Rambo actor and film producer James With has been battling the slings and arrows of outrageous fortune, as well as a few rodents and gutter dwellers, spewing bile and misleading information about him and his film projects.
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
One such project is “All the Tired Horses” which fell foul Down Under in Australia; it’s worth reading the backstory and on-going efforts on why this project is still seeking funding due to poultry-like, inept legal actions. Despite prevailing and winning the battle in court, basically ending a long-running lead up to trial, the project unfortunately lost valuable production funding, that was essentially wasted by the court and its unscrupulous appointed liquidator, who refused to acknowledge claims submitted by the producers and crew members.
With a newly revised screenplay titled “Dead Parrots Down Under” and careful assessment on how to splice early film footage that was shot on location in Australia a decade ago, with newly developed scenes designed to be shot in an Asian film studio and close backlot areas, the producers are keen to secure a modest investment from a private investor to combine with support from post-production facilities.
Despite the setbacks, the experienced team are determined to create film magic. Director of Photography Steve Rice and James With have continued their collaboration over the years, which started with their meeting in Perth, Western Australia for “All the Tired Horses“. Writer Robert Hart worked as a senior technician on “All the Tired Horses” and has collaborated in the writing processes for “I Belong to the Shadows” and “Once Man’s Leica“, both projects in development.
There’s an old saying that goes ‘you can lead a horse to water, but you can’t make him drink’, an adage and throwback to why the project has been delayed, and yet is still in production.
TRI-US Entertainment welcomes interest and is open for co-production companies willing to support its feature film slate of projects. Film budgets are all carefully scrutinised, ranging from peanuts to pistachios and anyone who trades in either of these commodities will get the point.
Stark Networks PFO is handling contracting and investment advisory for all TRI-US Entertainment projects.
Producers work on projects that vary in size and scope. Great Films are made with great crews, equipment and tools to make great films, and one of my all time favourites is Goodfellas, a classic Hollywood film directed by and using a screenplay written by Martin Scorsese.
Presently, I’m working on a number of feature film projects of varying size and scope, and the team members are spread across the globe. Assessment and due diligence takes time; there’s an old saying that goes something like “what you don’t do properly in development, you have to pay for during pre-production, and what you don’t do properly in pre-production, you have to pay for in production, and what you don’t do properly in production, you have to pay for in post-production.” and everything costs time + money.
Planning is vitally important, and it is with respect that this wonderfully written blog article by Stephen Stanford is reproduced in this blog.
No matter what kind of content you’re producing, there are cinematic hallmarks that everybody wants to see. Our new Production Primer series will cover the fundamentals of these techniques and show you what your team needs to consider when writing, planning, and shooting them.
The tracking shot or “oner” is perhaps the most iconic and captivating of all cinematic techniques. Generally speaking, it refers graceful, uninterrupted single-take shots where the camera follows the subject throughout either an extended portion or the entirety of a scene. Tracking shots are a showcase opportunity for the entire production team to demonstrate their technical expertise, but come with a price: they require extensive planning and rehearsal to execute properly. If all goes according to plan, however, the effect is mesmerizing (and you’ve successfully added a cinematic flourish to your project that captures the imagination and sticks to the memory). If you’re thinking about attempting a tracking shot in your next project, here are a few things to consider for each phase of production.
WRITING
One of the most celebrated tracking shots of all time is the famous Copacabana Sequence from Martin Scorsese’s Goodfellas. The dazzling, impeccably staged journey of Henry Hill and his date from across the street, down the stairs, winding through the service corridors and kitchen, and finally out onto the floor of the iconic nightclub became an instant classic of American cinema. Every cue is fits together so flawlessly that it’s easy for one to assume that the some serious technical rigor was applied during the writing process. Surprisingly, this doesn’t appear to be the case. Here’s how the Copacabana Sequence appeared on the page in a revised draft of Nicholas Pileggi & Martin Scorsese’s 1989 script. Compare it to the end result.
As you can see, on paper this sequence is written like an unformatted montage. Virtually all of the asides and interactions that Henry has during his entrance are conspicuously absent, as are any specific shots or camera directions. According to Director of Photography Michael Ballhaus, Scorsese had fleshed out the entire sequence in his head, and the entire thing was blocked, rehearsed, and shot in less than a day. Unfortunately, most of us aren’t Martin Scorsese.
The more preparation and thought you put into the writing of the big scene, the greater footing your director and camera department will have when your team arrives at the planning phase. The Copacabana excerpt is a great example of how you should start: the telegraphic action suggests uninterrupted movement and the physical geography of the scene is explicated without being too specific. Moreover, the truncated and condensed formatting prevents the sequence from disrupting the flow of the script. If it were written exactly as it was shot, the sequence would have taken up multiple pages as opposed to roughly one half. In Celtx, however, there’s a novel solution that allows you to have it both ways.
If there’s a scene in your script that you think would make for the perfect tracking shot, Celtx allows you to develop it in detail outside of the script but within the same project. By adding an additional A/V Script to your project specifically for your tracking shot, you can create an in-depth, tailored shooting script describing every action point in your sequence. It also has multiple output formats, one for your actors to work on their cues, and another for your camera department to start mapping out the shot plan. Here’s what the Copacabana sequence looks like when written in A/V format:
PLANNING
A stabilization system is essential to executing a tracking shot. There are two standard options: a dolly, or a steadicam. A dolly is a heavy, wheeled multi-operator camera platform designed to move along the horizontal axis, either on tracks or on an appropriately smooth surface. A steadicam utilizes a mechanical system of gimbals and counterweights to allow a single operator to smoothly move and manipulate a camera with considerable deftness and speed. Where a dolly offers extremely stable and precise shots, steadicams allow for much greater mobility and a dreamy ‘floating’ effect. Both systems are fairly expensive and require skilled operators, although various ‘lighter’ or DIY solutions do exist. When choosing your stabilization system, two factors are key: the location in which you’ll be shooting, and the kind of action you need the camera to capture. For example, in the Copacabana sequence, the camera was required to closely follow the subjects up and down stairs, down narrow hallways, around sharp corners, and through crowds of background actors with several sidesteps and sudden stops. In this case, the steadicam was the ideal solution.
When you have a suitable location secured, take a walkthrough with your team and make note of obstacles, staging areas, and wiggle room for maneuvering crew and setting up equipment. Determine which stabilization system would best fit your needs, and then perform the initial blocking of your sequence and determine the best positions for each action point to take place. Celtx provides a useful tool for this stage in the form of the Shot Blocker. You can use the Shot Blocker to sketch out your location and specify where you want your action points to happen while plotting the path of the camera. You can also use it to set positions for equipment, props, set dressing, and extras using a built-in clipart library. Here’s what a shot plan for the Copacabana sequence might look like:
SHOOTING
Rehearse, rehearse, rehearse. Have your director move through your existing shot plan with your actors and let them get a feel for the space. Talk to them, and be open to improvisation. Long tracking sequences are akin to live theater, and its very easy for them to be overcome by a sense of staginess. Giving your actors a chance to explore, ad lib, and make mistakes can provide additional material that will imbue your sequence with a greater sense of reality.
You might also consider doing this initial blocking pass in reverse, starting at your last action point and working backwards. Ensuring that your actors know exactly where they need to end up is crucial to getting the perfect take, and starting your rehearsal from the final blocking position makes it easier for your actors to judge both distance and timings throughout the rest of the sequence: the finishing point is far more important than the starting point.
Your next rehearsal run should include any background actors, as well as dry runs for any background action that may be scripted to occur. It’d be best to include your camera team on this run as well – safety is paramount, and any background action with the potential to affect the camera needs to be heavily drilled.
