D&CFilm » Misc

Steven Bach’s Final Cut has the final say when it comes to insider Hollywood literature

Sean Wilson — Thu, 01 Sep 2011 19:36:18 +0000

Steven Bach’s gripping text Final Cut exposes the frailties and lack of judgment behind the scenes during the production of notorious bomb, Heaven’s Gate

Many of us have sat in a darkened cinema, gazing at the screen, wondering what mechanics were necessary in getting the respective film distributed and projected. But what about those of us who don’t want to so much peer behind the curtain as tear it back? Well, that’s where Steven Bach’s blistering eye opener, Final Cut comes in.

An unremittingly frank yet surprisingly poignant recount of a movie company (in this case, United Artists) in crisis, Bach painstakingly assembles a dizzying array of personal memories, anecdotes, movie history and financial statistics to reconstruct one of the great crises ever to strike Hollywood: the collapse of United Artists as brought on by the disastrous Heaven’s Gate.

Released in 1980, Heaven’s Gate was tapped as the next opus from Oscar-winning director Michael Cimino (The Deer Hunter). What subsequently unfolded during the production in Montana reached farcical proportions, the sort which Hollywood itself would have no problem in dramatizing. Reels and reels of film were processed for mere seconds of footage; the budget ballooned beyond recognition; and the shoot was rife with discontent between Cimino and the executives at UA, one of which was Bach himself.

All these minutiae are put under the microscope by the author (who sadly passed away in 2009). Admittedly, the first 100 or so pages are hard work for those not familiar with financial lingo or with a passing interest in stocks and shares. But persevere and the book soon picks up the pace of a cracking thriller, overlaid with a sense of doom as Bach details the escalating indulgence of the film’s shoot. It was to create a shattering ripple effect through the corridors of power.

And given Bach’s position within those corridors, the book feels breathlessly intimate and also moving. He contextualises the collapse of the company set up by Douglas Fairbanks, Charlie Chaplin, Mary Pickford and DW Griffith – years of Hollywood history dissolved as a result of one film. But refreshingly, Bach’s argument is never one-sided; instead he touches on something far more troubling – and human.

There is the hint that the collapse occurred not out of spiralling costs and profit loss but because it showed how those in positions of power are subject to the same weaknesses as the punter in the auditorium. It was a watershed moment in demonstrating not only the danger of granting a maverick director lots of money but also the lack of judgement on the part of the executives who put him in that position.

In Bach’s book, no-one is demonized, and indeed, Cimino comes off as a talented if ill-disciplined individual (although the director himself has dismissed the book as ‘fiction’). Bach seems keen to emphasise the mistakes that were made on both sides, both in the boardroom and out in the field, mistakes which accumulated and resulted in the tragic end-game. Throughout the narrative, the author himself is forced to grapple with the possibility he may lose his own job; it’s just one of the many ways in which the personal and the political meld into one. Just like a great movie.

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How would you like your review?

Sean Wilson — Tue, 02 Aug 2011 21:51:41 +0000

It’s all well and good reading written reviews – and believe me, as a film critic the process of physically writing a review does teach invaluable skills and is immensely satisfying once it all comes together. Often though, it’s nice to verbalise one’s thoughts, so if anyone would like to hear my ramblings as opposed to reading them, head over to www.ipadio.com, click on the More Phonecasts tab and type in the name of our esteemed editor Lee Morgan, to bring up my audio reviews. They’re somewhat rough around the edges, but please feel free to leave a comment! In the meantime, I continue to present on the Riviera FM Movie Show with local filmmaker John Tomkins on Sundays from 1 until 3.

Happy film-viewing everyone!

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West Country parrot with star quality needed for short film

D&CFilm — Mon, 06 Jun 2011 14:47:24 +0000

Oddbodies are looking for a parrot to ‘star’ in its forthcoming short film The Nature of Angrove

Do you own a larger than life parrot that is destined for the big screen? Dartmoor-based production company Oddbodies is currently casting for a parrot to play a starring role in a short film being shot in the first week of July.

The film, called The Nature of Angrove, is about the search for love and being true to oneself… with a bit of maternal meddling thrown in for good measure.

One of the main characters is transformed into a parrot, becoming a symbol of release and freedom.

The film will be premiered locally at the Two Short Nights Festival in October, and will go on to be screened at international film festivals.

Does your parrot have what it takes? If so, come along to a casting at the Barbican Theatre in Plymouth on Monday, June 13 2011 at 11am. Call 01822 820553 for more details.

