decade
and how the people of China have adapted to
it.
www.code81.com
10
Project Name – Trouble Sleeping
Company – Makar Productions Ltd
Amount – £6,250
Trouble Sleeping is a 90-minute urban, gritty
drama-documentary film about refugees in
Edinburgh. The film presents a picture of a
multi-racial/multi-cultural and physically diverse
Scotland. The film will be screened at the
Filmhouse Edinburgh December 2007 and
will tour Scotland before being released to
various film festivals in the UK, Europe and
internationally. During the post-production
work, Makar Productions Ltd were seeking
funding to match a BBC investment which was
intended to enhance the quality of the film and
its availability to audiences. The requested
supplementary funding from Scottish Screen
was intended to enhance the music, sound and
to prepare the film for internet distribution.
www.trouble-sleeping.co.uk
Markets & Festivals
Project Name – Strategic Partners
Company – Pure Magic Films Ltd
Amount – 1,221.22
Meeting Date: 29 August 2007
Pure Magic Films Ltd received funding to take
part of the film and television co-production
market Strategic Partners, where the company
looked for co-production and financing of
several films. Pure Magic Films Ltd presented
their projects Moon Over Markham, I’m a
Gamer Too! and Head Case at the market.
www.puremagicfilms.com
Project Name – International Chicago Film
Festival
Company – Graham Drysdale
Amount – £637
Meeting Date: 5 October 2007
Graham Drysdale’s Stuck, a short drama shot
in an Edinburgh High School, was one of the
only 15 International Short Dramas selected
to screen at this year’s Chicago International
Film Festival (4-17 October 2007). Funding
was given to enable the director to attend the
festival, where Stuck won the Silver Hugo.
www.chicagofilmfestival.org
Project Name – Sheffield Doc/Fest MeetMarket
Company – media co-op
Amount – £848.10
media co-op received funding to pitch their
documentary co-production Red Oil at Sheffield
Doc/Fest Meet Market, at one-to-one meetings
with potential financiers from Europe, USA and
Australia.
www.mediaco-op.net
www.sheffdocfest.com
news
Project Name – World Congress of Science &
Factual producers
Company – Caledonia TV
Amount – £1232.44
Caledonia TV has benefited from regular attendance
at the World Congress of History and Science
programming (2002-2006), developing the company’s
links with broadcasters and co-producers from
all over the world and increasing its international
business, as well as exploring co-production
opportunities for UK productions.
www.caledonia.tv
Short Film Production
Project Name – Artists’ Film and Video
Company – Scottish Arts Council
Amount – £25,000
Meeting Date: 26 June 2007
The Artists’ Film and Video Fund is a project jointly
run by the Scottish Arts Council and Scottish Screen.
It makes awards available to support innovative and
experimental work by visual artists using film and
video.
www.scottisharts.org.uk
www.scottishscreen.com
Project Name – Amame
Company – 55 Degrees Ltd
Amount – £44,788
Amame is a short film about a relationship between
two German lovers, who live in Scotland together,
but have moved apart emotionally. Anna is haunted
by a tragic event in their past and struggles to move
on. This short film explores how memory can stand
between us and how sometimes we can only hang
on to the imprints we leave on each other's lives.
55 Degrees was awarded funding for the production
of the short to a broad market and has the potential
to be enjoyed by audiences long after production.
www.55degrees.co.uk
BUSINESSES
TO WATCH IN
SCOTTISH SCREEN
INDUSTRIES IN
2008
The business of creativity has seen
almost £400,000 investment in a bid to
make the screen industries a dynamic
and sustainable part of Scotland's
future.
Seven production companies from around Scotland have been offered a share of
the National Lottery funds from Scottish Screen since December 2006 over one
or two years. These are:
La Belle Allee - Awarded £19,810 over 1 year
Slate North (Slate Films) - Awarded £50,000 over 2 years
MNE Media - Awarded £80,000 over 2 years
Synchronicity Films Ltd - Awarded £40,000 over 1 year
Savalas - Awarded £67,000 over 2 years
Caledonia TV Productions - Awarded £75,000 over 2 years
Hopscotch Films Ltd - Awarded £40,000 over 1 year
This investment comes from Scottish Screen's Business Development Loan
strand, set up in December 2006, which aimed to offer Scottish based production
companies an opportunity to access finance where access to commercial finance
may be restricted. Businesses can use the funding to sustain, develop or grow an
aspect of their business for a period of up to two years, without having to repay
the loan or pay interest during this period.
As a result of how well received this funding has been, the Business
Development Loan is now closed for applications, but look out for our Slate
Finance initiative coming soon in 2008.
For more information on the range of investment funds available from Scottish
Screen please visit www.scottishscreen.com/investment.
11
training news
TRAININGOPPORTUNITIES:
BTSR, SKILLSET
AND BBC: CAREERS
EVENT
WRITERS FACTORY
- INTERMEDIATE
SCREENWRITING
- Finding material for adaptation - establishing
relationships with authors, journalists, agents
and publicists
- Negotiating the film and TV rights
- Hiring the screenwriter
Date: Monday 11 February 2008
Time: 5-9pm
Venue: BBC Scotland, Pacific Quay, Glasgow
Dates: 6 May–8 July 2008
Time: Thursdays 6-8pm
Cost: £195 (full), £150 (concessions)
Venue: Screen Academy Scotland, Edinburgh
3. The Screenwriter:
- Creating a pitch for the job and your take on
the work
- The adaptation process - finding the
screenplay within the material
- Working with the producer and originator of
the work
The BTSR in partnership with Skillset would
like you to attend a special event, chaired by
Sheena MacDonald, devoted to the issue of
freelance training.
- Do you feel you are in control and managing
your career?
- Did you know that there are sources of
funding aimed at the freelance community,
administered by Skillset and designed to help
you refresh and develop your skills?
- Have you ever benefited from them?
- Do you know how to access them?
If your answer to any of these questions is NO
- or if you have a view on how the industry
should be training its freelancers - then this
will be the event for you. It will be a real
opportunity to share your insights, help shape
the training available to freelancers, find out
how you can get your share of the funds
available - and network with many of your
freelance colleagues.
The event is free of charge and light
refreshments will be provided. However,
spaces are strictly limited, so please RSVP to
[email protected].
WRITERS FACTORY:
SCREENWRITING
COURSES
Writers Factory - Introduction to Screenwriting
Course - Express!
Dates: Two weekend workshops 23/24
February & 8/9 March 2008
Time: 10am-5pm
Cost: £150 (full), £115 (concessions)
Venue: Screen Academy Scotland, Edinburgh
This course is run over two consecutive
weekends and is an express version of the
Introduction to Screenwriting course. The
content was devised by the Writers Factory
tutors after much demand from new writers
unable to attend the full version and needing
a rigorous overview of the craft from industry
professionals. Students attending the course
develop a premise and outline for a five to ten
minute screenplay, ideal for those interested in
writing films for distribution online. For further
information, please visit the website: www.
screenacademyscotland.ac.uk
E: [email protected]
T: 0131 455 2615
12
This ten-week intermediate level screenwriting
course will run at Screen Academy Scotland
in May 2008. The course was devised by the
Writers Factory tutors after much demand
from emerging professionals. It is designed
for those who have already written short
film scripts and wish to write longer format
screenplays (and/or develop their ten-minute
screen works more fully). The course is heavily
workshop based and uses peer-to-peer review
and one-to-one sessions with experienced
industry professionals.
If you would like to reserve a space on this
course, please go to the website and fill in the
form: www2.napier.ac.uk/dama/screen/html/
short_courses_srwri3.html.
Please also supply a sample short film script
with your application.
For further information please visit the website:
www.screenacademyscotland.ac.uk
T: 0131 455 2615
This is a brand new course and as always
MeadKerr will be providing the most up-to-date,
career building advice, a relaxed and friendly
networking opportunity and excellent speakers
and panel members.
Please read testimonials about past classes
and get information about travel and
accommodation on the website
www.meadkerr.com.
INTERNATIONAL
PERFORMING ARTS
LABORATORY
Performer's Physicality:
physical action, psychological gesture,
biomechanics
under the direction of Sergey Ostrenko
THE ART AND
BUSINESS OF
ADAPTATION
Date: 20-25 April 2008
Location: Prague, Czech Republic
Cost: €550 (if payment is made before 20
February 2008. The fee covers attendance of
the programme, accommodation and meals.)
Date: Sat 15-Sun 16 March 2007
Time: 10am–4.30pm
Venue: Edinburgh
Cost: £120 including VAT and Lunch
Booking details: To request a booking form or
further information e-mail [email protected]
The Lab is focused on practical exploration of
performer's psycho-physical instrument. The
program includes intensive practical training,
lectures and discussion club.
The Art and Business of Adaptation will
provide you with a clear and practical guide
to the creative, legal and business aspects
of adapting material for the screen. Guest
speakers ranging from screenwriters, novelists,
producers and publishers will share their
experience of finding, optioning, writing and
selling work. Just a few of the areas the course
will cover are:
1. The Author:
- When is your book, article or blog suitable for
adaptation?
- How can you publicise your work to the film
and TV industry?
- Selling the film and TV rights to your work.
- Adapting your own work for the screen.
2. The Producer:
- When is a book, article or blog suitable for
adaptation?
Each day will begin from the morning
warm-up based on the Biomechanics of
Meyerhold. The Lab is open to performers
from different creative genres, techniques and
styles interested to enrich the professional
arsenal with new practical methods and
devices, to explore contemporary aesthetics
in communication with a spectator and to
reconsider cooperation principles in a creative
group.
Registration: Candidates should send a CV and
a brief letter of motivation to
[email protected], stating the title, dates and
location of the event. Please note that places
are limited, the registration will be closed once
the group is full.
Please visit www.iugte.com/projects/PAL.php
for more details.
training
skillset news
MET FILM SCHOOL:
WRITERS’ TRAINING
SCHEME
Date: June 2008 – May 2009
The Met Film School Writers’ Training Scheme
will support ten talented emerging writers to
develop a first draft of a feature film script
whilst supporting their creative and professional
development through an intensive training
programme. The initial six months will include
1:1 support from both a script supervisor and
a producer and professional support, bespoke
training courses, masterclasses, readings,
workshops, and a series of placements
designed to familiarise writers with working
practice across the value chain of cinema from
production to exploitation. Five of the writers
will then be selected for a further six months of
development support.
- A brief covering letter (max 500 words)
explaining how you meet the selection criteria
and why you want to apply to the scheme
- Your CV
- An outline or treatment of no more than 2
pages for a new piece of work you would like
to develop on the scheme
- A sample piece of writing - either a full length
feature script, a 1/2 hour television episode or a
produced stage play
- Two references supporting your work from
recognised industry professionals
FLUID EYE
PRODUCTIONS NEW
TRAINING COURSES
Successful applicants will be confirmed in May
2008. The programme will commence in June
2008.
For more information about these and future
courses, and to book your space, please visit
www.fluideyeproductions.co.uk.
Find out more about the Met Film School
Writers’ Training Scheme on the website
www.metfilmschool.co.uk/wts.aspx.
New Equipment and training courses at Pilton
Video.
The programme will be delivered by a proven
partnership of producers, distributors and
training providers with an existing track record
of developing scripts and delivering this level
and type of training. Additional training and
placements will be provided by a range of
people and organisations including Hollywood
studios, and high-level writers, agencies,
producers and distributors.
Fluid Eye Productions frequently offers new
training opportunities. Examples of courses
offered are Location Filming, From Short to
Feature, Documentary Filmmaking, Marketing
and Distributing Your Film, Writing for Games
and Multimedia.
Pilton Video has new High Definition Equipment
supported by the Scottish Arts Council and City
of Edinburgh Council.
New camera, lighting, sound and postproduction resources are available from Pilton
Video. For further information and rates go to:
www.piltonvideo.org/equipment.htm.
From February, Pilton Video will be offering
short courses ranging from Camera skills to
Screen Writing basics. For further information
go to: www.piltonvideo.org/training.htm.
While both professional placements and
training days will take place in London,
applications from across the UK are strongly
encouraged and support will be provided
towards travel and accommodation expenses
for regional
applicants.
Applicants should apply by 5pm on Monday 10
March 2008 by email to [email protected] and
by post to Writers Training Scheme, Met Film,
Ealing Studios, Ealing Green, London, W5 5EP
with the following:
FUNDING OPPORTUNITIES
Skillset Scotland Training Fund
Freelancers: need money to train? Looking for a cash grant? Apply now!
Get up to a maximum of
£2,500 to spend on training
via the Skillset Scotland
Training Fund. Bursaries are
available until March 2008
for freelance professionals
to attend courses in film, TV,
animation, computer games or
interactive media industries.
Some qualifications may also
be supported.
- Are you working in film,
TV, animation, computer
games, interactive media?
- Are you a resident in
Scotland?
- Can you show us how training
you apply for will be good for
your career?
- Have you chosen a course and
been accepted by the training
provider?
- Have you applied for a
structured course with a
recognised training provider?
- Are you able
to submit an application form
at least 5 days before course
begins?
Jackie McNally
Screen Industry Manager
T: 0141 222 9992
Or
Then, why not apply for
a Skillset Scotland Training
Bursary? For more information
please go to www.skillset.org/
uk/scotland or contact:
Sharon Hutt
Scotland Administrator
T: 0141 222 2633
13
media news
MEDIA FUNDING CALLS
New Call Announced:
Initial Training –
Call for proposals 03/2008
This schemes aims to improve the European dimension of
audiovisual training activities.
Its main objectives are:
• To encourage exchanges and cooperation in supporting
the networking of European training players, in particular
higher education institutions, training organisations and
partners of the audiovisual sector.
• To encourage mobility of students and trainers in Europe.
• To strengthen the skills of European audiovisual
professionals in order to improve the quality and potential
of European audiovisual works.
Financial support is available for up to 50% of the eligible
costs of the project. Up to 75% is available if one of the
members of the grouping is based in one of the accession
countries.
Applicants must take the form of pan-European consortia
composed of Higher education institutions and/or other
organisations linked to the audiovisual industry.
• The partners taking part in the consortium must come
from at least three countries participating in the MEDIA
Programme.
• At least three partners involved in the consortium must be
Higher education institutions.
Deadline: 14 March 2008
Development – Single projects/Slate
– Call for proposals 16/2007
Eligible projects are as follows:
• Fiction (one-off and series, minimum duration 50 mins)
• Creative documentary (one-off and series, minimum
duration 25 mins)
• Animation (minimum duration 24 mins)
Eligible development costs for both single and slate:
* The acquisition of rights
* Research (including archive research)
* All script writing up to and including the final draft
(provided that it is paid before first day of principal
photography or pre-production)
* Storyboards
* Identification of the key cast and crew
* Preparation of the production budget and schedule
* Preparation of financing plan
* Identification of industry partners, co-producers and
financiers
* Initial marketing and sales plans (attending markets and
attracting buyers)
Other eligible costs:
* For drama and creative documentary: trailer / video
treatment
* For animation: graphics research and production of a
pilot
Deadline for both Single and Slate: 15 April 2008
Single projects-
Eligible companies:
European independent production companies with a track
record, which hold a minimum of 50% of the rights in
the project. Companies must have been registered for
at least 12 months at the time of applying. There are no
minimum requirements in terms of the company's turnover
or profit, but the company must provide evidence of its
financial capacity.