Depending on the length of your shot (and if your schedule can accommodate it), you might want to consider blocking an entire day for setup and rehearsals. Either way, something is bound to deviate from your plan. Multiple takes are a given (it almost never goes right on the first try), but remember to be conscientious of the physical limitations of your cast and crew. If you push them too hard, you might start to undo the progress you’ve made in rehearsal.
In conclusion, be deliberate in your writing, thoughtful and thorough in your planning, and ready to drill when the shoot day arrives. To take advantage of the tools described in this primer, head over to Celtx and set up your team with a free trial. You’ll find that it makes keeping everyone informed and engaged during both the pre-production process and on set that much easier.
Well, after reading the article by Stephen Follows copied in its entirety below, I’m certainly not in agreement and have been prompted to provide my own views on this historic and groundbreaking referendum held on 23rd June 2016 in the UK now commonly called the “Brexit” vote.
Britain is well-prepared and will triumph gloriously as the panic subsides. I am most probably going to be critiqued on my statements here and wildly criticised for being contrarian or called worse? Let me start by stating that the film industry generally and globally is going through a dynamic disruptive metamorphosis; changes are inevitable as strong growth in media continues, and as new business relationships are consummated in a rapidly changing economic landscape. The models have changed. Funding productions and distributing content is no longer utilising film funding mechanics that were developed and put in place decades ago, and before the Internet changed everything.
Countries and their governments throughout the world are adopting film incentives processes building on local strengths as they have researched and found how important attracting filmmaking in their jurisdictions is to other industry sectors within their borders. Film incentives emanated from Hollywood and were initiated by “Runaway Production“. In the late 1990’s Hollywood film industry guilds, backed by US studios and media companies retained a company that produced the Monitor Report to conduct an investigation into phenomenon. The global success of production incentives and the migration of feature film production from the U.S.A. to the world spurred further in-depth research and data collection.
The outcome of the Brexit vote in the UK has rippled rapidly through the financial services industry, banks and global markets and will continue for some time yet; all are experiencing very high levels of volatility and this has sent shock waves around the world.
Record drops in Pound Sterling currency trading
The British Pound has plummeted to record lows with the media networks harping on in sound bites, excited sensationalism about trading drops not seen in 45 years of market analytics et al. Well, what most people seemingly don’t realise or understand about
film industry dynamics is that the film necessarily thrives during times of uncertainty. This can be seen throughout history, across countries and around the world. Do some deep research into what I am writing here and you will likely be surprised to find correlations that support my words! The British film industry has evolved and will continue to capture global market shares in the media industry, and I see this time as stimulating greater growth, as opposed to what the pundits and commentators are bleating along with those who see things differently.
Here’s some background worth reciting to put current views in context. “The UK was not a signatory to the Treaty of Rome which created the EEC in 1957. The country subsequently applied to join the organization in 1963 and again in 1967, but both applications were vetoed by the then President of France, Charles de Gaulle, ostensibly because “a number of aspects of Britain’s economy, from working practices to agriculture had made Britain incompatible with Europe and that Britain harbored a “deep-seated hostility” to any pan-European project. Once de Gaulle had relinquished the French presidency, the UK made a third application for membership, which was successful. On 1 January 1973 the United Kingdom joined the EEC, then often referred to in the UK as the “Common Market”. This was done under the Conservative Prime Minister Edward Heath. The opposition Labour Party, led by Harold Wilson, contested the October 1974 general election with a commitment to renegotiate Britain’s terms of membership of the EEC and then hold a referendum on whether to remain in the EEC on the new terms.”
A scene from “Barry Lyndon” 1975, directed by Stanley Kubrick
Now more than four decades on in 2016 the people of the UK have voted and the majority have chosen to leave the fold.
The EU and EEA (formerly known as EEC) have been weighed, measured and left wanting.
British “Brexit” Referendum Final Results
The globalists, corporate interests, banks and politicians that are are all screaming and moaning at the top of their lungs that the UK has absconded are behaving like chicks hatching out of cracked and spoiled boiled eggs. Many of those who have been gambling on this huge European casino economy are locked into the Euro currency; Britain is not.
In retrospect keeping the British Pound was a very smart move and whilst obviously it will be spinning fast and furiously on the roulette wheel of global currency markets for a while, the wheel will begin to slow and when it settles, the strength and growth prospects inherent in the British economy will begin to shine. Now that the UK has left the table, after having been previously drawn to the allure of bright lights and European delights at a time in British history when things looked a damn sight more appealing across the channel than the dire conditions in England that occurred in the aftermath of World War II.
Britain was enticed down the old golden gilt garden path and as things became boggy and more recently progressively stagnant a modern economic quagmire of dissent and distrust emerged and flowed in the under currents of populations and opinions. The British people have decided to take their remaining chips, cash in at the borders and leave the building. If you’ve ever been into a casino, you will have noticed that they like to keep the light constant, day and night, to trick people and punters into staying on and gambling for longer; the EU bureaucratic empire operates as aqueously within its vast corridors of power, ever flowing, ever changing and most haven’t even noticed where the leakages are occurring.
Brexit The Movie is a full length British documentary film that provides some very interesting factual details, and well worth watching more than once.
Evidence suggests that the trends of US and EU companies pursuing strategic partnerships in Asia is increasing in 2016.
Fiscal imbalances and floundering interest rates
Such trends are not exclusive to strategic decisions being made by corporations in the entertainment, media, and Hollywood talent agencies. The British Film Institute research provides great insights into how UK Film industry has been positioning for a more dynamic growth into new markets. A renewed focus on private equity and Family Office funding coupled with recent increased volatility in financial markets has spurred a swathe of mergers and acquisitions activity across the divide between East and West. Britain stands to benefit in this changing dynamic global shift we are in the midst of witnessing.
OTT and Streaming revenues growth accelerators
Activity and accelerated knowledge growth amongst Asian countries in the OTT and Premium OTT services sectors is driving increased competition for market share in four principle market angles:
Market enablers: the underlying market conditions for premium OTT offerings (e.g. population, broadband, devices, penetration, payment gateways)
OTT building blocks: the assets, capabilities, technologies and services required to develop and launch subscription OTT offerings (e.g. government regulation, censorship, languages, cultural specialties)
Consumer demand: awareness, interest, willingness to pay, serviceability to pay, payment options
The competitive environment between OTT services, pay-tv offerings (Netflix, iflix, et al)
Britain is poised strategically and the smart money and smart ideas are disruptive. I see Brexit as a smart move, contrary to the inference by general mass media reports that most of the voters were low income classes lacking in understanding. Smart companies are banking on future technologies that will change the way we do business around the world. Furthermore, Britain can now create new relationships more efficiently and operate without needing EU approvals, that are more complex and time consuming to get approved across the channel. Providing scalability as well as flexibility to explore expansion opportunities and build business relationships in ASEAN and India at an exciting time when these Asian regions are experiencing extraordinary changes is an opportunity for the taking.
The British Film Industry stands to benefit immensely as it is well supported within the country by the BFI coupled with educational programmes such as Into Film and these can quickly and easily become interesting areas of growth for British film professionals showing their wares to countries with less established film industry mechanisms. Growth in the global media industry is vibrant and expanding. As Asia creates new forums, established British technology and experience in teaching and learning programs can be exported and provide assistance and services for Startups in countries experiencing strong growth. Focusing on new business avenues and matching these efficiently with cost effectively implementation of entertainment and media growth strategies is the key to sustainability; remaining adaptable to future changes is vital for survival.