In return for letting Oddbodies film your parrot, you will be invited to the set (based in Lydford) to watch the film being made. All travel expenses will be covered and meals will be supplied. You will also be credited on film and will receive a finished copy of the film on DVD.

Tanya Morel, co-founder of Oddbodies told D&CFilm: “This is a very unusual request, but also a great opportunity. We are really looking forward to finding a parrot with star quality.”

Oddbodies is an award winning production company renowned for its innovative and highly visual work for theatre, film and visual arts. They won Best Film Award at last year’s Two Short Nights Festival for the darkly comic ad fabulously grotesque Mrs Lustleigh’s Fancies, a short film which is now being submitted to festivals around the world.

Join The Nature of Angrove on Facebook and become a producer of the movie

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Make a TV programme in five days – free spaces for 15-19 year olds

D&CFilm — Tue, 15 Jun 2010 08:42:27 +0000

The YOURtube 2010 TV production course has 12 free places on offer for 15 to 19 year olds.

Based at Coombeshead College TV Studio and reporting from different locations, the course gets you to make a magazine-style programme in five days, including research, planning, scripting, pre-recording interviews, reports, skets and live studio action, and all the other things that make TV so exciting.

Leading the five-day course will be Chris Adams and Gillian Webster of Talking Media Training.

Some of the roles you’ll be able to try out include: presenter or performer; camera operator; lighting technician; sound engineer; composer or musician; director; vision mixer; or floor manager.

The course takes place from Monday, July 26 to Friday, July 30 from 9.30am to 4pm daily.

A cheque deposit of £40 is required to secure place, returned uncashed at end of the week.

To download a booking form pop along to the Coombeshead College site. For more get in touch with Gillian Webster on 01803 762443, text 07900 553077 or email yourtube.tvprog@yahoo.co.uk

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From toe curling to toe tapping. Horror filmmaker Ashley Thorpe reviews Minima’s performance to The Cabinet of Dr Caligari

D&CFilm — Tue, 30 Mar 2010 13:18:36 +0000

Award-winning horror filmmaker and fan of The Cabinet of Dr Caligari, Ashley Thorpe popped along to the Exeter Pictureshouse to take in Minima’s contemporary musical accompaniment to the silent Gothic classic

It’s difficult to convey in this age of media proliferation the importance of a film like The Cabinet of Dr Caligari (1919), whether you take into consideration its effect on film design, its impact on early horror or its reaching effect and inspiration upon all of the arts. Like I said in my previous adoration for D+CFilm: ‘It’s where all the good stuff starts.’

Films themselves are constantly shifting, constantly evolving – whether it’s from thought to script, performance to edit, the film is infinitely malleable, nowhere more so than that point wherein sound meets image. The Silent films of yesteryear are obviously in a curious position within this debate as whatever conceptions that the creators had for their work’s soundtrack (if any) have long since been lost in the mists of time. Approaches over the years have been infinitely varied. Anything from a tango (Un Chien Andalou) through to the ‘knock knock who’s there, knock knock who’s there’ of Philip Glass…

Enter Minima, whose live accompaniment for Caligari featured this week at the Exeter Picturehouse. Their ambitious score, consisting of cello, drum and guitar opened well (with atmospherics strangely reminiscent of Kurt Weill and the Threepenny opera), evoking much of the sonmambulistic nightmarish atmosphere of the film.

It was this initial textural approach that impressed me. The score did become increasingly ‘lyrical’, using Pink Floyd riffs to evoke ‘character motifs’ (ie recurring themes) and utilising quite contemporary styles. During some sequences this approach was very effective – the fairground and entrance of Dr Caligari for instance, but others less so, the score actually interfering with the power of the image.

The audience seemed to be really enjoying it as the focus drifted from the screen to the band, but sadly, I found a number of sequences a bit ‘funky’, slightly smothering the atmosphere of the film. For example, the seizing of Jane by Cesare and the flight across the rooftops was interpreted, the result being something akin to a sixties cop chase. It’s an interpretation of course – but a misfire to score something so archly gothic – a moment that should be chilling – so toe-tapping.

I can’t help but be a purist of sorts, and for something to evoke the chills of this masterpiece seek out Canada’s ‘Nash the Slash’ (an electric violin / mandolin performer). But for a performance to evoke the approachable aspects of Caligari as entertainment you couldn’t do better than seek out the next performance by Minima.

(image from Minima)

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The decade in which film dies…?