Grant available:
The Commission's grant for all categories of single projects
is from €10,000- €60,000, with the exception of animation
feature-length projects for cinema release for which a
maximum of €80,000 is available.
Up to 50% of the development budget for each project can
be supported, with matching funds being the responsibility
of the applicant.
Track record required:
The company must be able to provide evidence that they
have completed, as the majority producer, a previous work
similar to the eligible projects described above. It must also
show that this work has been distributed during the period
between 1 January 2005 and the date of submission of the
application.
Slate Funding -
Eligible companies:
European independent production companies with a track
record, which hold a minimum of 50% of the rights in the
projects. The companies must be registered for at least
36 months.
Grant available:
Slate Funding funds from three to six projects on the basis
of one application. Each project can receive from €10,000
to €60,000. The total amount of support per slate is from
€70,000 to €190,000.
Up to 50% of the development budget for each project can
be supported, with matching funds being the responsibility
of the applicant.
Track record required:
Within five years leading to the submission date, the
company must have produced, as a majority producer, two
projects in a similar eligible category and these projects
must have had international distribution within the same
period.
Ineligible projects would be as follows:
• Reference works (encyclopedias, atlases,
catalogues, databases)
• "How-to" works (education programmes, manuals)
• Tools and software services
• Information services or purely transactional
• Information programmes and magazines
• Projects promoting tourism
• Multimedia art projects
• Projects promoting, directly or indirectly, messages
that are at odds with the policies of the European
Union. For example, projects that may be contrary to
the interests of public health (alcohol, tobacco,
drugs), respect for human rights, people's security,
freedom of expression, etc.
• Projects promoting violence and/or racism and
or with a pornographic content; works of a
promotional nature
• Institutional productions to promote a specific organisation
or its activities
The companies must also demonstrate a track record of
having produced as majority producer an eligible interactive
work or an animation of no less than 24 minutes. They
also have to prove that this project has been commercially
distributed during the period between 1 January 2005 and
the application submission date.
Deadline: 15 April 2008
Audiovisual Festivals Call for proposals 18/2007
Audiovisual festivals are events programming original
audiovisual works: feature and short length films,
documentaries, animation, in all formats including
new media. Festivals focussing on subjects such as
archaeology or anthropology, medicine, ornithology,
science, environment, tourism, sport and advertising as
well as events programming live-broadcast events, music
videos and videogames are not eligible.
To be eligible, festivals must devote a minimum of 70% of
their entire festival programme to European films. These
films must represent at least ten states participating in the
MEDIA Programme.
Applicants please note that you can only apply for
Single project OR Slate funding within any one call.
The maximum contribution per project under this call for
proposals is €35,000 and the minimum is €10,000.
Development – Interactive projects call
for proposals 17/2007
This call is only for projects starting between 1
November 2008 and 30 April 2009.
This scheme is aimed at independent European
companies wishing to develop online and off-line interactive
projects intended for European and international markets,
including projects developed for computers, consoles,
handheld consoles and mobile handsets.
Eligible Projects:
• Interactive works for computer, Internet, mobile
phone, games console including handheld mobile
devices presenting interactivity, scenario (narrative
structure) and innovation;
• New format concepts for digital television, the
Internet or mobile handsets where interactivity and
narrative elements are significant.
14
The minimum grant is €10,000, the maximum €60,000,
except for the development of prototypes for games
consoles, handheld consoles and computers for which the
maximum grant is €100,000.
Deadline: 30 April 2008 for projects which start between 1
November 2008 and 30 April 2009
TV Broadcasting 19/2007
This funding seeks to encourage independent European
audiovisual production companies to produce work
(fiction, documentaries or animated films) that involves
the participation or cooperation of least three broadcasters
- and preferably more - from several member states.
Please note that significant modifications have been made
to the Award Criteria for this scheme and the allocation of
points has been completely redesigned.
media news
Eligible projects:
• Fiction (minimum duration 50 minutes)
• Creative documentary (minimum duration 25 minutes)
• Animation (minimum duration 25 minutes)
Sequels and series of episodes based in whole or in
part on a previous project are not eligible for funding.
MEDIA funding available:
MEDIA 2007 funding would cover up to 12.5% of your
eligible production budget (with a maximum amount per
work of €500,000) for fiction and animation, and 20% of
your eligible budget (with a maximum of €300,000 per
work) for documentaries.
Deadline: 22 February 2008 and 13 June 2008
I2i Audiovisual – Call for proposals
29/2007
The i2i Audiovisual scheme supports production
companies that bear the costs of bank financing and/or
associated insurance and completion bonds costs. It
offers subsidy to cover up to 50% of the following costs,
capped at €50,000 per project, and at €100,000 per
company:
Module 1 - Insurance Costs
Module 2 - Completion Guarantee Costs
Module 3 - Financial Costs (the interest on the loan)
In order to be eligible companies must present a signed
credit agreement, insurance contract or completion
guarantee for the project.
Companies can apply for more than one module for the
same film, unless it is possible to obtain the maximum of
€50,000 under one module. The minimum allocation is
€5,000 per project.
Automatic Scheme – Call for proposals
27/2007
The aim of this scheme is to encourage and support
the wider transnational distribution of recent European
films by providing funds to distributors, based upon their
performance on the market, for further reinvestment in
new non-national European films.
The scheme is designed in two stages:
• Generation - distributors declare the number of
admissions in the qualifying period;
• Reinvestment - the funds generated in the first stage can
be reinvested in co-production, minimum guarantees and
distribution costs of new European non-national films.
NETWORKING
MIPTV
Participation fee: €1500
Deadline: Mid April (specific date to be confirmed)
TOSMI (Training on Open Source Multimedia
Instruments) offers training on free and open source
software multimedia tools that can be efficiently used
by professionals working in audio-processing, imageprocessing, 3D and post-processing and other parts of the
digital media industries. The training programme consists
of the following three modules:
• General Blender Techniques - Tips and Tricks
• Media content for the web - Streaming techniques, emarketing
•Advanced Blender Techniques - External rendering
engines, python scripting
MIPTV participants, who are accepted on the MEDIA
Umbrella Stand, are also eligible for special conditions at
MIPDOC, the 2-day screening event organised for some
300 specialised international DOCUMENTARY buyers in
the Carlton Hotel. First delegate [with 3 titles in catalogue
and digital library] pays €652, 2nd delegate is €551,
additional titles can be entered at €180 per title and (new
this year) €100 for additional titles previously screened at
MIPDOC 2006/07.
For more information, please visit: www.marketplaceevents.com. Alternatively, you can send an email to:
[email protected].
Deadlines: 1 April 2008 and 1 July 2008
There will be two workshops: 9-day residential lab in
Germany, June 2008 and a 6-day residential lab in
Amsterdam, October 2008.
MIPDOC
Selective Scheme – Call for proposals
28/2007
To be eligible for support, films must be:
• Recent (first copyright established during or after 2005)
• A minimum duration of 60 minutes
• European - The work is European when it has been
majority produced by companies established in one or
more countries participating in the MEDIA Programme
and it has a significant participation by professionals who
are citizens/residents of the countries participating in the
MEDIA Programme.
Participation in Pygmalion Plus also results in networks of
potential colleagues and collaborators from amongst their
fellow participants and mentors and through participation
in the Cinekid Children's Film Festival during the second
workshop.
For more information, please contact:
Jenny Thompson
Performing Arts Labs, 6 Flitcroft Street, London WC2H
8DJ UK
Tel: 44 207 240 8040
E-mail: [email protected]
www.pallabs.org/labs/media.php
MIPTV Deadline: 29 February 2008
(with inclusion in main guide)
MIPDOC Deadline: 7 February 2008 (Registration for
MIPDOC is only possible in combination with MIPTV)
The maximum financial contribution which can be
granted is €150,000 per distributor per film distributed.
Digital distribution can also be supported as long as it
is of minimum quality (1,3 K). The financial contribution
awarded will in no event exceed 50% of the distribution
budget.
Pygmalion Plus is a specialist programme for the
development of projects aimed at child and family
audiences. The programme, which is composed of two
residential labs, is open to projects for film (live-action
and animation), live-action TV drama, animated TV series,
interactive media, and for cross-platform projects.
The MEDIA Programme will host again some 200 selected
European independents on their Umbrella Stand at MIPTV
[featuring MILIA]. On their behalf, The Marketplace
can offer a very attractive participation fee of €715 per
person. This fee includes a complete package ranging from
accreditation with MIPTV organisers Reed Midem, badge,
delegates' bag and official Guide listing to the free use of all
services and facilities of a fully equipped stand.
Deadline: 7 July 2008 - for projects which have started
between 1 January 2008 and 30 June 2008 ie the credit
agreement with the bank of financial institution has been
signed within that period and the first day of principal
photography has not taken place before 1 January 2008.
The scheme is to facilitate transnational distribution of
European films. It aims to encourage distributors to
release films that might be a challenge were they to be
supported by market forces alone. As a result of this
support European audiences should gain access to a
wider range of films.
Pygmalion Plus
MEDIA SUPPORTED TRAINING
Cartoon: Master Future 2008
Cartoon: Master Future is a course designed to explore
the latest cross media and technological developments
The digital revolution is changing the way television
programmes are produced, distributed and eventually
consumed. The advent of High Definition and Mobile TV
also affects programme content and format.
To help participants get a clearer picture of the stakes and
opportunities for animation, Cartoon has invited: An HD
Satellite operator and broadcaster, 2D and 3D animation
producers and post-producers in HD, Sony, Nokia TV, and
representatives from Interactive TV and IPTV.
The workshop will take place 22-24 April 2008 in Murcia,
Spain. Participation fee is €400.
Yolanda Alonso, CARTOON Masters, 314 boulevard
Lambermont, B-1030 Brussels, Belgium
Tel: 32 2 242 93 53 Fax: 32 2 245 46 89
Web: www.cartoon-media.be
TOSMI
Module 1 will be held: 25-30 May 2008
Module 2 will be held: 2-7 June 2008
Module 3 will be held: 9-14 June 2008
Participation fee: €1000 per module, €2400 for all 3
modules.
(Deadline for second and third module: 20 May 2008)
Petko Dourmana
Interspace Association
27 Benkovski Str. Ent. 2 fl.1 ap. 18
Sofia 1000
Bulgaria
Tel: 359 (2) 983 48 43
Web: www.tosmi.i-space.org
For any further information,
please do not hesitate to contact
MEDIA Antenna Scotland on
0141 302 1776/7.
Alternatively, you can also email us at [email protected]
or visit our website:
www.mediadesk.co.uk
MEDIA Antenna Scotland operates with the
kind support of Scottish Screen and the
MEDIA Programme of the European Union.
15
call for entries
CALL FOR ENTRIES
4Talent
4Talent is looking for new directors to take part in
industry masterclasses and work with experienced
4Talent producers to create new, inspiring, creative
videos for the 4Talent Scotland website. If you
have got ideas for video features for the website,
and know how to put those ideas across in an
engaging, entertaining and creative way, then
4Talent wants to hear from you.
If you want to take part, please submit your CV
detailing your directing or film making experience
- maximum one page - and three ideas for videos
you'd like to direct for the 4Talent site - 100 words
per idea.
If you have a showreel or example of your work
as a director you can upload this online and send
4Talent the link, or send a DVD. Please keep your
showreel under five minutes.
You can e-mail your application to:
[email protected].
Alternatively, please post it to:
4Talent Scotland, Channel 4 Television
227 West George Street, Glasgow G2
For more information, please visit www.channel4.
com/4talent. Deadline for entries is 5pm on
Monday 11 February 2008.
One Minute
Wonder Short Film
Competition
Following the success of last year’s One Minute
Wonder competition, The List and Metro Ecosse
would like to announce their second short film
screenwriting competition.
This time they are asking for three-minute
screenplays and the theme is ‘Big’. The script must
be set in Scotland and is open to anyone over the
age of 16 who is resident in Scotland. Nine scripts
will be short listed by a jury of film experts and
then professionals will make three of the scripts
into short films.
For more information and to download application
forms, please visit www.list.co.uk/article/6028-thelist-announces-new-short-film-competition.
The deadline for admissions is Friday 15
February 2008.
Renderyard Film
Festival 08
Renderyard Film Festival (RFF) is now accepting
films for the new Feature Film and Documentary
festival running from the 17-21 March 2008.
Renderyard was established to provide a creative
platform for showing experimental film and
animation made by emerging filmmakers. The
festival helps to produce and distribute short
films throughout the country and abroad, with a
yearly film festival held in London. It is a digital
playground that gives filmmakers the chance to
view and contact each other and provides a strong
network facility for emerging new talent.
At the 2008 festival, new feature films and
documentaries will be showing alongside feature
length animations and machinimania. RFF is also
open to scripts and film scores for feature films.
The festival is looking for films that have been
produced by drawing inspiration from personal
sources and influences that allow each director
to project their own reflections and ideas as new
forms of visual self-expression.
www.renderyard.com.
Deadline for entries is Friday 15 February 2008.
Hamburg
International Short
Film Festival 2008
The 24th Hamburg International Short Film Festival
will take place 4-9 June 2008.
To submit a film online, you need to accept
the conditions of participation and fill out the
subsequent online entry form. The preview copy of
your film together with the entry confirmation and
the according entry number should be send to the
following address:
Int KurzFilmFestival Hamburg
Friedensallee 7, 22765 Hamburg, Germany
Please send the entry form with all the required
information, accompanied by a preview copy,
to the above address. Please use the online
submission to enter your film on the following
website: www.festival.shortfilm.com.
www.festival.shortfilm.com.
The submission deadline is 15 February
2008. Films for the Three-Minute Quickie
competition (the topic 2008 is 'smoke')
have to be submitted by 1 April 2008.
Edinburgh
International
Film Festival 2008
Submissions are open for the 2008 Edinburgh
International Film Festival (EIFF). Shorts, features,
animation, documentary and music video that
will be no older than 12 months by June 2008 are
eligible. You can download the relevant forms
and regulations from the EIFF site, or you can
submit your film via the online submissions service
withoutabox.com
If you are unable to apply online for any reason,
you can download the application forms, complete
them, and post them to the festival. Please write
'2008 Submissions' and the film category on your
envelope.
www.edfilmfest.org.uk/submissions.
Edinburgh International Film Festival
88 Lothian Road, Edinburgh, EH3 9BZ
Scotland
Deadline for entries of all features,
animation and shorts is Monday 18
February 2008. For Mirrorball, the deadline
is Wednesday 2 April 2008.
60 Second Shorts
The Scottish Institute for Enterprise (SIE) and
4Talent Scotland challenge students across
Scotland to take part in a pioneering short film
competition to demonstrate 'what it means to be
enterprising'.
SIE invites you to film a 60 Second Short video of
what you think it means to be enterprising. Your
short could be filmed with a hand-held camera,
your phone, in CGI, stop-motion, a series of
cartoons, even finger puppets. The top ten will
be showcased in front of a 2000 strong audience
at the SIE National Student Enterprise Summit on
12 March 2008, with the winning short receiving
a £500 cash prize. The judges will be looking for
creativity in production, personal interpretation of
enterprise and clarity of message, and the quality
or creative use of the chosen film format.
The filmed video clips can be in any format:
handheld camera, mobile phone, CGI or filmed
in a professional studio. The event is open to all
students attending Scottish Higher Education
Institutions.