Innovations and Cultural Specifics
Innovations in technology and rapid growth utilising enterprise software to enhance business efficiency coupled to growing mobile penetration is prevalent across ASEAN.
Mobile Communications Demographics in South East Asia
With large populations utilizing high-speed data services and ever-increasing access to mobile communications coupled with the proliferation of marketing and advertising censorship controls are the subject of Governments and populations wishing to monitor and filter content delivered over the Internet.
India’s super angel investors are predominantly focused on the media technology and innovation spaces and are keenly interested in developing strategic partnerships with growth stories that focus on expansion in Asia.
The UK film industry is not only going to benefit from what I see as being relatively short-term weakness in the British Pound currency, Britain will thrive as the English people build upon their long history and experiences of seeking out and discovering new lands, building and expanding. With Brexit Britain has begun a new era of British conquest but not of conquer; this time the prospects are for the country to prosper on new relationships with new partners, rather than empire building as it was during the days of the East India Company “formed to pursue trade with the East Indies but ended up trading mainly with the Indian subcontinent and Qing China.” The company rose to account for half of the world’s trade, particularly in basic commodities including cotton, silk, indigo dye, salt, saltpetre, tea and opium. The company also ruled the beginnings of the British Empire in India. This time Britain will be bringing AI, nano-technology and British Startups Technology to the world.
Thank you for taking the time to read my conjecture and opinions here. I look forward with positivism and optimism as the world begins to dance rather than march to a new tune.
The full article by Stephen Follows is reprinted here for ease and efficiency with respect to views expressed by many film industry heavyweights and further juxtaposition.
How will Brexit affect the UK film industry?
Last Thursday, 52% of the UK population voted for the UK to leave the European Union (EU). I am going to avoid the political side of this conversation as it’s been covered well elsewhere. I will also avoid sharing my own opinion on the matter as there are no shortage of people shouting off on one side or another.However, I thought I can add to the conversation by looking at the numbers for how the British and European film industries interact and how Brexit will affect the UK film industry.
How will Brexit affect the UK film industry?
It’s worth noting that a large part of the whole Brexit debate was taken up with discussing unknowns. Neither side has a magic crystal ball and so it’s impossible to say for certain exactly what will happen in a post-EU UK. However, some outcomes are almost automatic, in that if the UK stops paying into the EU then it can expect to stop receiving money out of the EU. So, here is a rundown of the negative effects of Brexit to the UK film industry…
An end to MEDIA / Creative Europe funding (certain). Between 2007-13, the MEDIA scheme provided over €100 million towards various aspects of the UK film industry. The loss of this money is the biggest, clearest effect of Brexit and so I’ve addressed it in the section below.
In the short-term, British / European co-productions will be harder (very likely). Official co-productions allow international film producers to work together to create a film which can gain state protections and tax benefits from multiple countries at the same time. In the immediate future, co-productions between British and European countries will become harder, due to the fall in the value of the Pound and the growing uncertainty.
In the long-term, British / European co-productions may need new legislation(unclear). Official co-productions are only possible between countries which have signed a treaty defining co-production rules. The UK currently has active treaties with Australia, Canada, China, India, Israel, Jamaica, Morocco, New Zealand, the Occupied Palestinian Territories, South Africa and the EU. The EU treaty is called the European Convention on Cinematographic Co-Production and was signed in October 1992 in Strasbourg. This European treaty is not exclusively for just EU members as it refers to its signatories as “member States and the other States Parties to the European Cultural Convention”. The UK signed the original treaty as a member of the EU so conceivably it would need to sign up again as a “European non-member State”. Interestingly, the UK already has a separate co-production agreement with France, signed in 1994, so British / French co-productions may not be affected by Brexit in the same way co-productions with other EU member states are.
British content will be much less attractive to European broadcasters (almost certain). Some European countries have quotas on the amount of European content their exhibitors and broadcasters must show. For example, the majority (i.e. minimum of 51%) of French entertainment broadcast transmission time must be taken up with programs of European origin. Not only did this increase demand for native UK films and television shows but it also made UK / US co-productions more attractive. For example, ‘The Night Manager’ was a £30 million co-production between the BBC and AMC, which also qualified as an EU production. In a post-Brexit world, it is very unlikely that such products will be classed as ‘European’ and will therefore lose a large part of their value to European countries with such quotas.
Increased complexities for international cast and crew (possible but unclear). One of the features of a unified Europe is the free movement of people, goods and services. New visa requirements and work permits could affect both British people filming in Europe and European people filming in the UK. That said, the issue is a little more complicated than just ‘in or out’ of the EU. This passport and border controls are covered not by the EU but instead by the Schengen Agreement, and only 22 of the EU’s 28 member states are currently signed up (also, the UK and Ireland have certain opt-outs), In addition, Iceland, Lichtenstein, Norway and Switzerland are members of the Schengen Area but not of the EU. The basics of the free movement of people and services is also not simply an EU issue, but was instead established in the Treaty of Rome. So it’s not clear what would happen post-Brexit as new agreements will need to be reached in order to keep the free movement protections the film industry has enjoyed until now.
Fewer UK films will be distributed in Europe (certain). EU funding has supported the export of UK film to Europe to a massive degree. In fact, between 2007-13, almost €45 million was spent to bring UK films to European cinema audiences. Details of which films were supported follow in the next section.
Fewer international films will be distributed in the UK (certain, although the extent is unknown). Between 2007-13, UK-based businesses received over €20 million in EU funding to support the release of European films in the UK. In addition, if Brexit continues to cause a weak Pound then it becomes more expensive for UK distributors to acquire new content. However, this will affect all UK distributors equally, so may only reduce the amount UK distributors can pay upfront (known as the Minumum Guarantee, or MG) rather than prevent distribution entirely.
UK independent cinemas will lose income. (certain, although the extent is unknown). 56 UK independent cinemas receive funding from the EU as part of the Europa Cinema scheme, which supports cinemas which commit an average of 67% of their programming to European films. Between 2007-13, this averaged out to over €103,000 per cinema.
The negative effect of uncertainty (very likely). The film industry is highly fickle and responds negatively towards uncertainty. This is partly due to the large amounts of money at stake and the desire to reduce risks wherever possible. Right now no-one is sure what effect Brexit will have on the UK film industry, and so it may seem a safer bet to wait this period of change out before investing in UK film productions.
Loss of influence on European rules affecting UK content (certain but effects unknown). By leaving the EU, the UK will forfeit its right to influence EU policy towards film and television content. This will most acutely be felt in the discussions around the proposed Single Digital Market, which aims to force distributors to treat the EU as one territory, rather than distributing films country-by-country as happens today.
Despite these negative effects, Brexit could be positive for the UK film industry in the following ways…
It becomes cheaper to shoot in the UK (uncertain). If the Pound continues to lose value (as it has since the Brexit voted was announced) then the UK becomes ever-cheaper for foreign productions to set up shop in the UK. This will have the biggest effect on Hollywood studios, who spend vast sums of money and whose green-screen epics can be shot almost anywhere in the world. Between 2006-15, UK / USA studios films spent £7.7 billion in the UK, accounting for 68% of the money spent on UK films.