Anyone interested in taking part should visit the
Scottish Institute for Enterprise website on
www.sie.ac.uk/60seconds, where the 60 second
film shorts can also be uploaded.
Deadline for video entries is Friday 22
February 2008.
16
call for entries
Moxie Makers:
The Big Pitch
Moxie Makers is a micro studio, created with the
express purpose of commercially showcasing
the exciting new filmmaking talent burgeoning in
the UK. Supported by Skillset - the Sector Skills
Council for the Audio Visual Industries - The Big
Pitch will provide comprehensive training and
development for six producer/writer/director
teams as they compete to win the most dynamic
feature film pitching competition and the largest
film production prize in the UK.
The UK wide selection process for The Big Pitch
opened on 7 December 2007 and begins with a
written application from which a shortlist of 15
projects will be drawn up. A professional industry
panel will select shortlisted applicants and after
undergoing an interview process, seven projects
will be eliminated and only eight writer/director/
producer teams and their respective feature film
ideas will be invited onto The Big Pitch Training
Programme.
The Big Pitch Training Programme will kickoff with a four-day intensive induction and
development workshop, after which only six teams
will secure a place to continue further onto the
project and pitch development stage. During the
four-month project and pitch development stage
the six remaining teams will work with industry
professionals to develop and package their
project. At the end of this period only four out of
the six teams will be invited to The Big Pitch event
where they will sell their feature film ideas before
a live audience at NLFF 08 as they compete for the
production deal worth up to £250,000!
Cannes
International
Film Festival 2008
London
Independent Film
Festival
Cannes International Film Festival 2008 is now
open for entries. The various categories are:
The London Independent Film Festival is dedicated
to showcasing new emerging film talent.
- Competition: feature-length films and shorts
- Non-competitive section: "Un Certain Regard",
"Out of Competition"
- Cinéfondation film schools section (mediumlength and short films)
For more information about submission of feature
films, short films and scripts, please visit
www.londonindependentfilmfestival.org or e-mail
[email protected].
Requirements: 35mm only. Films must have been
produced during 12 months before festival and
must not have been shown previously outside the
country of origin. Short films must not exceed 15
minutes.
Awards: Palme d'Or, Grand Prix, award for
best actress and best actor, best director, best
screenplay, Jury Prize (awarded to a technician),
the Palme d'Or to the best short film, The Caméra
d'Or to the best first-time feature film of any
category.
Fees: None
Administrative address: Festival de Cannes, Film
Department, 3, rue Amélie, 75007 Paris, France
T: +33 (0)1 53 59 61 71
F: +33 (0)1 53 59 61 70;
General Manager: Veronique Cayla
Artistic Director: Thierry Fremaux
For further information about the festival,
applications and visit www.festival-cannes.org.
www.moxiemakers.com.
Deadline for entries is March 2008.
The closing date for applications is 22
February 2008.
Dead by Dawn 2008
Melbourne
International Film
Festival 2008
Dead by Dawn, Scotland’s International Horror
Film Festival in association with Filmhouse, is this
year running 24-27 April.
Want to submit a film to the festival? Please
note that the festival has a rolling deadline and
accepts both features and shorts. All the festival
programmes and strands are competitive.
The Melbourne International Film Festival (MIFF)
is now open for submissions for the 2008 Festival
to be held from 25 July to 10 August. MIFF
will accept features, shorts, documentaries,
animations, experimental works, and music videos.
To download general submission, shorts
submissions form, features submissions form and
read the guidelines, please visit
www.deadbydawn.co.uk.
Please read the entry regulations before entering
your work. Entries must be completed online.
Deadline for entries to this year’s festival
is March 2008.
The London Independent Film Festival is open
to UK as well as international films in one of the
following categories:
The final deadline for entries is 21 March
2008 (in office, not postmarked).
Rushes Soho Shorts
Festival 2008
Celebrating the best director in each of the six
categories Short Film, Animation, Documentary,
Music Video, Newcomer and Broadcast Design,
Rushes Soho Shorts Festival 2008 has built a
phenomenal following and maintains a significant
bridge between the independent and commercial
film making communities.
The festival provides most programmes and
events for free, intending to encourage, inspire
and promote talented filmmakers to the wealth of
production companies and organisations in and
around London.
For further information and to download the entry
form for this year’s Rushes Soho Shorts Festival,
please visit www.sohoshorts.com.
Deadline for entries is Friday 25 April
2008.
t over
con
www.melbournefilmfestival.com.au/filmentrypage.
Deadlines for entries are:
Shorts entry deadline - 7 March 2008
Features entry deadline - 4 April 2008
17
news
CALL FOR ENTRIES cont
Midnight Sun Film
Festival 2008
Midnight Sun Film Festival is a non-competitive
festival. The festival repertory concentrates on
fictional 35mm feature films; few of the best short
and documentary films of the year may also be
selected, providing they fit in the themes. Videos
are shown only in special cases.
You can offer your film to the festival by sending a
free-form introduction by e-mail to
[email protected]. Please mention
“Submitting a film” in the subject-box of your mail.
If the festival is interesting, staff will contact you
and ask for more material. Please also include
reviews on the film and mention the prizes it has
won.
The Midnight Sun Film Festival is held this year
on June 13-17. For more information, please visit
www.msfilmfestival.fi.
Deadline for entries is late April 2008.
City in Motion 2008
City in Motion takes place for a second year in
2008 and calls for students interested in making
short films or videos. Hosted by the City of London
Festival, in partnership with Barbican Film and the
British Film Institute, the event is for short works
up to 8 minutes, created by students age 16 years
and above.
Six short films will be selected for screenings at
the Barbican cinemas as part of the City of London
Festival, which takes place from 20 June to 10 July
2008. A special awards presentation of the six
works will also be held, with all times and details
to be announced in the City of London Festival’s
Free Events Guide released in May 2008. Two
bursary prizes of £2000 will be awarded.
There will be a City in Motion Film-makers’ Forum
held at the BFI Southbank (formerly National
Film Theatre) with an opportunity for discussion
and questions about the event on Wednesday 27
February 2008, 4.00–6.00pm.
If you are interested in creating a short film for
City in Motion, or finding out more, please email to register your interest and receive further
information. E-mail [email protected] with ‘City
in Motion film competition’ in the subject line.
City in Motion – student short film
City of London Festival
12 – 14 Mason’s Avenue
London EC2V 5BB
T: 020 7796 4949
F: 020 7796 4959
Deadline for entries is 16 May 2008.
18
Africa in Motion
icewhole.com
Africa in Motion festival launches new short film
competition for emerging African filmmakers
across the continent.
A new international film and music website
icewhole.com, dedicated to short filmmakers has
launched. The free-to-use site aims to provide
aspiring filmmakers and musicians worldwide a
unique opportunity to showcase their work.
The Africa in Motion film festival (AiM), which
takes place annually in October at Edinburgh
Filmhouse, is officially inviting African filmmakers
to submit short films for a new AiM competition.
In order to target the competition specifically
towards young and emerging African talent,
filmmakers who enter a film for consideration
must not have completed a feature-length
film previously. Films entered must have been
completed in 2005 or after, and must be no longer
than 30 minutes.
The competition winner will be selected from
a shortlist of films and will be announced at an
awards ceremony at the third successive Africa
in Motion festival in October 2008. The winner will
have the opportunity for their film to be screened
at AiM 2008 as well as the chance to win a
significant cash prize. A selection of other short
films specially commended by our competition
jury will also be screened as part of a short film
showcase at AiM 2008.
Please see
www.africa-in-motion.org.uk/call.html
for full submission guidelines and to download
an entry form. For any further enquiries, please
contact AiM festival director Lizelle Bisschoff at:
[email protected].
Deadline for entries is 31 May 2008.
ThinkSync
The ThinkSync competition brings together
independent filmmakers with independent record
labels and publishers. Entrants to the competition
submit short films which incorporate one or
more tracks downloadable free of charge from
Thinksync Films' website
www.thinksyncfilms.com.
Only the music supplied by them is permitted to
feature in the short. The competition rewards
the most skilful and appropriate use of the music
within the film.
This year's ThinkSync Films promises to be extra
special as screening of the finalists will take place
in conjunction with the 10th anniversary Rushes
Soho Shorts Festival. ThinkSync will also feature
programming at Raindance Film Festival and other
festivals including the re-branded London Short
Film Festival in January 2008.
Deadline for entries is Friday 6 June 2008.
Users may submit their work into the Icewhole
monthly, quarterly and annual award schemes.
Icewhole.com also announce their first
partnership deal with film heavyweights Pearl
& Dean who will showcase the best short films
on cinema screens across the UK prior to main
features. This is a unique opportunity for talented
short filmmakers to have their work played to
audiences across the UK.
For further information, please contact:
Susie Tullett/Laura Dickens
DDA Public Relations Ltd.,
192/198 Vauxhall Bridge Road,
London SW1V 1DX
T: 0207 932 9800
For more information, please visit www.virb.com/
icewhole.
The Shooting Party
Do you think you can surpass Spielberg, better
Nick Broomfield or make the perfect music video?
Channel 4 is looking for deaf or disabled people to
form a new filmmaking team called The Shooting
Party.
The channel is looking for people with strong
ideas, bags of energy and the confidence to make
an original 3-5 minute film, a documentary, drama,
music video or any other kind of short, to be
broadcast on Channel 4.
If you are chosen to join, The Shooting Party not
only will you direct your own short film, you will
help other members of the group make their films
too. While you are doing it, Channel 4 is going
to make a film about you making the film, so you
must be prepared to shine in front of the camera
as well as behind it!
Broadcast experience is welcome, but not
necessary. Just talent, fresh ideas, and a burning
desire to make your film.
To find out more:
W: www.mavericktv.co.uk/theshootingparty
T: 0207 8746615
news
Africa in Motion
Dance:Film 07
This Time, This Place
THE AUDIENCE
DEVELOPMENT FUND
One of primary roles of
Scottish Screen’s Market
Development department
is to encourage cultural
cinema going and enable
audiences across Scotland
to experience a wide
range of screen material
that would otherwise
not be available. To this
end we fund a range of
core organisations such
as cinemas and festivals,
but we also have a fund
for projects or initiatives
that specifically aim to
encourage a diverse film
and moving image culture
in Scotland: the Audience
Development Fund.
The term Audience Development
covers a wide range of activity. If an
organisation is seeking investment
from the fund we ask that it fulfill
a minimum of two of the following
criteria:
• Bring new audiences to moving
image media
• Educate Scottish audiences and
develop a deeper understanding of
the moving image
• Increase the range of content
available to Scottish audiences
• Take place in areas of Scotland with
low access to a wide range of cinema
• Encourage networks and circulation
of work across venues, local
authorities and regions
• Encourage attendance by underrepresented communities
Over the past year a diverse and
eclectic range of projects have
received investment from the
Audience Development Fund,
including a festival of African
Cinema (Africa in Motion), a festival
celebrating food on film with
associated classes (The Kingussie
Food on Film Festival), an event
that celebrated the 20th anniversary
of the filming of Another Time,
Another Place (This Time, This Place)
and a retrospective of the films
of celebrated director Tsai Ming-
Liang with the director himself in
attendance.
One event in particular got the
public up out of their cinema seats
and dancing. Dance:Film 07 was
event co-produced by Edinburgh’s
Filmhouse and Dancebase and was
a programme of classic and modern
dance films at the Filmhouse with
an associated programme of dance
classes designed to bring new fans to
both art forms. So once the audience
had watched Dirty Dancing on the big
screen they were able to go and, like
Baby, take their first tentative steps
learning the mambo straight after.
Although festivals and retrospectives
are examples of the types of event
that can apply to the fund Scottish
Screen are looking to fund a range of
activities. Here are some examples of
what Scottish Screen will fund:
• Programming in cinemas and other
venues of content that would not
otherwise be seen in Scotland.
• Educational programmes of work in
cinemas and other exhibition venues.
• Educational material and other
documentation to develop audiences’
understanding and appreciation of
moving image culture in all its forms.
• Special events such as guest
lectures by film makers, Q & A
sessions accompanying screenings
etc.
• Research and development and
marketing activities.
• Projects that increase access to
Heritage and Archive film in Scotland.
If you are interested in applying to the
fund, or are wondering if your project
is suitable for investment, then please
visit the Scottish Screen website for
more information and guidelines, or
speak to Sambrooke Scott, Market
Development Executive.
www.scottishscreen.com/investment
19
interview
An interview with MNE Media
roughcuts met with Allan
Macdonald, Managing Director,
and Margaret Scott, Director
of Creative and Business
Development, at their offices
in Glasgow to talk about what
the new year holds in store for
the company, which was set
up on Benbecula in 1989 and
it has grown in size to become
one of the largest independent
production companies in
Scotland. Although MNE’s main
base is in Glasgow they also
have a full time director based
on the Isle of Skye. Central to
what they do is a connection
to Gaelic language and culture,
and they produce programmes
across a range of genres: from
factual to comedy, drama to
sport.
“Like everybody involved in
broadcasting, our job is to
allow people to talk to each
other,” says Allan. This involves
making Gaelic language
20
programmes for Scottish
viewers, both Gaelic-speaking
and non-Gaelic speakers, as
well as trying to win network
commissions on English
language productions like their
recent co-production of Songs
of Praise, and also selling their
programmes to the rest of the
world. Seasonally Scottish was
a cookery programme that MNE
produced for UKTV, making
15 programmes featuring
Skye-based food writer Claire
MacDonald, which were shown
8 times on the channel before
being sold all around the world
to 32 countries, including the
Middle East and Australia.
MNE’s programmes not only
take Gaelic out to the world, but
also bring the world at large
back to the Gaelic community.
“Although MNE is very well
known as a company that
produces programmes in Barra,
you’re just as likely to find us in
Bangkok,” laughs Allan. “We
are by far and away, Scotland’s
most travelled independent.”
They are off to China and Hong
Kong the following week for a
travel programme, as well as
filming in Stornoway.
Allan sums up this dual role: “In
Gaelic language broadcasting
we have a world view of what
we do and in English language
broadcasting the aim is to get
the Gaelic to the wider Scottish
community and the network.”
Their international outlook is
currently being boosted as
Margaret has gained a place on
TRC’s international programme,
which involves working and
developing relationships with
partners internationally, and
includes three trips to North
America. It is, Margaret
acknowledges, “a great
opportunity”.
MNE are ambitious in their
outlook, looking beyond
Scotland and beyond linear
TV broadcasting, embracing
the many new multi-media
opportunities available for
exploiting content. They
produced Am Braighe 'S Am
Bayou about Runrig for stv
in August last year, and over
12,000 people have downloaded
in from their website. They also
produced a Christmas carol
concert for BBC2, Laoidhean
Nollaig a Kelvingrove, which
was broadcast on television and
radio. They are now looking at
the possibility of putting it out
as a DVD, “or we may just show
as a programme on our website,
which can be downloaded for
fee,” explains Allan. “It is no
longer just TV.”
In addition to their own website,
MNE have launched a sports
website, bounci tv (www.
bounci.tv/) which is a prototype
interview
for a complete multi-sport web platform.
Bounci.tv is a social networking site for
sports fans, which hosts clips, including
archive footage from the Scottish Screen
Archive, a photo gallery, a discussion forum
and listings of matches. It has become
a virtual community for the fans with
them contributing to discussion groups,
uploading images and footage and sharing
information. MNE received an award from
Scottish Screen’s Future Fund to develop
the concept and prototype, and to assess
the market.
The future possibilities for bounci.tv are
huge with the current focus on health and
fitness and the Commonwealth Games
coming to Glasgow in 2014. Although
the Bounci prototype is currently live with
shinty and football coverage, Margaret
sees potential to expand this: “With bounci,
we hope to give sports that are not part of
the mainstream - which don’t enjoy mass
coverage in the same way other high profile
sports do - exposure and an opportunity
for people to engage with them. There are
many sports in Scotland with a huge take
up but limited coverage,” and she cites
golf, curling and non league football as
examples.
Their research has identified a potential
audience of half a million people who are
physically registered with sports clubs and
associations. “And this, of course, does
not include the large numbers of people
who are not part of a formal organisation,
such as amateurs, hobbyists and, of course,
spectators,” says Margaret. Allan agrees:
“It’s an ambitious project and Scottish
Screen were absolutely fantastic in sharing
our ambitions and allowing us to explore
the development of bounci.tv. We’ve been
working on it a year and the potential of the
site is only now becoming clear.”
Sport is an area that MNE are looking
to expand their current coverage,
which includes shinty matches for BBC
Scotland, the recent world mountain
bike championships at Fort William, the
forthcoming Snowman Rally in Inverness
in February as well as some football in
the Western Isles. This will help generate
content for an expanded bounci.tv.
In terms of programming, MNE produce
across a number of genres, but are also
looking to expand and diversify. In comedy,
they have co-produced two series of
Comedy Gold with The Comedy Unit, and
are looking to develop this area, as well as
their traditional core areas of factual and
documentary.
The biggest new opportunity for MNE, one
which is core to all future business plans,
is the new Gaelic digital channel, which is
currently under review by the BBC Trust to
determine whether it will be a BBC channel,
and which is due to be launched later this
year.
Not only does this open up huge
opportunities in terms of airtime but
also the types of programmes produced.
As Margaret explains: “A lot of our
programming was historically made for
a Gaelic audience in an opt out scenario,
where the language is the key thing, so
it is not easily exportable. But in future
we have the opportunity to produce
programmes for a whole channel with
access to peak time, opening up different
formats and genres, and the possibility
for international distribution, as well as of
buying international product and bring it
back for channel. It means we will become
a different kind of supplier. It also helps
open up people’s thinking about what a
Gaelic channel can be.”
Allan welcomes the new channel, not just
because of the potential outlet for MNE, but
also because it is hugely important for the
Gaelic language and Scotland as a whole.
“For the first time Gaelic programmes will
be found in one place with dedicated airtime
allocated to them including peak time.
Effectively,” he says, “it will be Scotland’s
first channel, that’s not just opting out of
another channel.”
This is crucial for Scotland as a whole,
especially in how it presents itself nationally
and internationally. Allan believes:
“Scotland does need mechanisms to talk
to itself at this time because of the political
dynamic that’s taking place in the country.
It also needs to present itself to the UK and
the rest of the world. We need a separate
channel for people to come and look at us,
just like you can any other channel like the
BBC’s Asian network and S4C in Wales.”
MNE have grown and adapted in
recent years ready to meet these new
opportunities, which have opened up
through technology and cultural policy.
It started out with just Allan and a turnover
of £20,000; now they employ 14 staff, their
turnover is just under £2m, and they were
last year positioned just outside the Top 100
list of UK independents.
However, Allan believes it is more
meaningful to look beyond measures such
as headcount and turnover to the company’s
wider economic impact. They employ
freelancers, writers, and actors, use facilities
companies, and hotels, restaurants and
taxis when they are shooting on location.
“It is also significant that our contribution to
the economy is distributed equally between
urban and rural areas,” he says. “We
spread out the economic impact to areas
that would not traditionally benefit from the
television production sector.” It is part of
the company’s ethos to get out and about
and represent the whole of Scotland.
Instrumental in helping MNE continue to
grow has been an award of £80,000 from
Scottish Screen’s Business Development
Loan. This has been used to fund research
and development within the organisation,
exploring new areas for growth and
expansion. As Margaret says: “You’ve got
to think out the box nowadays. Technology
and audiences are evolving. I think that’s
what MNE represents – a company that has
taken on that gauntlet and embraced it – is
enthusiastic about change.”
Margaret is also keen to mention that the
company were recipients of a Training
and Development award from the Skillset
Scotland Training Fund. This has helped
them invest in their staff to make sure
they have the right skills to meet new
challenges and ways of working. Allan
stresses that much of their success is down
to partnership working: “Our big partners
in development have been the Gaelic Media
Service – Gaelic is core to our business
– but in addition, there have been a number
of other partners instrumental in helping
take MNE forward in development: Scottish
Screen, Scottish Enterprise, Glasgow Film
Office, TRC and Skillset.”
Allan sees two distinct elements that are
fundamental to MNE’s future growth and
development: “The challenge for us in
Gaelic broadcasting is to see what we
can contribute to the new Gaelic channel.
The challenge for us in English language
broadcasting is the same for any other
independent in the Scottish production
sector, looking to focus on diversifying
the rights to the programmes that we now
have.”
And there are challenges specific to the
Scottish independent production sector,
not least in getting network commissions.
Allan believes we have an industry that
is “ready, willing and able to take on the
challenge to make network television.”
He says: “The one thing we require is for
people to listen to us - that’s what’s not
happening. Whether you make this happen
through quotas or other mechanisms is up
to government but it needs to be addressed.
Unless you get listened to – you don’t get
the opportunities. The challenge in 2008 is
to make London listen.”
The Scottish Broadcasting Commission
and its investigation are crucial to this
and an important step forward in this, as
is Mark Thompson’s commitment to a
9% of network production for Scotland.
“We’ve had the right noises from BBC,”
says Allan, “but we still need to have
evidence; there needs to be a strategy
– how do we get there – and there is no
sign of this yet.” But he is hopeful that
this is what the Commission will come up
with – some positive actions that will help
resolve what Allan calls “an immediate
and urgent problem,” which he believes
has approximately an 18-month window in
which to be resolved. “But,” he says, I think
it’s also important that the Commission
looks to the longer term to move away from
the linear television model and look at what
does Scotland require in 2010-2020.”
21
film festival
THE
FANTASTIC
FOURTH
Glasgow Film Festival (14-24 February 2008)
The Glasgow Film Festival is the UK's fastest
growing film event. The 2007 festival under
co-directors Allison Gardner and Allan
Hunter recorded a massive 70% increase in
attendance figures and the 2008 festival is
planning to do even better. The festival's
stature within the industry is acknowledged
with a programme that includes a number
of high-profile UK premieres including the
opening night gala on Thursday February 14
of Woody Allen's dark comedy Cassandra's
Dream co-starring Ewan McGregor and Colin
Farrell as debt-ridden Cockney brothers
confronted with an offer they cannot refuse.
Glasgow is becoming a second home to
Woody Allen having premiered Scoop in
2007. The festival has also emerged as
a strong supporter of actor Ryan Gosling.
Last year the festival screened Half-Nelson
which earned Gosling his first Best Actor
Oscar nomination. This year, the festival
closes on Sunday February 24 with the UK
premiere of Lars And The Real Girl featuring
another knockout performance from Gosling
as a lonely young man who finds himself the
perfect girlfriend. The fact that he met her on
the internet leaves some people anxious on
his behalf. The fact that she is a doll causes
all kinds of hilarity and heartache in this
inventive charmer.
The festival's bumper crop of UK premieres
includes Margot At The Wedding, a
bittersweet tale of feuding sisters co-starring
Nicole Kidman and Jennifer Jason Leigh,
The Cottage, a gory chiller from London To
Brighton director Paul Andrew Williams, The
Bank Job, Roger Donaldson's recreation of a
true life British heist starring Jason Statham
and Saffron Burrows, La Sconoscuita (The
Unknown), a brooding comeback thriller from
Cinema Paradiso director Giuseppe Tornatore,
Le Deuxieme Souffle (The Second Wind), a
stunning all-star remake of the Jean-Pierre
Melville classic with Daniel Auteuil, Monica
Bellucci and Eric Cantona, documentary Body
Of War on the very human cost of the war
on terror, family adventure The Spiderwick
Chronicles with Freddie Highmore and the
latest blood-curdling classic from a master
of horror - George A Romero's Diary Of The
Dead.
22
The festival also has an excellent line up of
exciting events and special guests. Turner
Classic Movies and their special guest Barry
Norman will introduce the screening of
one of our Bette Davis classics The Letter,
and numerous directors will be present to
introduce their films and host Q and A’s.
Glasgow may bring the best of world cinema
to Scottish screens but it also recognises
the importance of celebrating local talent
from rising stars to undervalued names from
cinema's past. Glasgow-born Frank Lloyd was
the first Scot to win an Oscar and enjoyed a
lengthy career in which he worked with Cary
Grant, James Cagney and Charles Laughton.
Glasgow celebrates his legacy with a rare
screening of the 1922 silent version of Oliver
Twist starring Jackie Coogan and Lon Chaney
Sr as Fagin. Neil Brand will provide the piano
accompaniment.
Glasgow will also celebrate the work of local
filmmakers Zam Salim and Charles Henri
Belleville. Salim's shorts like Laid Off and Is
It Just Me have earned him an international
reputation and the promise of a glittering
career to follow. Belleville has been creating
a buzz with his inspirational debut feature
The Inheritance, a low-budget road movie
following two brothers confronting their past
as they head for Skye. There is also an
opportunity to celebrate the beloved Local
Hero with a special screening to mark the
film's silver anniversary that will be attended
by members of the cast and crew.
The opening weekend of GFF showcases
the exciting shorts programme organised
in partnership with the CCA, Glasgow’s
Centre for Contemporary Arts and curated
by The Magic Lantern. The Magic Lantern
is an independent Glasgow-based film night
showcasing short films, combining the
finest new work with treasures from archive,
focusing on innovative filmmaking which blurs
the boundaries between narrative-based and
more experimental genres. The programme
will be shown at the CCA from 15 -17 February
2008. The programme includes a chance
to see rare archive shorts by filmmakers
such as Wim Wenders and Chantal Akerman,
alongside a diverse range of the best new
Empties
short films from around the world. There will
also be two panel discussions, where experts
including producers, programmers, and
filmmakers will highlight and discuss many of
the key issues around short filmmaking. The
weekend will launch at the CCA alongside
the preview of the exhibition Let Me Show
You Some Things, which includes a new film
of the same name, by artist Sarah Tripp and
new work by artist Robert Orchardson, both
commissioned by the CCA.
The festival's annual focus on the cinema
of a particular country expands this year
to examine the current vibrancy of film
in Eastern Europe. Titles like 4 Months,
3 Weeks, 2 Days and The Death Of Mr
Lazarescu have been massive arthouse hits
in recent years. Glasgow presents the chance
to view a selection of new work from Poland,
Romania, Hungary, the Czech Republic and
Serbia include film noir The Trap (Klopka),
the award-winning California Dreamin'
and Empties, the latest delight from Oscarwinning Czech director Jan Sverak.
Fans of vintage Hollywood, glorious
melodrama and fine acting will not want to
miss a 12-film festival retrospective devoted
to the glittering career of the legendary
Bette Davis. An electrifying screen presence
who fought for better roles, Davis was born
in 1908 and this centenary retrospective
includes some of her finest films including
Jezebel (1938), Dark Victory (1939), The
Letter (1940), All About Eve (1950) and What
Ever Happened To Baby Jane (1962). The
retrospective, supported by TCM, begins on
Valentine's Day with the classic weepie Now
Voyager (1942) and will subsequently tour
the country.
Running parallel to the main festival is the
Glasgow Schools Film Festival (GSFF), a
programme of thirteen separate events for
schools programmed by GFT Learning. GSFF
08 features an impressive range of screenings
and workshops designed to inspire young
people to engage with film in fun and
interactive ways. The festival includes a
special focus on documentary films, featuring
some of the best new documentaries from
around the world and complemented by
film festival
Lars and The Real Girl
The Second Wind
Oliver Twist
Bank Job
Trap
Local Hero
Jezebel, Bette Davis
The Inheritance
training for teachers on how to
creatively approach documentary,
led by documentary filmmakers
Alice Nelson (winner of Scottish
BAFTA for Best Short Film 2007)
and Doug Aubrey (co-director of
production company Autonomi
and Project-Trainer for Diversity
Films).
Also on offer is an
engaging programme of French
and German titles and a number
of specially designed crosscurricular workshops supported
by teaching resources.
The
Scottish Screen Archive returns
by popular demand with a new
film event for primary pupils on
the Glasgow Empire Exhibition
of 1938.
Other workshops
include interactive film and
drama sessions on the history
of travelling showpeople in
Scotland and a Brazilian carnival
workshop from the UK charity
Margot at the Wedding
The Letter, Bette Davis
The Unknown
Grindhouse
Comic Relief. Additionally, BBC
Blast are running free creative
activities workshops for teens in
community and arts venues in
Easterhouse and Castlemilk. All
screenings and events are free of
charge to pupils from Glasgow
local authority schools.
If you are serious about cinema
then Glasgow is the place to
be in February with 100 films
screening over eleven days and
amazing opportunities to meet
the filmmakers of today and the
stars of tomorrow.
The 4th Glasgow Film Festival
runs from February 14-24 2008.
Tickets for all films and events
are on sale from January 23.
Website: www.glasgowfilmfestival.org.uk.
Box-office: 0141 3326535
Participating Venues
Glasgow Film Theatre, 12 Rose Street, Glasgow, G3 6RB
Tel: 0141 332 8128
The Centre for Contemporary Arts, 350 Sauchiehall St, Glasgow,
Tel: 0141 352 4900
Cineworld, 7 Renfrew Street, Glasgow, G2 3AB
Tel: 0871 200 2000
Grosvenor Cinema, Ashton lane, Hillhead, Glasgow
Tel: 0141 339 8444
23
filmmaking
The Waterhorse
An interview with Douglas Rae
In the ten years it took to bring The Waterhorse to the screen, the
Harry Potters and the Narnias of this world have shown what an
appetite there is for quality family entertainment. Did that help to
get the film made?
Yes, it did help. Trying to raise $50m is not easy. And because Walden
[one of the three production companies] had been involved in Narnia, and
had worked with Weta, and knew the story was a universal one, it gave
them the confidence to put the first dollar in. And then Beacon came in
and Revolution came in.
How early on in the development process did you come to realise
that this wasn’t a $10m or a $15m movie, that it was going to be
that big?
Ten years ago, we thought $20m was huge budget, considering that Mrs
Brown cost $1m to make. But that’s what we believed we needed to
make this movie, and it seemed completely inaccessible. As the project
developed, so the budget went up and up.
Was there ever the possibility that the entire film could have been
made in Scotland?
It was what I wanted and Jay Russell [the director] did too. He wanted
the whole thing to be shot here but Weta are so extraordinary and so
talented that we actually had to go to them because a lot of the film is
special effects and CGI. The advantage of going to New Zealand was
that we could also do other shots to replicate Scotland.
Where did you shoot in Scotland?
Jay from his original recce always wanted it to be Ardkinglas on Loch
Fyne, probably because he had a very good meal at the Creggans Inn.