The UK is free to change its tax rules (certain). The current Film Tax Relief (FTR) scheme is very generous and offers producers a refund worth around a fifth of the money they spend on UK films in the UK. As a member of the EU, the UK is bound by rules on State Aid and does not have a free hand to change government incentives and subsidies without EU approval. When the FTR first came in, it gave points for various elements being British, such as the cast, crew, languages used, etc. However, EU rules have forced the UK to widen the criteria to favour all Europeans equally. This means that it is now possible to have a film that qualifies as fully “Brtish” with an all-Italian crew, based on a Spanish story, told in German. Leaving the EU will remove these restrictions on UK film tax policy. This freedom will mostly benefit the unseen civil servants who draw up the actual tax laws, but this increased flexibility means that in theory our film incentives can be changed more often and be better tailored to the needs of the UK film industry.
Avoid proposed new European rules on release patterns (certain freedom from a possible event). As discussed above, the Single Digital Market could mean that films need to be released in Europe as one territory all at once. It’s not certain how the new rules will eventually be written, but if we’re out of the EU then we’re certainly not going to be part of it. This will still affect British films exported to Europe but not films released in the UK.
The UK can spend that saved money directly on UK film (extremely unclear). In theory, the UK can use the money saved by not paying into the EU to directly replace the money and support that was lost by the lack of MEDIA funding. It remains unclear if the government wishes to do this.
How much has the MEDIA budget benefitted the UK film industry?
MEDIA currently provides money to the UK film sector for training, development, co-productions, festivals and theatrical distribution. Over a seven year period (2007-13), the EU provided over €100,000,000 towards various aspects of UK film industry. This breaks down as follows…
€44,561,008 – Awards to European distributors to release UK films
€10,478,771 – Investment in UK TV broadcasting
€8,898,821 – Distribution of European films in the UK
€7,830,252 – Development – UK Slate funding
€6,939,604 – Development – UK Single projects
€5,810,965 – UK cinemas part of the Europa network
€4,910,314 – UK-based training
€2,975,703 – UK VoD platforms
€2,775,444 – UK-based film courses and schools
€2,013,688 – Development – UK Interactive works
€890,530 – Grants to UK sales agents who represent non-UK European films
€85,0718 – UK pilot release programs
€695,500 – European Day-and-Date pilots
€539,766 – i2i Audiovisual (plugging finance gaps in UK / European co-productions)
€100,171,084 – Total
As mentioned above, UK films have received a huge amount of EU funding for their releases around Europe. These include…
The Iron Lady – €1,531,922 – 31 European territories
Slumdog Millionaire – €1,339,104 – 24 European territories
Quartet – €1,339,009 – 23 European territories
Looking For Eric – €1,297,031 – 26 European territories
Tamara Drewe – €1,239,843 – 22 European territories
The King’s Speech – €1,025,717 – 26 European territories
The Last Legion – €1,025,551 – 3 European territories
The Duchess – €954,012 – 19 European territories
Shame – €951,814 – 27 European territories
Another Year – €914,330 – 21 European territories
I Give It a Year – €892,867 – 29 European territories
Streetdance 3D – €891,644 – 17 European territories
Salmon Fishing in the Yemen – €882,124 – 27 European territories
The Secret of Moonacre – €814,964 – 5 European territories
Song for Marion – €787,987 – 15 European territories
Happy-Go-Lucky – €750,173 – 24 European territories
Hysteria – €748,066 – 25 European territories
Fish Tank – €737,813 – 29 European territories
Nowhere Boy – €708,871 – 8 European territories
The Angels’ Share – €699,286 – 27 European territories
A further €25,028,880 awarded to other UK films
Finally, it’s worth mentioning some of the European films that have reached UK cinema audiences in part because of EU funding. These include A Prophet, The Great Beauty, Gomorrah, I Am Love, Persepolis, Love is All You Need, The Class, Amour, Potiche, Waltz with Bashir, Heartbreaker, Of Gods and Men, Blue is the Warmest Colour, Pina, Two Days In Paris, The Counterfeiters, The White Ribbon, Melancholia, Antichrist and Molière.
What is the UK film industry’s opinion on Brexit?
It’s fair to say that the vast majority of people working in the UK film industry are firmly against the UK leaving the EU. UK arts pressure group the Creative Industries Federation say that 96% of its members supported the Remain campaign and 84% said that EU membership was important to the future of their organisation. A poll by Media Business Insight found that 66% of people working in the UK film industry felt that Brexit would have a negative impact on the sector. A further 18.5% were uncertain on the outcome of Brexit, with only 11.5% believing that Brexit would be positive for the UK’s film industry.
So why are so many UK film professionals against Brexit? This could be for a number of reasons…
Political values. The film industry is traditional a fairly liberal-minded industry and the liberal cause is largely pro-EU.
Age. The film industry has much lower age profile than the UK population, and polls have shown how the majority of those under 50 supported Remain while a majority of those over 50 supported Leave.
Fear of uncertainty. The UK film industry is in a period of stable growth, thanks in large part to a stable government approach to film incentives. Uncertainties in the future could scare off investors and studios from making investments in UK films.
The majority of predictable outcomes to the UK film industry are negative. The list at the top of this article shows how the vast majority of expected Brexit outcomes are negative for UK film.
Here is a summary of press coverage on the issue…
Screen Daily says that the UK film and TV sectors are in “limbo” and that “the two sectors had recently expressed strong sentiment in favour of remaining in the European Union, which is the major trade partner of the UK and which provides millions of pounds in subsidies to the UK market as well as a number of frameworks for coproduction. That structure is now in serious doubt“.
Variety collected views from a number of major voices in UK film, summing them up by saying “British voters’ stunning decision to turn their backs on the European Union has left many of the country’s leading TV and film players reeling“.
The Guardian summed up the situation by saying that there would be “less cash, fewer movies” and also that “we could witness a 70s-style British film meltdown”.
The Hollywood Reporter led with “U.K. Producers Oppose Brexit”, pointing out that “James Bond producer Barbara Broccoli, veteran David Puttnam, Matthew Vaughn, The King’s Speech producer Iain Canning, Slumdog Millionaire’s Christian Colson and Aardman Animations are among those who outlined their reasons for why staying in the EU is the right call for those who want “to support our current, thriving creative industries.”“.
Broadcast magazine noted that shares in ITV dropped 19% within a day of the vote being announced, and the Sky share price also fell 8%. Further drops were felt by eOne and Vivendi.
The Verge discussed the possible effect of Brexit on ‘Game of Thrones’, saying “US productions might feel the effect, too. Much of HBO’s Game of Thrones is filmed in Northern Ireland, for instance, partly supported by the European Regional Development Fund. HBO, however, says it doesn’t anticipate any financial impact on GoT, since the network took no money from the ERDF for the last few seasons, according to Entertainment Weekly“.
And the Radio Times pointed out one aspect of Brexit too many experts have overlooked by noting “The shock Brexit result will have massive ramifications – not least the fact that we may see less of beautiful French actress Clémence Poésy on TV“.
A number of top UK film voices have shared their views and I could fill an entire article with them. However, for the sake of brevity, here are five which seem to sum up the mood…
Harvey Weinsteinsaid “I’m shocked… These guys who voted, voted out of fear. It’s a huge mistake… It could be very costly in the movie and TV industry in terms of content branding. European branding is very important. It’s a big deal for these young British filmmakers”.
Michael Ryan, Chairman of the Independent Film & Television Alliance, said “The decision to exit the European Union is a major blow to the UK film and TV industry. Producing films and television programs is a very expensive and very risky business and certainty about the rules affecting the business is a must. This decision has just blown up our foundation — as of today, we no longer know how our relationships with co-producers, financiers and distributors will work, whether new taxes will be dropped on our activities in the rest of Europe or how production financing is going to be raised without any input from European funding agencies. The UK creative sector has been a strong and vibrant contributor to the economy — this is likely to be devastating for us”.