But the house is spectacular and it’s everybody’s image of a wonderful
Scottish baronial house. We looked at it for Monarch of the Glen and
it was so beautiful, we couldn’t use it, because we couldn’t believe
anybody coming up from London would get on the next train down
again, which is what Alistair Mackenzie [who played Archie in the series]
was meant to do. We shot about two weeks of The Waterhorse here in
Scotland - all the big landscape shots and all the shots around the house
- and the other 10 weeks were in New Zealand.
24
How did Dick King-Smith feel
about you adapting his book?
When we optioned the book, it
was initially for two years, but
it came to the end of the two
years and we still hadn’t got the
money. Dick King-Smith very
kindly allowed us to purchase the
book for an acquisition price, but
still allowing that if the budget
went up and up, he still benefited.
So, we bought it, but it was quite
a gamble. He said his greatest
achievement was staying alive
to see the film make it to the big
screen! He was 70 when we
optioned the book, and he’s now
80. About a month ago, he and
about 80 of his family came to
see the film, which was terrifying,
showing it to somebody who
created the story. But he came
out and grabbed me and said,
“110 per cent!”
How did you decide what the
creature should look like?
Presumably when the Dick KingSmith book came out there
was a cover and were there
illustrations inside?
There were line drawings. Ten
years ago we commissioned about
11 different illustrators to come
up with ideas – like a competition.
And the imagination was fantastic.
It covered a whole range of things
from kelpies to sea monsters and
dinosaurs. But when Jay came on
board, he looked at all those but
decided to start again because he
had a specific look in mind.
And what shaped that for him?
He says there are about five
different animals in the creature:
the eye of an eagle, the snout
of a horse, the characteristics of
a playful dinosaur, and he said
there’s some giraffe in there as
well. But he wanted it to have its
own distinctive look.
What do you think he brought
to it, not being a Scot?
I don’t think that matters. It’s a
magical story – really, it’s about
loss, and coming to terms with
that and regeneration. It’s fairly
universal. And as evidence of that,
it’s the first English language film
allowed into China. The film can, I
hope, operate in any language and
culture.
How did the script change?
You said Simon Beaufoy did a
beautiful adaptation but this
was changed?
I think Simon did a very natural
script, which is the script that we
all bought into. Harvey [Weinstein]
brought in Bob Jacobs, who was
had adapted Chocolat and Shipping
News. I think Bob Jacobs, who
was a good writer, made it much
more American. The bits with
Brian Cox at the beginning and
end was certainly not what I
wanted – there was none of that
in the original – it was much more
naturalistic and it didn’t have that
rather kitsch Scottishness that I
didn’t like and still don’t like when
I watch the film. But when you’ve
got somebody offering you $50m,
you’ve got to make compromises.
The film opened in America and
it’s done really well, so we must
have got it right.
You’ve hit $50m internationally
so far.
Well the film cost $50m so that’s
not even paying it back. It’s got to
take $100m to break even.
In terms of the casting. It’s a
pretty stellar British cast [Brian
Cox, Emily Watson, Ben Chaplin,
David Morrissey]. Was the key
to it getting the little boy [Alex
Etzel]?
Yes it was. It’s his film. When Jay
came over for casting, we showed
him Millions, Danny Boyle’s film,
in which Alex stars, and that little
boy is quite extraordinary in it, as
he also was in the BBC’s Cranford
on television recently. We did
then see about another 100 kids
because we wanted to be sure
that we had got the right boy
and his accent is a very strong,
Manchester accent, so we had to
take a risk that he could convey
Scottish without sounding like Jean
Brodie. He also couldn’t swim very
well and a lot of the scenes are
underwater so he had to go through
an intensive Scuba diving-type
course. We did a lot of the filming
in a tank and he had to learn to
hold his breath underwater, which
is difficult to do if you can’t swim,
and act like you are having a really
wonderful time. He also had to act
with a stick with a tennis ball – that
was his co-star. The stick gave
him the movement, and the tennis
ball, the eyeline. He’s an incredibly
intuitive young actor, so natural.
Did it create problems working
with a child actor?
His mother and grandmother and
tutor were over with him in New
Zealand, and we could only work
with him 5 or 6 hours a day. He is
in almost every scene so that has
to be taken into consideration in
terms of scheduling, budget and
everything else.
The relationship between Ben
Chaplin and David Morrissey
– was that in the book?
Yes, although not as pronounced
I don’t think. Lewis is the key
character in the book and there is
this rather officious Englishman
who is in there, but a lot of that
was brought to the script by
Simon Beuafoy. Simon actually
went to Loch Ness for four weeks,
when he was developing the
script. We talked to Celia and
Scottish Screen Locations at the
time. They helped us find the log
cabin.
What else have you got coming
up?
Mistresses on Friday night on BBC
One at 9pm. Brideshead’s coming
out in September, both here and
in America, and we’re currently
planning to shoot Wuthering
Heights in Ireland in the summer.
The Waterhorse opens on 8
February.
roughcuts would like to thank
Douglas Rae, Allan Hunter and
BAFTA Scotland for permission to
reproduce this interview.
It’s about a year since you were
here with Becoming Jane. The
Waterhorse is here now and
Brideshead Revisited is coming
later in the year.
You mentioned reading the book
to your kids. Have they seen
the film and what did they think
of it?
Well, my eldest son’s now 19.
They did come and see the film.
Watching it with adults, what is
interesting is that all ages seem to
engage with it. My middle son is
15 and he really liked it – really got
into it.
25
filmmaking
as Dungeons and Dragons take place only
in the imaginations of their players, with no
visual props. There is no video screen, no
miniature army standing on polystyrene hills:
just a group of intelligent, imaginative, slightly
peculiar kids sitting around a table with some
dice, a map, some scrawled notes, probably
some caffeinated beverages and perhaps a
joint. And, while the human interchange on
the surface of this activity can be interesting in
and of itself (12 Angry Nerds?), the problem for
the screenwriter is that said kids are constantly
referring to a world rich and strange, filled
with orcs and goblins, dragons and treasure,
etc, which is complex, compelling, and
demonstrably not present.
By Robbie Fraser
GAMERZ is coming to a cinema near you
soon, and we’re proud of the way it looks for
such a low budget film. A production budget
of £300,000 and a schedule like ours, as our
assistant director Brian Horsburgh used to
point out balefully, in between heavy sighs,
26
means that a film ought to come out looking
like something between “a wedding video and
an Armenian soap”. This is a bracket which I
hope, through the skill and perseverance of our
crew (including Brian J ), we have managed
to elude. But there was a whole other visual
element to GAMERZ which we had to manage
on top of our already over-stretched live action
production, and which only made it into the
finished film by the skin of its teeth — an
animated strand of fantasy imagery which I
called Shadowplay.
The film, as you may know, is about a group
of nerds who haunt Glasgow University in
pursuit of strange fantastical experiences,
which take place through the medium of the
game Dungeons and Dragons (or something
very much like it). Unlike computer games or
table top wargames, roleplaying games such
My solution to this dramatic problem was
built into the story from the word ‘go’: we
would have a second visual layer in the film, I
decided, an animated fantasy element, which
would bring the gameworld to life. So when
the kids around the table are talking about the
troll which has come through the door and
is swinging its club, we would get shots of
the abovementioned troll causing mayhem,
intercut with their shining, consternated, geeky
little faces. Easier said than done... There
was barely enough time and cash to complete
the live action filming in good order, let alone
creating five plus minutes of animation. The
one thing in our favour was that we weren’t
after polish — quite the opposite in fact. I
wanted the fantasy visuals to evoke the ‘handmade’ feel of the hero Ralph’s fantasy world,
so as to be true to the vibe of the story. In
short, the animation needed to look cool, but
feel a bit rough. Which was a good thing,
since Elaine Campbell our production manager
(a former disco dancing champion) was of
the belief that a fully-rendered fantasy realm
had already been discovered — known as the
budget — and that the producer Paul Gavin and
I had signed up as full-time inhabitants of the
Faerie Realme. (Perhaps it was the rubber elf
ears which Paul had taken to wearing around
the office that did it — though the effect was
more Nosferatu than elf-like.)
The inspiration for the Shadowplay in GAMERZ
was not really hard to come by – one of my
touchstone movies has always been the 1978
cartoon version of The Lord of the Rings by
Ralph Bakshi. There is a lot of traditional cel
animation in that film, but what makes it so
arresting is Bakshi’s use of rotoscoping. In
other words, live action, costumed figures are
shot using high contrast film and then those
images are cut, copied, enlarged, drawn on,
news
defaced, generally mucked about with and
incorporated into the animated stream of
the film. It’s animation, but its roots are in
reality. For the most part in Bakshi’s film the
live action figures are seen in pure silhouette
against a vivid red background. This leads
to a very simple, effective, evocative style of
storytelling — you don’t have to look further
than the film’s beautiful opening sequence
where the backstory is told of the creation of
the magic rings. (If you haven’t seen the film
it’s well worth a watch. I’ve seen it in many a
bargain bin where it does not belong to be.)
On GAMERZ this approach of turning live
action into animation, via silhouette, had
several virtues. For example we could use
the actual actors to play their ‘gameworld’
counterparts — James Young became Thrug,
Danielle Stewart morphed from Marlyn
MacPhater into En-Brimbela the elf, and so
on, which I hope creates a nice visual echo
without being over-literal. The fact that
we were only capturing silhouettes also
gave us a huge amount of wiggle room in
terms of costume, makeup and design. Our
costume designer Lindsey Davidson and
her trusty trainee Kat Tartt created a range
of costumes using materials such as foam
camping mat. To the naked eye these looked
appalling (the costumes, not Lindsey and
Kat), but in silhouette, and with the sound
of clinking chainmail added, the storybook
illusion suddenly clicks in. Similarly production
designer Laura Donnelly and art director
Jason Orr churned out nasty-looking orcish
weaponry from bits of chipboard, which, like
the costumes, suddenly come to life when
viewed in relief.
The fact that GAMERZ was produced digitally
also gave us leeway to play with both the
number and scale of the creatures we were
creating — which leads me to confess,
regretfully, that the 'Goblin horde' in the
film is actually no such thing. Scotland's
casting agencies may be versatile and packed
with mainstream talent, but in the goblin
department, it seems, pickings are slim.
(Equity is also reluctant to provide a going rate
for humanoid performers, citing an obscure
sticking point regarding the true biological
distinction between a goblin and an orc.) So in
creating the goblin army we were thrown back
onto one of Glasgow University's live action
roleplaying societies, the Cuckoo's Nest. The
cuckoos, plucked from their usual playing
habitat of Mugdock park and transplanted to a
disused gym at St Andrew's college, gamely
trooped up and down, swapping helmets,
spears and halberds on each camera pass. By
layering up each shot, varying the costumes,
and adding soft layers of digital mist between
the elements, we were able to create a wee
virtual army of goblinoids which I hope looks
good, and appropriate to the vibe of the film,
without a Weta Workshop level production.
Additional appearances were made by our
trusty fight co-ordinator Carter Ferguson
(currently seen banging up the bad guys as
River City’s resident lawman) and producer
Paul Gavin, who showed off his country dance
training and natural poise by providing the full
figure shots of the evil wizard Z’rennk.
We were incredibly fortunate during the post
production process in terms of the people
we worked with: our talented, Teutonic
young compositing editor Guido Schneider
from M8Media was in charge of marshalling
the elements in the Avid Nitris DS, and we
employed a small army of rotoscopers to
help make sure the individual frames were as
clean as possible before compositing. The
rotoscopers came from all over the globe
(though led by a sizeable contingent from the
animation programme at James Watt College
in Greenock) — we did this by distributing
frame stacks for individual shots by FTP on the
internet, and paid our animators by the frame
(there were 8340 frames to be fiddled with
in all!). Our biggest piece of luck, however,
came through fellow filmmaker Eleanor Yule,
who put us in touch with three chaps who had
just graduated from the Glasgow School of Art
digital media program: Kostas Koutsoliotas,
Lizz Schuch and Janet Lennon, a Greek, an
American and an Irishwoman. Janet created
the non-humanoid creatures in the film,
including a giant spider and Syphylaxx the
Dragon. But perhaps the most interesting
interplay came between Kostas and Lizz — the
method of working that they developed really
combines the best of the analogue and digital
worlds, in a way that’s totally in keeping with
the spirit of the story. In looking at a particular
shot, Kostas, a fully computerized 3D artist,
would think up a shape or ‘volume’ for the
room or space concerned. He would then
create a 3D model of that shape, complete
with lighting sources, and then print it out.
At this point Lizz, a theatre designer by
background, would take over with pen and
ink, creating a much more organic-looking
final effect, with just the hand-made feel I
was after. This would then be re-scanned into
a computer and delivered to Guido and his
voracious compositing apparatus…
We’re working on a sequel to GAMERZ, a
broader, North American-set campus comedy
called I’M A GAMER TOO!, and plan to keep
the same team together—so watch the
Shadows!
GAMERZ was produced by Pure Magic Films
with funding from Scottish Screen and stv. It
is being released by Guerilla Films and will
open at Cineworld in Glasgow and Edinburgh
on Friday 22 February, as well as some
cinemas in England.
www.gamerz-the-movie.com
27
archive
SCOTTISH SCREEN ARCHIVE
ON TOUR IN ORKNEY
By Ruth Washbrook
It was a bleak and windy November
day that I left rainy Glasgow to fly to
Kirkwall on Loganair’s shuttle service
to present three guided film shows
to local audiences on the Orkney
mainland, Hoy and South Ronaldsay.
I was also to meet with the local
heritage officials with a view to
raising awareness of relevant film
collections held at the Archive.
Being my first visit to Orkney, I
had been warned that it was windy
and cold and advised to pack
warm clothes. This advice would
reverberate around my ears for
the next five days and it is thanks
to Moya Mcdonald and her spare
fleece that I didn’t freeze to death
whilst exploring Orkney’s amazing
archaeological heritage.
My trip was organised by Moya, an
independent filmmaker, historian and
generally good sort who kindly ferried me
around the islands from film show to film
show and meeting to meeting. Moya’s
recent filmmaking projects have been in
conjunction with AOP (Another Orkney
Production), a charitable organisation using
the arts to record and promote Orkney’s
heritage. Moya’s recent productions include
Echoes, a film recording the crumbling
remains of Scapa Flow’s naval past and
juxtaposing these with stills and archive
film from its time as a thriving naval base.
Her current project, The Diary of Gunner
Astles is a filmed interpretation of a diary
held at the Orkney Archives which records
the observations of a Royal Marine Gunner
stationed at the Hoxa Battery on South
28
Ronaldsay. Both projects funded by the
Heritage Lottery Fund were premiered at
the three film shows as part of an annual
event organised by AOP, namely, Billy’s Night
Oot. Billy’s Night Oot is a tribute to the late
cinema projectionist, Billy Scollie, whose life
was spent screening films at the old Phoenix
Cinema in Kirkwall and who was particularly
interested in archive film.
My film programme included some of the
earliest films held at the archive originally
shown by the travelling showman who
toured the country’s fairgrounds with their
cinematograph booths. Key events in
Scottish history formed the core element of
the show and included some of the earliest
newsreel footage of Scottish soldiers, the
evacuation of St Kilda in 1930, the launching
of Cunard’s liner - The Queen Mary - in
1934, the Empire Exhibition of 1938, and
propaganda and office of information films
made to inform and instruct the public
during and after the second world war. This
guided tour through Scotland’s visual history
brings the past to life by enabling a modern
audience to view some of the significant
events during the last century captured on
film and witness the physical reactions and
emotions experienced by the people featured
in those films. It is thanks to Heritage Lottery
funding that a significant number of films
in the Scottish Screen Archive have now
been copied from film reels onto accessible
formats and are now available to see again for
the first time in many years.
My first show was at the Gable End Theatre
on Hoy and after arriving at the pier at
Lyness, site of what was once a huge naval
base, I was to experience wind and cold like
never before. Not being native to Scotland
I had been surprised by the phenomenon
of ‘horizontal rain’, but Hoy had something
better, ‘horizontal snow’ and it was through
a blizzard that Peter Ford, secretary of the
Gable End Film Society drove me to the
little theatre for the show on the Thursday
evening. The theatre is a wonderful little
venue positioned between Lyness and
Longhope and still retains some of its original
character as an old schoolhouse, standing
alone and isolated from its community. Once
inside the theatre has a lovely ambience and
the feeling of authenticity is achieved through
its traditional décor and the old cinema seats
rescued from the old Phoenix Cinema. The
Film Society has been actively screening films
here for three years and show a range of
classic, foreign and independent films. From
an island population of 400 and a film society
membership of 40-50 people, I was suitably
impressed to have an audience of about 30
people who had braved the ‘horizontal’ sleet,
snow and extreme wind for my presentation
of archive film. Images of Hoy from the
1930s shot by the Rev William More was
of particular interest to those attending and
comments were raised about the island’s
changing landscape and vanishing agriculture.
Also of interest was footage of a German
tourist boat flying a Nazi flag bringing visitors
from a huge ocean liner into Kirkwall harbour
in the years before the war.
The following night’s film show at the New
Phoenix Cinema at the Picquaquoy Centre
in Kirkwall was also a great success. Billy’s
daughter attended the event in his memory
and I hope he would have approved of the
mixed programme put together in his honour.
The local element of the programme featured
extracts of rushes from one of Grampian’s
first broadcasts in Orkney from 1965. This
television footage features street scenes of
Kirkwall, Stromness and St Margaret’s Hope
and had not been out of the Archive’s vaults
since its acquisition. Two members of the
audience featured in an interview with a
Grampian presenter and were overwhelmed
archive
Pulling on waterproofs
Scenes of Orkney
Gable End Theatre
to see themselves looking somewhat younger on
the big screen. Significantly, this important visual
text provides an insight into both the physical and
social climate of the time highlighting the problem of
depopulation and emigration in the mid 1960s.
The final film show held in the Cromarty Hall, St
Margaret’s Hope, South Ronaldsay was a unique
premiere for the venue and the first event from the
newly formed film society. It was a real privilege to
be part of the first film screening in almost 50 years.
Highlights of the night included projecting the archive
film onto an original second-world war screen – still
intact and rolled down from the ceiling. One audience
member saw her father in the 1930s film made by
John Stout, and another saw himself pulling on his
waterproofs as he embarked on a sailing trip at the
Holm Sailing Club in 1965. Both the core programme
and the Orkney footage had many people chatting
about old times and I hope that many interesting and
diverse films will again be enjoyed on that beautiful
old screen.
Dwarfie Stane
Street Scene - Kirkwall 1965
Crane at Scapa Flow visitor centre
German Soldier 1937
Scottish Screen Archive, National Library of Scotland
Email: [email protected] Tel: 0845 366 4614
Website: www.nls.uk/ssa
The Scottish Screen Archive’s travelling tour
has enabled many films previously locked in the
vaults to again be screened throughout Scotland
to local communities. It is thanks to funding from
the Heritage Lottery Fund that these amazing
films are now available to watch, study and enjoy.
HLF funding has allowed 400 hours of film to be
conserved and transferred onto high quality video
masters. This major access project culminates
in March with the launch of an enhanced online
catalogue supported by 1000 clips from this newly
transferred footage.
Presenting the shows and meeting the local residents
of Orkney was a rewarding and learning experience.
I feel that the film presentations were enormously
beneficial both for myself in learning about the
local communities, but particularly for those local
communities who were able to experience their
national and local heritage on the big screen within
the cinematic environment of a darkened auditorium.
This environment both enriched and heightened the
clarity of the images and the shared film experience
allowed for discussion and reminiscence essential to
strengthen, grow and develop community ties.
Thank you Orkney – it was a pleasure.
Ruth Washbrook
Education and Outreach Officer
Ruth Washbrook at Skara Brae
29
training
h
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y
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The
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Acade
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a l
By Krysty Wilson
To say getting into the
RSAMD is a dream
come true would be a
lie. Getting a place is the
state that allows those
dreams to come, and
they do, thick and fast.
Digital Film and Television is the title of the
course I’m on, and if you feel all warm and
happy inside when watching an amazing
film, or attempting to make one, I wholly
recommend it. If you don’t then steer clear
because if you’re not watching a film, you’re
talking about one, planning one, filming one
or editing one. My idea of heaven, but not
everyone’s cup of tea. So many courses feel
stale, but here there is a balance that satisfies
everyone in my class, whether they go for
hands-on or book learning.
Filming
30
The thing that makes this course so good is
the people. The powers that be have distilled
the applicants into people who love films, who
love the process of filmmaking. Inhouse you
have about 300 actors, performance students,
theatre production students, not forgetting the
army of musicians. Couple that with some
world-class facilities and some pretty darn good
lecturers, who know what they are talking
about but also understand what it’s like to be
you, and you have a really exciting place to
learn.
In just one term I have rubbed shoulders
with Kevin Spacey in an acting and directing
workshop, which is pretty exciting for your
second day in. I’ve had an audience with David
Lynch and been sung to by Donovan. I have
made three short films and two documentaries
that I am proud to put my name on, with
people I am extremely proud to call friends and
colleagues. I have crawled through abandoned
buildings researching. I walk to class everyday
to an impromptu and beautiful soundtrack
provided by the music students. I have written
stories and scripts that I enjoy. I have toured
GMAC and the Mitchell Library. I have filmed
David Lynch
on the red carpet and interviewed the winners
at the BAFTA Scotland awards. I have watched
films I love and films I have never heard of. I
have even enjoyed writing an essay. I have
had a staggering term, and I’m told that term
two packs a bigger punch - something I would
have found daunting 10 weeks ago - I am now
looking forward to it.
Making films at college was disheartening,
months of planning and on the day two
members of your crew don’t turn up. Or your
friend who’s acting for you turns out to be
really awful. Now I have Plan B’s, and auditions
for actual actors. The glimpses of the industry
I managed to grab when I was in college led
me to believe it was a terrifying place filled
with giants, where you work twelve hour days
getting lattes for people who don’t know your
name. The RSAMD has taught me that that
is pretty much how it is, but I’m not terrified
anymore.
www.rsamd.ac.uk
Screening
photographs by Urszula Kocol ©
Krysty Wilson
Krysty Wilson
Audience at the David Lynch/Donovan talk
Donovan
31
film festival
Vive
le cinéma!
French Film Festival
(7-20 March 2008)
The organisers of the only UK
event devoted entirely to le
cinéma français have expanded
the 2008 programme (March 720) to include, for the first time,
Inverness as well as other Scottish
cities,
Aberdeen, Dundee,
Edinburgh and Glasgow. In
addition the FFF UK has spread its
wings to Birmingham, Warwick,
and Cardiff who join regulars
Manchester and London.
Guests waiting to make the trip
for the 16th anniversary edition
(which has in the past been
supported by Scottish Screen
amongst other funders and
sponsors) include Lola Doillon,
daughter of Jane Birkin, sister of
Lou and half sister of Charlotte
Gainsbourg, who grew up on the
film sets of her father director
Jacques Doillon.
She will
accompany her first feature as a
director herself, a coming-of-age
tale Just About Love? / Et toi, t’es
sur qui?.
Mevil Poupaud who has worked
with many of France's most
respected directors, including
Jean Jacques Annaud, Benoit
Jacquot, Eric Rohmer and
François Ozon will present in
person Un homme perdu by
Danielle Arbid, as well as a Gallic
take on Agatha Christie’s Towards
Zero (filmed in the Britanny resort
of Dinard), while Damien Odoul
travels with the controversial The
Story of Richard O / L’histoire de
Richard O, an explicit take on sex
as a way to connect with other
people.
Actress
Sandrine
Bonnaire
who once worked with Scots
director Ian Sellar (on Prague)
also has gone behind the camera
to make a documentary about
her sister, Her Name is Sabine,
much admired at the Cannes
Film Festival - and she has been
invited to attend.
Other titles include: Before I
Forget / Avant que j'oublie, by
Jacques Nolot; Captain Ahab
/ Capitaine Achab by Philippe
Ramos who vividly imagines the
formative years of the antagonist
of Herman Melville's classic
Moby Dick; Don’t Worry, I’m
Fine / Je vais bien, ne t’en fais
pas from Philippe Lioret; Serge
Bozon’s La France; The Grocer’s
Son / Le fils de l'épicier directed
by Eric Guirado and Claude
Berri’s
ensemble
romantic
comedy Hunting and Gathering /
Ensemble, c'est tout with Audrey
(Amelie) Tautou and Guillaume
(Don’t Tell) Canet.
Youthful romance in Lola Doillon's first feature Just About Love
32
As a prelude to the 40th
anniversary of May 1968 there
will be a special screening of
Louis Malle’s classic Milou En
Mai / May Fools, a homage to
those pleasures often considered
as particularly French at a time
when the revolution seemed
poised to overthrow bourgeois
society.
And it was also the month the
radicals shut down the Cannes
Film Festival, the students
occupied the streets of Paris, and
rumours flew that De Gaulle was
going to flee the country.
London (Cineworld Docklands
and Cine Lumiere), Birmingham
(Cineworld),
Warwick
Arts
Centre, Manchester (Didsbury
Cineworld), Cardiff (Cineworld),
Dundee (DCA), Glasgow (GFT),
Edinburgh (Filmhouse), Inverness
(Eden Court) and Aberdeen
(Belmont) will be in the thick of
the action.
More than 20 titles will represent
the best of everything from
boulevard hits to exciting new
talents as well as a selection
of short films on the theme of
l’amour in all its guises. The
French Institute in Edinburgh will
host an exhibition of photographs
of Portraits of le Cinéma Français
by the award-winning Fabrizio
Maltese.
Films targeted specifically at
schools audiences accompanied
with education packs have
been initiated by Glasgow Film
Theatre’s Head of Learning, Emily
Munro, and will be seen at GFT,
Filmhouse, DCA and Belmont
as well other leading cinemas.
They will be seen ahead of the
FFF itself to meet the wishes of
schools and in Glasgow will be
part of the Glasgow Film Festival.
There will also be masterclasses
for film students in association
with Screen Academy Scotland,
given by Lionel Bailliu, director
of Fair Play, which deals with
the competitive nature of office
politics and features Piaf star
Marion Cotillard. The idea was
expanded from a short.
Festival director Richard Mowe
said: “The festival has grown
considerably, using both the
traditional art houses and
also multiplexes to entice new
audiences to sample French
titles. We’re especially pleased
to be able to take a selection of
films to Inverness for the first
time and we hope it will become
a regular venue.”
Details of the festival will be
updated regularly on
www.frenchfilmfestival.org.uk
Fair Play by Lionel Baill - no pain, no gain in office politics.
news
FFF
Audrey Tautou teams up with popular comedian Gad Elmaleh for Priceless
Melvil Poupaud will accompany two films:
The Lost Man and Towards Zero
Michel d'Auber
33
Running in Traffic crew at night
filmmaking
RUNNING IN
TRAFFIC
While some
people were
pulling Christmas
crackers this
winter, others
were making
them.
Fresh from the success of
their Scottish BAFTA awardwinning short, Scene., Glasgow
based production company
Dabhand Films, in association
with Alcoba Films and Jigsaw
Productions, are rapidly
approaching the end of principal
photography on Running in
Traffic, an urban character-based
drama written by Bryan Larkin,
which tells an intriguing and
memorable story that examines
the nature of coincidence and
how we are all connected in this
life, in a very special way.
Set in Glasgow at Christmas,
shooting the film on a microbudget in characteristically
dismal Scottish winter weather
was never going to be easy.
Some might say even a little
mad. But undeterred by the lure
of Christmas presents, mince
pies and hangovers, the team of
first time feature makers behind
Running in Traffic said: “We
have nothing to lose...why not?”
34
But with little money to do
the talking they were always
going to be up against it. One
quarter of the film’s budget
came via an American investor
keen on giving the up and
coming talented team a helping
hand, with the remainder of
the budget being financed
by Executive Producer and
Dabhand Films director Marc
Twynholm. The budget was
very tight but they never once
considered that it was not
possible because of an undying
faith in the project and each
other abilities.
And through sheer
determination and a lot of
good fortune the producers
of the film, Abigail Howkins
(Alcoba Films) Marc Twynholm
and Bryan Larkin (Dabhand
Films), believe they found the
perfect cast and crew for the
production. The film features
BAFTA Best Scottish Newcomer,
Bryan Larkin, in the lead role
as Joe Cullen and Polish
television star Anna Kerth in
the tragic female lead of Kayla.
Legendary actor, Kenneth
Cranham (Hot Fuzz, Layer Cake,
Shine on Harvey Moon), joined
the cast which also features
Atta Yaqub (Ae Fond Kiss,
Nina’s Heavenly Delights) and
Anne Downie (Solid Air, High
Road). With first-time feature
director, Dale Corlett of Jigsaw
Productions at the helm, the
performances are glowing,
along with cinematographer
George Geddes, who’s fast
making a name for himself and
is up for anything the film could
throw at him, the rushes are
putting a smile on everyone’s
faces.
As with most feature projects,
the script for Running in Traffic
went through several stages of
development with Bryan and
filmmaker May Miles Thomas
who also acts as his personal
mentor, working together on
rewrites in April and May of
2007. “May gave the storyline a
real focus, “ says Bryan. “Due
to the structure of the storyline I
needed some assistance saying
what I wanted to say through
the characters while keeping it
linear at the same time. May
taught me very early on to
make clear in one paragraph
what the film and its message
was about and stick to that. It
sounded easy enough but it
wasn’t. But If you lose your
way then you always have this
point to come back to. We
clearly defined what the title
of the film Running in Traffic
was to become. The film’s
title is a metaphor relating to
the unpredictable pattern of
grief in our daily lives, and the
emotional and physical burdens
we face at times of loss that go
unnoticed by the world around
us. Much like swimming
against the tide.”
This paved the way for a
good six months of further
development with director
Dale Corlett who worked
with Bryan on refining the
connections between the two
characters’ worlds. Dale and
Bryan made the story more
about the connections between
the characters and less about
the relationships. It was a
very collaborative effort, often
fuelled by flurries of midnight
text messages between them
to keep the inspired ideas from
being forgotten the next day.
“Dale is a very actor-orientated
director,” says Bryan. “He
knows the language of actors
very well and short hand
dialogue to get the best out of
you; he encourages questions to
inspire behaviour and a through
line for your character way
beyond what is on the page.”
Once Dale came on board,
with the support of Glasgow
Media Access Centre, and
line producer, Nell Keay, was
engaged, things just seemed to
fall into place. The producers
had done a lot of preparation
work already, with 1st AD and
Associate Producer Stuart
Cadenhead having been on
facilities
Running in Traffic - crew
Atta Yaqub
board from an early stage,
but once locations were being
booked and all the paperwork
done, the team were now past
the point of no return. Bringing
the crew on board and the
principal cast completed the
picture.