Danny Perkins, head of Studiocanal UKsaid “Short term it’s bad news for the currency and terrible news for film acquisitions, which are normally done in dollars or euros. UK companies will suffer in the short term“.
Rebecca O’Brien of Sixteen Filmssaid “It has blown us out of the water. We are very dependent on our relations with Europe. All of our films for the last 20 or 25 years have been co-productions with Europe. It (Brexit) doesn’t mean they will stop immediately but it means that trade, and access and all those things are much more difficult. It just means we have to re-invent the wheel again“.
Jeremy Thomas of the Recorded Picture Companyquoted Charles Bukowski by saying that “the problem with the world is that the intelligent people are full of doubts, while the stupid ones are full of confidence“. Mr Thomas added “For the film industry, it is a disaster“.
So what now?
So many of the effects of Brexit are unknown. Right now, the only thing that has happened is that a non-binding referendum was marginally won by the pro-Brexit movement. There’s no doubt that the majority of the UK film industry hopes that Brexit doesn’t happen. Failing that, the film industry is likely to seek the following outcomes from the government…
An agreement to classify UK content as “European” in relation to production and distribution quotas. This is a harder task than the co-production deal, although it should be noted that Switzerland has already achieved this for their content.
Replacement funding be provided for current MEDIA-funded activities. A major claim of the Leave campaign was that the UK would save £350 million a week by leaving the EU. It turns out that once you take into account the UK’s rebate the real saving is far lower, but even taking that into account, the money saved by leaving the EU could be used to replace the funding currently provided by MEDIA.
Action to be taken swiftly and confidently. A protracted and messy exit will create a large amount of uncertainty and stifle investment in UK film.
Epilogue
Sorry if you were expecting to be able to read my final article in my series on film locations today. I have had a number of people ask me about how Brexit will affect the film industry so I bumped the film locations article to next week. Stay tuned…
#Thailand’s government has approved a #Film #Production #rebate for international #productions that spend at least $1.5m in the Kingdom. Thailand has finally secured government approval for production incentives in the form of a 15-20% cash rebate on qualifying local spend.
Expected to kick in from January 2017, the incentive offers a 15% rebate on international productions that spend at least $1.5m in the country, with a yet-to-be determined upper limit to prevent a single big-budget production from emptying the pot. An additional 3% is available for films that use key Thai cast or crew when shooting in the country and a further 2% for films that have particular value in promoting Thailand.
Discussions for Thailand to introduce a film production incentive have been heard for over two decades and local film industry professionals see this as a great positive for the film industry in Thailand and ASEAN as a whole. With the more business opportunities and activities focused on trading partnership across the AEC, Thailand’s production hub status will be further strengthened by the implementation of this vital entertainment industry support at a time when Asian appetites for entrepreneurship, fintech, startup technology and OTT are heating up.
When one compares jurisdictions the Thailand film production industry incentives set to take effect in 2017 will weigh in heavily on other countries offering similar production incentives to attract filmmakers, not only in ASEAN, but also throughout the world. This is largely because the costs of production are significantly lower in Thailand than other countries and with rebates being offered in the range of 15%-20% being available, Thailand will rank high on the list of destinations for producers.
EP Financial Solutions
The development of movie production incentives stems from the perceived economic benefits of filmmaking and television production in the US. In 2010 revenues from television production in the US were estimated at $30.8 billion[1] while revenues from movie and video production in the US were estimated at $29.7 billion in the same year.[2]
As the TV and film industries around the world grew through the 1990s, so did concern over runaway productions, TV shows and films that are intended for a US audience but are filmed in other countries in order to reduce production costs. The issue of runaway productions gained further traction after Canada adopted a movie production incentive program in 1997.
In the 21st century Asia has emerged as a leading growth area for film financing with Asia, China and India increasingly being used by Hollywood producers and major studios as a necessary part of their global strategies.
Building on new trends and timing with markets
Evidence suggests that the trends of US and EU companies pursuing strategic partnerships in Asia is increasing in 2016. Such trends are not exclusive to strategic decisions being made by corporations in the entertainment, media, and Hollywood talent agencies. A renewed focus on private equity and Family Office funding coupled with recent increased volatility in financial markets has spurred a swathe of mergers and acquisitions activity across the divide between East and West.
Innovations and Cultural Specifics
Innovations in technology and rapid growth in the utilisation of enterprise software to enhance business efficiency are coupled to growing mobile penetration prevalent across ASEAN. With large populations utilising high-speed data services and ever-increasing access to mobile communications, the proliferation of marketing and advertising censorship controls under scrutiny, Governments and populations wishing to monitor and filter content delivered over the Internet are all key indicators to watch.
India’s super angel investors are predominantly focused on the media technology and innovation spaces and are keenly interested in developing strategic partnerships with growth stories that focus on expansion in Asia.
For more information on filming in Thailand information is available from the Thailand Film Office.
Telephone: + 66 2612 4149 +66 2219 4010 Ext. 634 or 463
Email: film@thailandfilmoffice.org URL: Thailandfilmoffice.org
About the author: James With
First published on Monday, 16th May 2016
“Dogs howl in the alley, crazy women scream…” ~ Pete Townsend
Darkness will always be fractured by light… The dawn rooster cocks sideways and crows before sunrise and spews. Have you noticed that parrots come in all shapes and sizes? Similar to lawyers they make excruciating squawking noises often leaving trails of crumby scraps whilst waddling blithely across rusty bars and polished floor boards. Parrots never really seem to care when and where they leave a trial, dropping excrement hither and thither. Guess what else is peculiar and similar between parrots and lawyers? A simple check of the Wikipedia page for “Parrot” gives further insights.
Quite titillating really, fancy fed, a feigned meek squint and chortling at the thought of it all… conjures images of Monty Python‘s Dead Parrot hanging upside down with London Bridge as a theatrical backdrop… sketchy … the meaning of life… always look on the bright side of life… now there’s a great symbolic reunion highlighting 50 years of creative brilliance.
Monty Python’s Dead Parrot rests in a London park to celebrate the reunion of the team after 50 years.
Monty Python’s Dead Parrot rests in a London park to celebrate the reunion of the team after 50 years.
Monty Python’s Dead Parrot rests in a London park to celebrate the reunion of the team after 50 years.
Monty Python’s Dead Parrot rests in a London park to celebrate the reunion of the team after 50 years.
Monty Python’s Dead Parrot rests in a London park to celebrate the reunion of the team after 50 years.
Mmm… gets one thinking creatively, right? And, there in lies the rub to spontaneously launch into banging out another blog article whilst listening to an old LP recording of Pete Townsend‘s solo album “All the Best Coyboys have Chinese Eyes” on my Technics Direct Drive Automatic Player System rotating at 33 1/3 rpm … there’s a timeless quality inherent in the vinyl… there’s an eternal raw beauty in The Who too … Who Are You?
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Flames impassioned in a moments anger… love conquers… without question … “There have always been times like these. The multi-coloured spheres clash and collide, the triangle expands and explodes: eventually there is nothing.” … times gift of perfect humility.
I am very excited the producers of “All the Tired Horses” aka “Dead Parrots Down Under” have decided to produce a new multi-episode season in the Explore TV series following on from season one produced in 2009. Rumour has it that there’ll be multiple seasons and episodes covering the many trials and tribulations incurred by cast and crews in Australia, India and Thailand and around the world.