Everyone who came on board
seemed really hungry and keen
to be involved, despite the low
budget and looming winter
weather. From the runners
to the design department
and technical team, everyone
was hands-on, helping out in
whatever way they could. With
almost half of the 30-strong
crew involved in the film,
making their first venture into
feature filmmaking, the energy
and will to make this project
across the board drove everyone
through what was, at times,
just a little surreal. Particularly
driving through freezing fog
to arrive at a deserted factory
in Bonnybridge, the world’s
number one UFO location, at
6 in the morning. Fortunately
everybody made it home OK
without any extra-terrestrial
experiences.
The film was shot on full HD
at 1080i using the Panasonic
HVX 200 with the Redrock M2
adaptor system, imported from
the USA that allows the use of
almost any kind of lenses to be
added to the front of the camera,
from cine to SLR stills lenses.
Not without its problems and
headaches for the camera team,
particularly with the intricacy
of maintaining focus with the
Nikon stills lenses, it proved to
be a far cheaper way of shooting
the film than with the more
popular Movie Tube system with
no noticeable loss of quality.
The tape-less P2 work flow the
HVX uses also proved to be a
fantastic asset – with immediate
access to footage for editing,
continuity checks and the all
important buzz of seeing rushes
immediately.
In keeping with the film’s main
themes of connectivity and
coincidence, two of the principal
cast became attached to the
project by sheer coincidence.
Bryan had been looking for
eastern European actresses
to fill the role of Kayla and
was inundated with hundreds
of hopefuls submitting their
George Geddes
CVs and showreels. Nobody
seemed appropriate so Bryan
kept searching, particularly on
the internet. It was here that
he found young Polish actress,
Anna Kerth, on the All Talent
UK website. At the same time
as making enquiries about her
availability, Bryan found himself
face to face with Anna herself at
the Dabhand films production
office after she had seen a
post on the website about the
film. Within minutes, Bryan
knew that she was right for the
part. She connected instantly
with the material and even had
a tremendous sense of how
Kayla’s story would come to
fruition without even reading the
script. After an intense two hour
audition, it was a no brainer
– Anna was cast.
Meanwhile, Scottish born actor
Kenneth Cranham met Larkin on
the London train in the autumn
of 2006 and while sharing
some wine, agreed to keep in
touch. Bryan asked him there
and then if he’d be interested
in working on the film, at which
time only existed in the form of
a synopsis. Intrigued, Kenneth
agreed in principle - should the
Bryan Larkin as Joe Cullen
script be right, of course. A
year after their first meeting
Kenneth got his call from Bryan
and although he was in Berlin
working with Tom Cruise on
Valkyrie, he was soon on his
way up to Scotland to shoot his
scenes with Anne Downie, who
plays Joe Cullen’s mother in the
film.
But it’s no coincidence that
Running in Traffic is now in
the can. With the collaborative
efforts of three production
companies and the support
they garnered from the Royal
Scottish Academy of Music and
Drama, GMAC, local businesses,
fellow independent filmmakers
and friendly location owners, it’s
been a real team effort.
And now, with the whistle-stop
tour of Glasgow and central belt
locations and the jokes about
being Stuck in Traffic (which the
team often were) almost over,
all attentions and efforts are
now on next Christmas when
the team hope to be enjoying
their best Christmas present
ever – the release of Running in
Traffic.
photograpgs by Ian McFadyen © Dabhand Films
35
film festival
REPORT
FROM
SUNDANCE
By Yasmin Fedda
Yasmin Fedda is the director of
the BAFTA Scotland nominated
documentary Breadmakers, featuring
the workers at the Garvald Bakery in
Edinburgh. Her film was selected for
the Sundance Film Festival 2008 and
she received support from Scottish
Screen’s Markets & Festivals Fund to
attend the festival.
Park City, Utah is nestled in the majestic Wasatch Mountains. It used
to be a small silver mining town and was founded in 1869. It also
became the home for the 2002 Winter Olympics as it boasts it has
some of the best powder snow for winter sports. Today most of the
city is a resort town and full of second homes. The crisp snow and
blue skies of January host the Sundance Film Festival and its historic
heart, Main Street, transforms into a busy and chaotic hub where you
can spot celebrities, filmmakers and snow sports enthusiasts. On
the streets there was much talk of SWAG, the free and expensive
gifts given out by many companies during the festival. Many people
seemed to come to the city just for that! The festival gave out ‘Focus
on Film’ badges to encourage festival goers to remember the roots of
the festival, films rather than fancy goods.
Robert Redford, the founder of the Sundance Film Festival has
been under much criticism recently about the festival becoming too
commercial, changing the original ethos of the festival from being one
of nurturing and discovering independent cinema in the United States.
With this debate in mind I was very interested to see what it was
really like on the ground. This year the selection of films was very
independent and varied.
I was also looking forward to the directors brunch that Redford hosts
on his Sundance resort, but I sadly missed this due to a delay in my
flight and later heard it was the highlight for many directors, where
they could meet and greet, and rub shoulders with those more well
known than them. There were films at the festival by both unknown
directors to those by Quentin Tarantino and Michel Gondry. But there
were parties every night, and many receptions where there was lots
of good food and interesting people to meet and network with.
The mix of films at the festival impressed me. The documentary, world
36
film festival
Breadmakers
Egyptian Theatre
The hardest thing about the
festival was that there were too
many good things on and I had
to pick some over others, and
wanted to see many more films
than I actually had a chance to.
Besides interesting films that may
never get distributed there were
many panels and workshops at
the festival. Their focus spanned
from the relationship of science
to film, to comedy and cinematic
language, to the relationship
between human rights and
filmmaking. These discussions
were some of the liveliest and
inspiring events at the festival.
Now that I am back home, away
from the festival chaos and with
a weary body from being in the
snow for eight days, I realise what
Sundance is all about and what it
offers independent filmmakers.
The opportunities for networking
at the festival work on many
levels, from the high end to the
small, and every person there
has to find their own way to get
the most out of it. But most
importantly what it gives little
filmmakers, such as myself (I had
a short documentary showing
there called Breadmakers), was
the opportunity to show our work
to a huge audience of film lovers
and gives us the confidence and
encouragement to feel we can and
should make more films.
Breadmakers was made under the
Bridging the Gap initiative run by
the Scottish Documentary Institute
with support from Scottish Screen.
Scottish
Documentary
Institute
cinema and shorts sections were
very rich, and the programming
of films was very interesting.
British films made quiet a mark at
this year’s festival and there was
much buzz around films such as
In Prison my Whole Life by Marc
Evans. This film explores the
case of Mumia Abu-Jamal. There
was also a buzz around Man on
Wire by James Marsh, which
follows the story of Philippe Petit
as he walks on wire across the
Twin Towers and the World Trade
Centre. This film was such a hit it
picked up both the World Cinema
Documentary Jury Prize and the
World Cinema Documentary
Audience Award. This year also
had many films from around the
Middle East. My favourites were
a Jordanian film called Recycle by
Mahmoud al Massad following a
neighbour of Al Zarqawi’s in his
hometown of Zarqa. I also really
enjoyed the documentary Be Like
Others, by Tanaz Eshagian, which
explored the world of transsexuals
in Tehran.
Jeff Gilmore, the Director of the festival
37
filmmaking
RUSHES
CAFÉ
By Mitch Miller
IN THE SLIGHTLY SURREAL
SETTING OF AN UNDRESSED
THEATRE STAGE, THE SWEAT
AND ADRENALINE OF RECENT
REHEARSALS THICK IN THE
AIR, KIRKCALDY CINEPHILES
GATHERED IN THE BRYCEDALE
ADAM SMITH COLLEGE’S
BRYCEDALE CAMPUS FOR THE
INAUGURAL RUSHES CAFÉ.
Inspired by GMAC’s Café Flicker, the recurring
event is an ‘open mic’ for students, independent
and guerrilla filmmakers based in and around Fife,
the idea simply that whoever has something to
show, pitch or talk up can put it in front of an actual
audience. In Rushes Café ‘patrons’ who did not yet
have a film could discuss putative projects with the
group and ask for advice in getting started. Whether
showing, talking or watching all patrons were
asked to adhere to a few minimal ground rules:
be prepared to ask and answer questions; don’t
interrupt someone else’s screening just because
yours is over; and if you offer criticism, keep it
constructive!
Luckily the first set of patrons were well-behaved
and included students from Adam Smith college’s
film and television departments, local independents
38
filmmaker focus
and community groups looking to make a
start in filmmaking. It is odd sometimes how
themes can converge entirely by accident;
in this case violence and its effects provided
a link between the entries, which ranged
from a documentary on boxing to a veteran’s
support group’s ongoing documentary
project. Feedback was both aesthetic and
practical (everything from camera angles
to funding), the atmosphere friendly and
supportive.
The event is one of a number presented
by MIMAC-Rushes CIC (formerly MIMAC)
throughout the year. Now based at the
Creative Business Centre in Kirkcaldy, the
organisation supports independent film
companies and guerrilla filmmakers in and
out of the two big cities, with a particular
focus on grassroots and community based
work. The ‘CIC’ stands for ‘Community
Interest Company’, reflecting its status as
a social enterprise, and its constitutional
requirement to put all of its revenues into
the interest of the community, making it
(almost) unique in the Scottish film world.
Accordingly a large chunk of MIMAC-Rushes’
work involves community groups and
schools.
The MIMAC bit stands for ‘Moving Image
Media Access Company’ and supports
independent production through affordable
equipment hire and technical support from
a pool of experienced and talented video
workers and creatives. The company
is expanding its facility hire service and
now offers HD cameras. Access for the
community remains a core activity for the
company along with training and project
facilitation. It also provides editing suite
facilities for training and professional use
and is also a working production company
for a range of clients. This keeps the
company in tune with the independent
creatives it exists to support.
Rushes deals with the end bit, and that
perennial question asked by all filmmakers
major and minor – ‘how do I get this
seen?’ Rushes exists to help filmmakers do
this. It comprises an annual festival and a
regular strand of programming throughout
the year, aimed at showcasing new and
emerging talent, and giving films that often
get nowhere near cinemas the chance to be
appreciated by a larger audience. For the
filmmakers, Rushes events give them the
chance to network and hook up with others
working in the same field.
As well as the Café, Rushes has provided
programming for the Pittenween Arts
Festival and the Leith Festival. Rushes
Showcase events, promoting the best in
independent filmmaking are scheduled for
Falkirk, Glasgow, Dundee and Edinburgh
throughout the year. Our flagship event, the
Annual Digital Film Festival will be a larger
and longer fixture in its new autumn slot.
programme will be aimed at introducing
the work of some of our best first time
filmmakers to a wider audience, including
BAFTA winning filmmaker Yasmin Fedda,
one of the most promising documentarians
to come out of the Scottish scene in a while.
Sci-fi of low budget and high ambition will
also be celebrated through the work of Seth
Hardwicke and Mike Callaghan, with art
film and comedy represented by Duncan
Marquiss and Stuart Condy respectively.
Check the MIMAC-Rushes and Filmlive!
websites for more details.
To get in touch with MIMAC-Rushes email
[email protected]
or call Graeme Campbell on 01592 223 885
(to enquire about schools and educational
outreach, contact Mark Boyd at the same
number). For further information about
Rushes, Rushes Café or proposed screenings
call Mitch Miller at 07919 035 037.
www.mimac-rushes.co.uk
www.filmlive.org
In the nearer future - this February - we will
be teaming up with Filmlive! the Scottish
Independent Film Network to bring Filmlive!
Rushes to the Macrobert Centre in Stirling
on Monday 18 February at 6.30pm. The
39
education
Our Stars were
brightly shining!
SKAMM - exploring the magic of
filmmaking in Scotland
By Beverley Nicolson,
Education and Events
Co-ordinator, Filmhouse
‘Scottish Kids Are Making Movies’
(SKAMM) is an Edinburgh based
charity that aims to develop the talent
of young filmmakers through creative
and innovative practice, as well as
training, production and contact with
industry professionals. This awardwinning project is fully inclusive
and works with young people aged
between 12-18 years from a range of
backgrounds and interests.
Following a very positive recruitment
drive for new SKAMM members in
October 2006, the youngsters started
the enormous task of preparing
for a very challenging year-long
reminiscence project funded by
the Heritage Lottery Fund. This
intergenerational project was run in
partnership with the Scottish Screen
Archive and a feisty group of senior
citizens called The Damn Rebel
Bitches from The Living Memories
Association. The project focused on
people’s memories of going to the
cinema from the 1920’s to the 1960’s.
The resultant film, Fleapits, Jam
Jars and Cushions on Seats, is both
interesting and entertaining.
After a year of blood, sweat and tears,
the long awaited red carpet première
of Fleapits, Jam Jars and Cushions
on Seats took place at Filmhouse just
before Christmas. During this exciting
event our very own ‘Shiona Diplomas’
were awarded to the hard working
SKAMMers and senior citizens
involved in the project. The ‘Shiona
Diploma’ recognises the hard work
and talent of SKAMMers involved in
40
the filmmaking process and is given in
commemoration of Shiona Wood, cofounder of SKAMM (1948-2006).
The Heritage Lottery Video Project has
been the largest project that SKAMM
has ever undertaken and it has
proved to be quite an exciting (and
exhausting) challenge for all involved.
Over the past year, the SKAMMers
have developed significantly both
personally and as a group. They have
become a bonded unit because of
the rigorous planning and shooting
schedule that is essential to the
delivery of such a large and rewarding
project.
Not only have the SKAMMers
delivered the Heritage Lottery Project,
they also found time to tap into the
pulse of the city’s festivals, capturing
different experiences along the
way. Ad Howells and Jack Morning
Newton interviewed Planet B-Boy
director Benson Lee at the Edinburgh
International Film Festival and Zander
Mavor interviewed novelist and
screenwriter Lin Anderson at the
Edinburgh International Book Festival.
Opportunity is the name of the game
at SKAMM so when 13-year-old Ryan
Buchanan approached us about
the possibility of filming the Bank
of Scotland’s Firework display at
Edinburgh Castle (the annual mark of
the end of the Festivals), we took it as
a challenge and ensured it happened
– aerial shots over the Castle and
all! The resultant short documentary
City City Bang Bang was screened in
December along with the Heritage
video, and will now be submitted to
film festivals around the world.
Going from strength to strength,
SKAMM continues to deliver a
programme to inspire and develop
young filmmaking talent. For those
young people who want to go into the
filmmaking and television industries,
we know that SKAMM will help equip
them with the creative skills they need
to succeed.
“SKAMM is an amazing insight
into the world of filming, allowing
youngsters like myself to reach
further than is possible anywhere
else, gaining heaps of experience and
once in a lifetime opportunities in a
way that is educational and also fun.
Thanks to everyone who's a part of
making this possible!”
Nathalie Holbroot
To find out more information
about SKAMM, please contact
Beverly Nicolson:
Beverley Nicolson
Education and Events
Co-ordinator
Tel (direct): 0131 623 8031
Fax: 0131 229 6482
Filmhouse
88 Lothian Road
Edinburgh
EH3 9BZ
education
Director Amanda Aiken with camera operator Ad
Howells film the renovations at the Hippodrome,
Bo'ness
Interviewing Benson Lee
“I heard about SKAMM from my high
school friend during a study period. She
knew I was interested in filmmaking and
was probably applying for a film course at
university. So, I thought I’d come along and
see what it was like.