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
Filming “All the Tired Horses’ aka “Dead Parrots Down” Under Behind-the-scenes
Excited chatter in social media circles have variously described this as an “epic battle”, a former marine writes “In the face of adversity, with brick walls put in the way….., through strength, determination and perseverance – truth and justice shone through in the end.” and another says “James, We are with you on this. You have won already!” Wow, wow, wow! The support from friends, fans and others providing encouragement has been humbling and I get all emotional… it makes me strive to greater perfection in my craft and to create ever lasting films that excite and ignite imaginations, insight intrigue and inform with interest driven by telling content.
ATTH “All the Tired Horses” aka DPDU “Dead Parrots Down Under” Press Release 8th January 2016
Somebody saved me … it happened again… I thank you my friend… all I know about staying alive… all I know I’ve been making it! Pete Townsend, you’re a genius and I thank you my friend. I never could queue to collect my lunch while I was pursuing the truth … and as they say the truth will set you free.
Experience is priceless and helping people, advising, and learning more provides me with a burning desire to produce more … I was just 34 years old … I was wondering why everyone I met seemed like they were in a haze… it’s sympathy not tears people need when they’re the front page news… and I know when she thinks of me … recriminations fester… and it’s she who has to beg.
Filming “All the Tired Horses’ aka “Dead Parrots Down Under” Gus, a warrior, battle hardened and ready.
Dawn beckons and the lights begin to fade as a new day begins in the City of Angels… I love the smell of toast in the morning… it helps to wash the smell of parrot shit away…
Francis Ford Copolla’s “Apocalypse Now” Movie starring Marlon Brando Motion Picture Sound Recording Album cover; a parrot shitting on Marlon’s shaved scalp.
China and India are rapidly evolving and there are big moves afoot in media and entertainment across the divide. Having lived and worked throughout Asia, China and India for most of my life I feel that the winds of change are upon use, usefulness and us, of course … the sails are unfurled and filling smoothly… Ah, a vast frontier of possibilities beckons me hearties!
#ATTH #DPDU A snapshot of script setting and dialogue from “Dead Parrots Down Under” original screenplay by James With
Characteristic features of parrots include a strong, curved bill, an upright stance, strong legs, and clawed zygodactyl feet. Many parrots are vividly coloured, and some are multi-coloured. Most parrots exhibit little or no sexual dimorphism. They form the most variably sized bird order in terms of length… but enough about parrots for now…
Bait your hooks, keep the music playing, wait with baited breathe and be prepared for the journey ahead…
“I Am What I Am” by Gloria Gaynor
I am what I am
I am my own special creation
So come take a look
Give me the hook or the ovation
It’s my world that I want to have a little pride in
My world and it’s not a place I have to hide in
Life’s not worth a dam
Till you can say, hey world, I am what I am
I am what I am
I don’t want praise, I don’t want pity
I bang my own drum
Some think it’s noise, I think it’s pretty
And so what if I love each feather and each bangle
Why not try to see things from a different angle
Your life is a sham
Till you can shout out loud, I am what I am
I am what I am
And what I am needs no excuses
I deal my own deck
Sometimes the ace, sometimes the deuces
There’s one life and there’s no return and no deposit
One life so it’s time to open up your closet
Life’s not worth a dam
Till you can say, hey world, I am what I am
I am James With … ~ WITH LOVE ~ … I am James Wearing-Smith V … I am James W. Gunn … I am a man walking this Great Earth and I am making my way in this great world …
Alternative Investment Finance for Film and Entertainment Projects
There’s no need to rely on scarce and periodic Government grants and/or applying and waiting an indeterminate time for State film commissions to assess and possibly if you’re in luck approving your project in order to funds these days. The opportunities and scope for securing money, services and marketing resources are immense. Film and Entertainment Financing has a huge new arena to tap into; crowdfunding is exploding and now that the SEC in the United States of America has passed regulations for equity crowdfunding the playing field just got a whole lot wider.
Inglourious Bar Studs
“Inglourious Bar Studs” (http://www.sittinganddrinking.com) is the first film project that I am financing partially from crowdfunding and it’s been a great learning experience. There’s a lot to know and the alternative finance sphere is not a spectre to be shunned. I have created an online paper called The INglourious News Daily that provides everyone with a wide selection of relevant source materials and articles to widen your horizons. You can get a variety of cutting edge insights and stay up to date on the emerging and evolving funding sources available today.
According to Raghavendra Rau, the Research Director of the Cambridge Centre for Alternative Finance and the Sir Evelyn de Rothschild Professor of Finance at the Cambridge Judge Business School: “The Asia Pacific region includes many of the most populous and fastest growing developing countries in the world – China, India and Indonesia and many more. The rapid uptake of mobile technologies and the permeation of social media is enabling these countries to leapfrog traditional banking infrastructure, which suggests that the potential growth of innovative alternative finance markets in the Asia-Pacific may be higher than other regions.”
Alternative finance encompasses innovative financial instruments and distributive channels that have emerged outside of the traditional financial system. The alternative finance industry is experiencing rapid growth in the Asia-Pacific region. The University of Cambridge, Tsinghua University & the University of Sydney have joined forces to launch the 2015 Asia-Pacific Alternative Finance Benchmarking Survey supported by KPMG, CME Group Foundation, the ACCA and 20 leading industry and academic research partners. The study will assess the activities of equity- and reward-based crowdfunding, peer-to-peer consumer and business lending (i.e. Marketplace Lending) and invoice trading, which are directly connecting lenders to borrowers, raising venture capital for start-ups, funding the creative industries and creating new ways for individuals and institutions to control how and to whom money is distributed, lent and invested.
Inglourious Bar Studs
University of Sydney Business School Dean and Professor Greg Whitwell said: “An interesting trend in alternative finance in Australia and emerging East Asian countries is the emergence of social-cause based alternative financing activities. There is also an urgent policy need to study the Asia Pacific alternative finance industry, which is unregulated in most jurisdictions. Many countries in the Asia-Pacific such as Australia are debating regulations, yet they are doing so in the absence of reliable data on the scale and type of such financing activities.’
The Cambridge Centre for Alternative Finance at Cambridge Judge Business School, the Tsinghua University, Graduate School of Shenzhen and the University of Sydney Business School are jointly launching the 2015 Asia-Pacific Alternative Finance Benchmarking Survey. This survey will be the first-ever comprehensive study of crowdfunding, peer-to-peer lending and other forms of alternative finance across the Asia-Pacific region – including Mainland China, Hong Kong, Taiwan, Japan, South Korea, Singapore, Malaysia, the Philippines, Thailand, Indonesia, India, Australia and New Zealand.
I’m sure we can all remember a movie that left us with a feeling of sorrow or sadness. Tear Jerker’s stick in our mind even more than movies that makes us laugh or sit in awe. Sadness is perhaps the most sticky of and remaining of emotional states. So it is with great pleasure we bring you the first exclusive peek at the movie being made to take being SAD to another level. #SADtheMovie is here and it is here to stay. Since it burst onto the social scene less than 3 months ago it has picked up an avalanche of follows and fans. It seems being SAD is quite popular.
We are all waiting to come to grips with exactly what S.A.D the movie is all about. S.A.D meaning ‘Sitting and Drinking’ What we can see is it seems to be about just about everything! How is that possible? We don’t know either. It is a movie that throws up many questions but very few answers except for the fact that you feel compelled to find out the answers by watching the movie.
Written by Actor and director James With and produced by James With, Stevie Eagle E, Al Caudullo and Nick Barnes this is a movie aimed at people power. SAD the movie is heading to crowdfundingmeaning it will have in truth hundreds of producers from around the world. The movie is being shot in Thailand and is already making more fuss on the social scene than big budget Thai Movies. Why is that? It’s simple really. Whatever it is about it is interesting and compelling and not many movies are that these days. Yes they are exciting, big expensive, but very few films are truly interesting and compelling when you are trying to market them. This one for some reason, is.
The film soundtrack also boast rising stars Stephan Dante and Joanna Shegera on the Soundtrack. The past credits of the Actors, directors and participants range from Blockbusters like ‘Independence Day‘ and ‘Rambo’ to award winning films and oscar participation. Great credentials indeed.
Like thousands of others we shall be keeping a firm gaze on #SADtheMovie hoping to gleen some Idea of what this motley group of characters will be, or do. We really want to know like everyone else. I mean they look like a bunch of ex killers, psychos and drug addicts in the poster. Until then we invite you to take an exclusive look at the conceptual trailer above and you try to figure out what the hell is going on here.
Shlepp Entertainment Supremo Stevie Eagle E AKA Stephen Ellis has announced that Shlepp Entertainment Ltd (his company) will be collaborating with James With of Tri-Us Global Media on at least 4 full length feature films over the next several years.
Stevie Eagle E has been working with James With on his Fearchaser™ film since 2008. The Fearchaser™ film originally meant to cast Chinese Star Ayi Jihu in the leading role as Fearchaser™and the original concept caught fire when it was turned into an on-line video game by Adventure Quest worlds drawing 25 million gamers around the world and reaching an estimated 110 Million audience globally.
It was Fearchaser™ that brought James With of Tri-Us Global Media and Stevie Eagle E together. James With, a veteran actor and producer of many blockbuster films including independence day and Rambo and Stevie Eagle E have been working together ever since on various projects not only related to film.
Stevie Eagle E has been a consistent figure in the entertainment industry for decades as an artist, writer, musician and producer and only started to develop his passion for film making with the creation of Fearchaser™ This lead to winning best film on his first short film collaboration InsideOutdirected by Flamina Graziadei in 2013.
In his own words:
I have always been a closet movie maker. It has always been my passion to be involved in the movies but it seemed a bridge too far for me as a kid and my passion for music being just as strong was easier to pursue. However story telling and film making has always been in my blood. I absolutely love and adore film. I have made dozens of music videos and I feel it was here that I ‘cut my teeth’ in the film making business. I am blessed that I seem to have a natural talent for many things I put my mind on and music videos seemed to be no different. Stepping up to real film making was something I always wanted to do when the opportunity and time was right. Right now I feel I am ready. I have made several short films playing different roles in each one from PR and Marketing, Music scoring to Co Producer and Producer. I have even directed a few. Through this process I have learnt the basics needed for me to step up to the big league and make feature length films with big budgets. It has taken me almost ten years of hard work to get to this point where I am in the position to make the movies I want to make.
It is at this point that I would tell anyone wishing to do anything that if they are truly passionate and hard working, If they have the talent and ambition and are willing to sacrifice but most of all never to quit they will achieve their dreams in life. This has been the case for me.
The collaboration between Shlepp Entertainment Ltd and Tri-Us Global Media has four films on it’s Initial schedule in various stages of development: Fearchaser™ I belong to the shadows, She (The movie) and another production that cannot be mentioned at this point. Award winning director Flaminia Graziadei who Stevie Eagle E worked with on two short films already including the award winning ‘InsideOut’ is also scheduled to work on ‘She’ – The movie.
We asked Stevie Eagle E how he chooses who he works with and why?
People bang on about ‘Talent’ all the time, but for me trust is the major issue. Trusting that you can do your job, will do your job, will work for the team and protect the team. There are loads of people with talent, but very few people out there you can really trust. My team is not new. All of the important players I have known for many years and I trust them. They are all amazingly good at what they do. They are all passionate and real and they are all people who I can depend on. They won’t flake out on me. I do believe my true value and worth can be jugged not by the amount of assets I have, but by the people I work with and who will stand beside me through thick and thin. Because of this I am extremely rich and I can accomplish almost anything. To build this type of team and develop these types of contacts took decades. In that time you have to weed out the bad seeds. This is never easy as people have become quite adept at pretending and camouflage. So there is a learning curve for oneself, a curve which gives you the eyes and the wisdom to discern who is really with you and who is not and it is not always the ones that smile in your face. Now I am blessed to have an amazing network. A trustworthy and talented team all ready to do what needs to be done to make things happen. This is why all the years of hard work is falling into place now.
Stevie will you be directing any of the projects you mentioned?
Straight answer: No! I have confidently directed dozens of music videos and trailers but that is the limit of my expertise at this point. I am a 10 minute man, over that and I’m a complete novice. When you are working as a director on large movie projects you are not dealing with 30 or 40 people and a few cameras. You are dealing with thousands of people sometimes in front of and behind the camera, millions of dollars etc, etc, etc. I hope that in a few years once I have a bit more experience and knowledge I can think about directing my own full length feature. I learn fast and I am working with the best so I am confident it wont be too long before you see a film directed by Stevie Eagle E, but right now, no way. I am concentrating on production and all that entails which is huge in itself. I also play a big part in the marketing of the films and of course the musical aspects of each film. I am very much a conceptual thinker. Or I call myself a ‘light bulb man’ I come up with ideas and concepts that everything can be built around. For example Fearchaser™ and She the movie all just came from my mind as concepts. With Fearchaser™ I took it further and wrote a short story, developed some visual aspects, but once it caught fire I then go to the real pro’s to put it all together. Every project is different as a producer you are involved in all aspects of making that film happen. You hire the director.
What are your expectations for your films?
Right about now I guess you expect me to be talking about Oscars etc. The truth is however I just want to get my movies made. That was my first priority. Raising the capital and getting things all together was a struggle. I just wanted to get these movies off the ground and see them on the big screen. I want to make great movies, not just good films, or cool films but great films that people will be watching and talking about long after I am gone. I don’t care if they win any awards I care that they are good and get the messages across you wanted them to in the beginning. Movie making is also a business a huge business and my movies have to make money I am not in the business of making clangers. I know if this amazing team we have does what it can do we shall be successful and yes awards will follow also. I know all of the movies we have scheduled have the ability to capture the imagination of people all over the world and do very well. My aim is to make sure these films realise their full potential on all levels.
Shall we be seeing Ayi Jihu, Stephan Dante or Joanna Shegera in any of your films?
I think you could say there is a very good chance you will see all or most of the above in some or all of our films. Our artists are part of our team and where we can we protectively include them in everything we do. Obviously they have to be able to do the job.
Who would you say is the most naturally talented actor out of Ayi Jihu, Joanna Shegera and Stephan Dante?
That is a really tough question because they all have natural acting talent. I am not just saying that because they are my artists either. If my life depended on it and I had to make a choice in a moment I would go with Stephan Dante. However I am confident and blessed that we are not carrying anyone here. Ayi Jihu has already cut her teeth on FearChaser™ trailers and our short film ‘I believe in Monsters’ Joanna has surprised me with the range of emotions she can access during filming and Stephan Dante seems to be able to do just about anything she puts her mind to very, very well.
When can we expect to see your first major film hit the big screen?
I wish I could give you an exact date but it does not work that way until you have it all done, Unless you are one of the big players in this game, which we are not. What I can tell you is we have already started pre-production on 3 of the films and we hope to go into full production late this year if not early next year on at least two of the films. We are talking about a hundred million dollar worth of movie projects here so we have a lot of ‘i’s to dot and ‘t’s to cross. Movie making on this level is not fast. Another major aim is to fuse cultures and perceptions from around the world bring East and West closer without them even knowing it. We work closely not only with China but with India on all levels as well as with everyone else.