“At first it was just learning the basics of
camerawork and things, which I found
really useful because I’d never had that
before. Things like ‘white balance’ suddenly
made sense and I started to realise their
importance. However, it was when the
SKAMM Heritage Project started to get off
the ground that I really started to enjoy
it. I think it was because we were working
towards something rather than just learning
… though learning is all good and well, of
course! I must admit that at first the project
sounded a bit boring, but as more of it was
explained I really wanted to be involved
even more and was really looking forward to
Jane Kennedy interviews 95 year old Jenny Long
the process of actually making the film.
“It was a bit of a surprise when I found
myself as director. I had thought ‘Oh,
it would be nice,’ but I hadn’t seriously
considered it. Perhaps if I had known I
wouldn’t have gone in for it … no, I’ve
learned so much through the experience that
I would do it all over again (several times!)
– but I’m not saying it was easy.
“What was really hard was the coordination
between people’s free time; however this
did lead to some truly excellent script
changes, which wouldn’t have happened
otherwise! I’m usually quite shy so having
to direct people was really good for my
confidence – I can see the change now, at
university. There were times I just felt like
screaming and running away to Australia or
something but – luckily – they didn’t last for
too long. I loved (and still do love) listening
to the stories of the people we filmed – but
I didn’t enjoy quite so much being able to
quote exactly what they said just because I’d
watched it so much in editing.
“The best part has been working with
all these people my own age – and a lot
younger – who have a real passion and
talent for working with film. It’s been
amazing seeing something that a year ago
was a few notes on lined paper now on
DVD in a watchable format. The experience
gained has been invaluable and I have loved
getting to know people who love film as
much as I do. Thanks Sandie and Bev, and
everyone else from SKAMM!”
Amanda Aiken, director of Fleapits, Jam Jars
and Cushions on Seats.
Amanda is now studying filmmaking at
Northumbria University.
Ryan Buchanan after flight to get aerial shots of
Edinburgh Castle, courtesy of Edinburgh Flying Centre.
41
training
Life as a
TVYP-ER!
TVYP at Edinburgh 200
6
By Kirstin Anderson
KIRSTIN IS CURRENTLY ON 6 MONTH
TVYP AT WORK PLACEMENT AT STV.
I have always known what I want to do. It was difficult being at
school and meeting career advisors who thought the idea of working
in TV was preposterous. I went on to study journalism at university
but I found the sitting in lectures side of things difficult. I wanted
desperately to gain practical skills and actually work in the media
instead of reading textbooks about it.
During my second year of university I became aware of Television and
Young People (TVYP) 2006. I remember submitting my application for
the Edinburgh event and thinking I would not have a chance. I was
elated at being accepted but also extremely nervous!
TVYP Edinburgh is their flagship event, where 150 delegates attend
five days of masterclasses and workshops. It was a fantastic
experience. The masterclasses were with key industry players like
Jana Bennett, Kevin Lygo, Trevor McDonald and Simon Shaps.
I HAVE ALWAYS KNOWN
WHAT I WANT TO DO
Having the opportunity to meet, work with and learn from them was
really encouraging. Also getting to know like-minded young people
bouncing ideas off each other and being creative was fascinating.
It was a real opportunity - at last - to get my hands dirty. I did a
Sky News workshop, which provided incredible insight into news
production. We had to find our own stories, shoot them on location
and edit the reports for a TV news show. I found the team from Sky
News to be encouraging and not in the least patronising. I remember
coming away from it all being even more determined to get my foot
in the door.
The best advice I received at the event was definitely to start at the
bottom of the pile, work extremely hard and be very keen. I felt like I
had been given a head start. It kept me ambitious and determined.
After graduating I knew I had to apply for the TVYP at Work scheme
2007. Ten delegates from the Edinburgh event are chosen and placed
with some of the UK's top broadcasters. I was stunned when I
received the call asking me to go for an interview in London. Once
given the list of placements I was immediately drawn to one at stv
news in Glasgow. After another interview, this time in Glasgow, I was
offered the placement. That was three months ago and since then I
have had an absolute ball.
42
Prior
to
the
placement
commencing, I went down
to London to meet my fellow
TVYP at Workers. We spent a
full-on five days of training to
prepare us our move into the
industry. Not only did we have
workshops on research sills and
assertiveness, we also went to
the National School of Film and
Television for some teaching
on the move practical side of
things. The training has proved
invaluable when I have been on
my placement.
I love working at stv. It has
been amazing to see the inner
working of a newsroom. Not
only that but I have also been
put out to do loads of interviews
and vox pops. Everyday I learn
a massive amount about the
job. It has been a real learning
curve.
The Edinburgh weekend and the
At Work scheme have provided
me with confidence, support
and encouragement that I never
found at university. I can see
opportunities unfolding in front
of me. It’s a creative, fast-paced
and exciting industry and TVYP
have given me an invaluable
platform to stand on.
Check out www.tvyp.co.uk
to register for TVYP 2008.
film festival
Sir Trevor M
cDonald mas
terclass
room
STV news
ork in the
Kirstin at w
In the Newsr
ooom
43
training
NETS: RECENT GRADUATES
In the last issue of roughcuts, we met the new NETS ONE trainees for 07/08. Here, we catch up with a couple of recent
graduates from the 06/07 course to find out what they’ve been up to since they completed the course in July last year.
KIERAN HANNIGAN
Assistant Co-ordinator/Production Assistant
NETS production trainee 06/07
What department did you train in?
I was a production trainee. Primarily, I was focused on drama
production but I also worked in factual production and drama
development.
What did your training consist of?
The scheme is all about learning on the job from great people and that
is where most of the training happens. The work placements were
discussed beforehand so that I was very clear what I wanted to get out
of each experience. There were also a number of courses targeted
at gaps that are not necessarily addressed by on-the-job training - for
example health and safety training, budgeting and scheduling.
What did you find most valuable about the training?
The whole scheme was tailored. Kay [Sheridan, NETS Manager] and
Mark [Thomas, NETS Project Co-ordinator] (and previously Pauline
[Ogle, NETS Co-ordinator]) have boundless patience and worked
incredibly hard to make it right for me – finding the right placements,
talking to the people I was working with and identifying training. The
other stand-out aspect is the great people I met. People were really
generous in sharing their time and knowledge. Most important of all,
knowing these people means I got work after leaving the scheme.
How did you find the NETS experience overall?
Amazing!
How did it help your career?
I have a career. Without the scheme, that might not be the case.
What did you go on to do after completing the course?
A documentary with George Cathro and Julie Carver at Hand Pict about
young Scottish athletes. It was great fun. Since that I have been
working as Production Secretary on River City.
What is involved in your current job and what projects are you
working on?
My current job involves a lot of booking transport, accommodation,
vehicles etc, the sourcing and ordering supplies needed and producing
daily reports. There is a lot of paperwork involved.
What is the most interesting/rewarding part of your job?
Each day I am learning. I guess that is important at every stage, but
for me - at the beginning of my career - it is crucial. I also enjoy the
responsibility that goes with the job. It is hugely rewarding to know
that doing the job well making a difference to the show.
What are your ambitions for the future?
In the first instance I want to keep learning and improving. I want to
build a reputation for being effective and hard working. Ultimately I
want to produce drama, but there are a lot of milestones to be passed
between now and then.
44
SYSTA MOGENSEN
Wardrobe Assistant
NETS costume trainee 06/07
What department did you train in?
I trained in the Costume department.
What did your training consist of?
Workshops with industry professionals and on-the-job training.
The workshops were tailored specifically to my needs, making
sure I had the knowledge and skills needed to do a good job.
There were more general workshops as well that all the trainees
attended together.
What did you find most valuable about the training?
The on-the-job training is such an important part - there are no
workshops or textbooks that can prepare you for what the job
is really about. I was fortunate to have the chance to be trained
by very talented people. The course is run really well and the
support that you are given as a trainee is invaluable, there is
always somebody there for you when you need it.
How did you find the NETS experience overall?
It was just brilliant, hard work but absolutely brilliant!
How did it help your career?
I wouldn’t be where I am today without it.
What did you go on to do after completing the course?
I was a trainee on a feature film, Stone of Destiny, when the
course finished. We were halfway through filming and I was very
fortunate to be hired by the production for the remainder of the
film.
What is involved in your current job and what projects are
you working on?
I have just finished working on a music promo. I costumed the
band and a group of unruly teenagers. Lots of fun!
What is the most interesting/rewarding part of your job?
Every job is different and you never know what’s around the
corner. I have made some great friends as well, people I
wouldn’t have met had it not been for NETS.
What are your ambitions for the future?
I hope to continue working, learning and enjoying it.
locations
Location of the Month: Corgarff Castle
By Sam Foley,
Aberdeen City and Shire Film Officer
The Lecht Ski Centre is a haven for snow worshippers
in Scotland. Many people put their poor city cars
through the 20% incline on the approach to the Lecht
in the depths of winter and find themselves amazed
at the beautiful scenery. Nestled amid the Cairngorm
Mountains is Corgarff Castle, just visible from the
roadside on the approach to the Lecht. It stands
solemnly on the side of the hill, almost blending in
with the snow at this time of year, but when you get up
close you realise what an impressive place Corgarff
Castle really is.
The castle itself has had an interesting history, being
of strategic importance, guarding the quickest route
from Deeside to Speyside. The building itself consists
of a 16th century tower house enclosed by a very
distinctive star-shaped perimeter wall. The castle
was built in around 1550 by John Forbes of Towie.
The Forbes family were involved in a feud with the
Gordons at that time, which involved the Gordon
family making an attempt to seize the castle whilst the
Forbes men were away. This resulted in the Gordons
setting the castle on fire, burning alive the 24 women
inside. The castle is now said to be haunted.
As a filming location the castle has some very
attractive attributes. In the winter it is only open to
the public on Saturday and Sunday, so access is
easily arranged. Internally the castle itself is relatively
untouched with original doors and features along
with minimal furniture. The furniture itself is period
and can easily be removed if required. The walls and
fireplaces still remain untouched, which gives this
castle a very historical feel without being pretentious
or stuffy.
The impressive star-shaped peripheral wall, which
was added in the 18th Century, was designed to allow
the garrison a clear shot from any direction. The
structure itself is striking and very unlike any other
castle surrounding in Scotland. Its white-washed
walls could double as a typical Spanish building.
The building itself was handed over to the public in
1961 and is now run by Historic Scotland. Historic
Scotland welcomes and encourages filming on their
properties and now has a dedicated film unit based
in Edinburgh, although your local film office can
help you with making contact if you require the use
of a property or landmark. Historic Scotland has an
excellent track record in working with filmmakers to
accommodate their requests, whilst ensuring that
visitors and properties are not inconvenienced.
They are plenty of things to do around Corgarff. The
Lecht Ski Centre is only a few miles away and there
is an abundance of accommodation, from budget
to luxury and plenty of restaurants, from the Hilton
Craigendarroch to the lovely and quaint Rowan Tree
in Ballater, within easy reach of Corgarff.
The Aberdeen City and Shire Film Office provides free
support for anyone wishing to film in the north east of
Scotland. Not only does the north east have some of
the most varied and beautiful locations in Scotland
but we also provide assistance with location crew,
hospitality facilities, liaison with government bodies
and we can put you in touch with the best postproduction facilities in Scotland. Whatever you’re
looking for, it's here in the north east.
To find out more visit about
Aberdeen City and Shire Film Office please visit
www.filminginscotland.com.
45
archive
David Allison with Nbrman Gillies
Meeting Norman
by David Allison
Mary Gillies
He’s like a fifth member of
the band. He’s been with us
at the Edinburgh Festival,
on tour all over Germany,
with us on stage in a very
cold Estonia, and he made a
massive impact in New York.
But I’d never actually met
82-year-old St Kilda evacuee
Norman John Gillies because
his contribution to The Island
Tapes show came out of a
sampler. I pushed a button,
and Norman’s voice came out,
eloquently describing how as
a five-year-old boy he and the
other islanders had left St Kilda
for the last time.
So how did three guitarists
and a singer end up with an
octogenarian as an invisible
extra member of the band?
Well one of the Scottish Screen
Archive films in the show is St
Kilda – Britain’s Loneliest Isle,
made in 1928, two years before
the residents of St Kilda decided
enough was enough and the
time had come to abandon their
remote island home. As well as
the Celtic music and Gaelic song
we needed another element to
really bring the piece to life.
Norman was that element. Huw
Williams, a friend at the BBC,
let me use an interview he’d
done with Norman, and so his
voice was cut up and edited
and put into the sampler. For
his part, Norman was delighted
to be able to share his story.
To this day his account of
events in 1930 is the highlight
of the show. It’s even handed,
emotional and very, very
eloquent.
During 2007 we were very busy
putting together a CD-DVD
46
Norman Gillies' grandmother
release of The Island Tapes
and the time really had come
to meet Norman. So in July,
armed with a cheap video
camera and my laptop I went to
meet him in Suffolk where he
now lives with his wife Ivy.
I felt something special would
come out of the meeting, but I
had no idea what was to unfold
as I set up my laptop to show
the movie and our soundtrack.
As Norman watched the St Kilda
film, which he’d never seen
before, he suddenly exclaimed,
“That’s my mother!”
It turned out that this largely
forgotten silent black and white
film from the twenties contained
footage Norman had never
seen of both his mother and
grandmother. It was especially
poignant because his mother
Mary had died when he was four
and a half, and in many ways
her death was the last straw
which prompted the islanders
to leave. So by a strange
set of circumstances the film
and Norman were connected
together, and I had caught that
special moment on camera. You
can see it in one of the extra
features on The Island Tapes
DVD.
In amongst the emotion,
Norman and I had a lot of fun
that afternoon. He happily did
a number of takes recording
a special message which we
now play out to the audience at
Island Tapes shows.
He really is now a member of
the band.
You can find out more about
The Island Tapes at
www.theislandtapes.com
archive
The Island Tapes is an eclectic
mix of traditional and new
music to accompany archive
film footage of Scotland,
featuring poetry, song and
personal memories.
An emotional journey of the senses, The Island
Tapes is a moving and amusing multimedia
project featuring extraordinary guitarists David
Allison, Ian Melrose, and Allan Neave as well
as stunning gaelic song from Alyth McCormack.
Using rarely seen 20's and 30's film footage
from the Scottish Screen Archive, this amazing
musical journey, which is now available as a
CD-DVD double pack, takes you from the lonely
island of St Kilda to bustling Manhattan as you
follow the emigrant’s trail.
With more than 70 minutes of amazing
music on the audio CD and 150 minutes of
extraordinary video footage on the DVD, The
Island Tapes really is a must see, must hear
package.
The fusion of silent black and white films and
live celtic guitar playing and Gaelic song has
already successfully entertained and touched
audiences in the United States, Germany,
Estonia, and France, as well as of course the
public across the UK. Equally at home in
cinemas and concert halls, The Island Tapes
has also been performed at film festivals in
Tallinn and Inverness, as well as on Ellis Island
in New York, perhaps the ultimate venue for a
show where the main theme is emigration.
The CD-DVD double pack was formally
launched during Glasgow’s Celtic Connections
Festival in January 2008.
For more information please take the time to
visit www.theislandtapes.com
or contact David Allison
[email protected]
tel 07850 303 575
47
48

PDF - Scottish Screen

Transcription

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