The partnership of Shlepp Entertainment and Tri-Us global media looks like it will be a fruitful one bringing us some interesting and entertaining films in the future. At globalnewsink we have been following the progress of Fearchaser™ for some time now and we like millions of others cannot wait to see that movie made. Independent films are on the rise as independent film makers find different ways of getting the funding to compete more in the lucrative film market. It also means we have more diverse perspectives when it comes to what hits our big screens. Making a full length feature film is tough enough getting it distributed is another hurdle independent film makers have to overcome as the big boys have all the power when it comes to screens and times and they are not afraid to use it. We feel the key to the success of Shlepp Entertainment and Tri-Us Global Media will be in their marketing and distribution strategies. It is clear that they have the know how and talent to make a good product.
We wish this new partnership all the success and will keep you informed on how they progress
Thirty years ago, movie star Robert Redford decided to create a film festival to promote America’s fledgling independent film industry. ” But I didn’t want to do it in New York or LA,” he says. “I said, let’s put it in Utah, let’s make it hard to get to. Let’s make it weird.”
Three decades on, the Sundance Film Festival at Park City in Utah is showing indie movies from 37 different countries and is bringing in about $375m (£228m) to the local economy. But although the event was responsible for “discovering” Oscar nominees such as Beasts of the Southern Wild and Winter’s Bone – which also launched Jennifer Lawrence’s career – Redford admits that, in 2014, independent cinema is, as he puts it, “still at the mercy of the distributors”.
“Hollywood is a business and it’s really good at it,” he says. “But if you’re looking at how films get nominated for Oscars for example, it’s all about the campaign that gets run. A lot of independent films – and I’d include my own latest film, All Is Lost in there – don’t have the funding for that.”
Red carpet style is low key at Sundance with woolly hats and ski jackets often being worn – Chris O’Dowd is at the festival with the film Calvary
Although Academy Award winners have come from the independent sector – including British film The King’s Speech – this year, Gravity and American Hustle, the leading contenders, are both studio films.
Mission statement With low-budget movies squeezed by shorter theatrical releases and the advent of on demand and streaming services like Netflix, where does Redford see the business heading? “I don’t see Sundance’s business as being business,” Redford replied. “We are nothing to do with the box office, we are a non-profit organisation. We started Sundance as a place to come and develop new artists, with the ambition of creating a community and giving them a platform for their work. I don’t think our mission has changed at all. Thirty years ago, these people had nowhere to go. Now I’m very proud that actually, the directors of Gravity and American Hustle, Alfonso Cuaron and David O Russell, actually came up through Sundance, and now they work in the mainstream. I think independent films are seen by a bigger audience these days, and we do know that changing the platform of distribution is inevitable, and we will ride that wave. But look at something like Kickstarter – that is an innovation which is giving new life to independent cinema.”
Zach Braff’s first film Garden State became a cult hit after it was shown in 2004
One Kickstarter-funded film screening at Sundance is “Wish I Was Here“, the first film Zach Braff has made since 2004’s Garden State. As well as Braff, the festival boasts its usual stellar list of acting talent who brave the snows of Park City, including Kristen Stewart, playing a Guantanamo Bay guard in Camp X-Ray, the debut feature film by graphic designer Peter Sattler.
A better experience Steve Coogan and Rob Brydon bring comedy with Michael Winterbottom‘s The Trip To Italy, while Keira Knightley has already received rave reviews for her part in Laggies, a coming of age 20-something comedy directed by Lynn Shelton, who set it in her hometown of Seattle. “Doing independent cinema is often a better experience than doing studio films,” explains Knightley. “There are so many retakes, and waiting to set up shots in blockbusters, that you can lose the momentum, particularly if you have to act against a green screen. In a low-budget film, you have to get it right and it’s like being in the theatre – you’ve only got one chance. Also, on Laggies, I got to live on a houseboat in Seattle and learn to skateboard a little, like my character. The only problem was they had no health and safety budget, so they’d hardly let me use it.”
While the actors’ pay in independent cinema is often so low that only established stars can take the roles, Sundance has, nevertheless, launched new stars every year – from Jennifer Lawrence in Winter’s Bone to Felicity Jones in Like Crazy.
Biggest success However, the festival’s biggest success remains its documentary programme, one of the first to be established at an event like this. Four out of the five Oscar nominees in this year’s documentary category debuted at Sundance in 2013.
This year, the event is screening films on subjects as diverse as former US presidential candidate Mitt Romney, film critic Roger Ebert and Star Trek icon George Takei, as well as real-life thrillers like The Green Prince – the true story of the friendship that formed between a Hamas informer and his Israeli handler. “I think Sundance has been a game-changer for the documentary,” remarks John Battsek, the British producer behind The Green Prince and last year’s Oscar winner, Searching for Sugarman.
John Lithgow and Alfred Molina enjoy the relaxed atmosphere on the red carpet at Sundance – they are at the festival with their film Love Is Strange
“I think it’s helped elevate the documentary to the same status as a feature film, and shown it can perform just as well in cinemas. “Now the challenge is to continue making documentaries that have the same values and standards as a feature.” While 56 films compete across the different categories at Sundance, the reality is that only a handful will receive a theatrical release. Redford is adamant though, that the festival has a winning formula: “We are who we are and we’ll stay who we are,” he says. “And if I had a message for other festivals who want to do the same thing, I guess it would be ‘don’t even try.'”
TRI-US Entertainment welcomes interest and is open for co-production companies willing to support its feature film slate of projects. Film budgets are all carefully scrutinised, ranging from peanuts to pistachios and anyone who trades in either of these commodities will get the point.
Last Thursday, 52% of the UK population voted for the UK to leave the European Union (EU). I am going to avoid the political side of this conversation as it’s been covered well elsewhere. I will also avoid sharing my own opinion on the matter as there are no shortage of people shouting off on one side or another.However, I thought I can add to the conversation by looking at the numbers for how the British and European film industries interact and how Brexit will affect the UK film industry.
An end to MEDIA / Creative Europe funding (certain). Between 2007-13, the MEDIA scheme provided over €100 million towards various aspects of the UK film industry. The loss of this money is the biggest, clearest effect of Brexit and so I’ve addressed it in the section below.
Fewer international films will be distributed in the UK (certain, although the extent is unknown). Between 2007-13, UK-based businesses received over €20 million in EU funding to support the release of European films in the UK. In addition, if Brexit continues to cause a weak Pound then it becomes more expensive for UK distributors to acquire new content. However, this will affect all UK distributors equally, so may only reduce the amount UK distributors can pay upfront (known as the Minumum Guarantee, or MG) rather than prevent distribution entirely.
It becomes cheaper to shoot in the UK (uncertain). If the Pound continues to lose value (as it has since the Brexit voted was announced) then the UK becomes ever-cheaper for foreign productions to set up shop in the UK. This will have the biggest effect on Hollywood studios, who spend vast sums of money and whose green-screen epics can be shot almost anywhere in the world. Between 2006-15, UK / USA studios films spent £7.7 billion in the UK, accounting for 68% of the money spent on UK films.
€44,561,008 – Awards to European distributors to release UK films
The Iron Lady – €1,531,922 – 31 European territories
Screen Daily
Harvey Weinstein 
So many of the effects of Brexit are unknown. Right now, the only thing that has happened is that a non-binding referendum was marginally won by the pro-Brexit movement. There’s no doubt that the majority of the UK film industry hopes that Brexit doesn’t happen. Failing that, the film industry is likely to seek the following outcomes from the government…
jameswith 