D&CFilm — Wed, 30 Dec 2009 13:14:26 +0000

Right, that got your attention. I don’t know if the next 10 years will see the death of celluloid and I’m confident that even if the major studios move to digital formats, there will be certain parties who are only interested in film as a medium.

What I think more likely, however, is that the next 10 years will see the death of tape-based media.

Film, for lack of a better name, is a slow moving beast. When I first picked up a camera in 2001, home editing wasn’t quite here. Online hosting of film and video involved a 100 megabyte Quicktime file with roughly the resolution of a postage stamp, and back then it took a day to download. It wasn’t until 2005 that YouTube and streaming video as we know it came to be.

At the dawn of the… do we have a name for the next decade? Did we have one for the last? Anyway, as the century heads into its teenage years, stops wanting to play with its parents and just wants to hang out with its friends in shopping centres, the question in the film industry seems to be 3D. Sky television is launching a 3D service in the new year, and monitors that won’t require you to wear the specs are on horizon, but the fact remains we’ve yet to see anything that makes use of 3D integral to the plot.

CGI is going to come a long way in the next decade, as render times decrease, the people who didn’t have the patience to wait 48 hours for a 5 second shot to render will start to experiment as we see more photorealism in the computer generated domain.

One thing is for sure, the competition is going to get much tougher. Shooting a video with your mates used to impress the papers, but I think the people who are going to make the loudest splashes in the low / no budget end of the indie spectrum are those that push what they do with sound and lighting – areas often over looked by internet productions.

We’re already starting to see the merging of television and the internet with games consoles that can pull up YouTube and BBC iPlayer on both TV and the web. People will become more accustomed to watching web content and not only will we hear fewer people moaning about not wanting to watch shows while sitting at their computer desk, but we’ll see more people willing to watch web content longer than 10 minutes.

I’d hope to see more people doing films and web series’ aimed at a niche audience. We’ve seen a lot of success with this in terms of political and environmental documentaries. If people tell a story aimed at a certain audience, like the fantastic ‘Firefly’, it’s something that won’t appeal to everyone, but the people it does appeal to will love it. The Guild managed to get a lot of recognition from appealing to gamers who relate more to its characters than they do to the traditional Hollywood nerd cliché.

Unfortunately, most film makers seem to be of the opinion that they should appeal to everyone because that’s what main stream successes do, without realising that they’d be competing which the same market, one that spends tens of millions on advertising and promotion.

In 2010, specialise, don’t generalise.

• Martin Lejeune is an Exeter-based filmmaker and effects artist, he also reads palms and drinks tea leaves.

This article first appeared on the D+CFilm social network

(image: Celluloid by Christian Laroche, used under the Creative Commons Attribution ShareAlike 3.0)

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From Nine to 8½ – why have a musical comedy when you could have Fellini’s surreal story of the psyche?

Nick Ingram — Mon, 28 Dec 2009 23:23:24 +0000

What with the film Nine doing the rounds – an adaptation of the award-winning Broadway musical, inspired by Federico Fellini’s film 8½ – Devon’s own Nick Ingram went back to the source

For the Italian Neo-Realism film movement, a written text was never needed – the main text and the manifesto was burnt by light onto celluloid, giving us Rome, Open City (Roberto Rossellini, 1945), The Bicycle Thieves (Vittorio De Sica, 1948), La Terra Trema (Luchino Visconti, 1948), and La Strada (Federico Fellini, 1954), among others. It was the films they made that became their manifesto.

In La Dolce Vita (Federico Fellini, 1960), Sylvia (Anita Ekberg), is asked: ‘Do you think Italian Neo-Realism is dead?’ The man behind her replies, ‘No.’ Yet Fellini’s response was to make 8½ (Federico Fellini, 1963) – a film as far away from the aims of Neo-Realism as you could get. Fellini’s films had become more stylised, more objective, less about the people, more about the middle artistic classes. As far as Fellini is concerned, Italian Neo-Realism died somewhere before 1960.

8½ is a fragmented meta-text about the creative relationship with life, autobiography, and history. The film is Fellini’s study of the connections between three elements as they flow around and though the film’s central character, Guido Anselmi (Marcello Mastroianni), who could be a cipher for Fellini’s own creative process as Guido tries to bring together and finish the science fiction film he is working on.

Elements of Guido’s life seem to keep surfacing in his mind as he stays at a health spa at the beginning of the film. He seems disconnected with the world as he floats between the people at the spa to the refrain of Wagner’s Ride of The Valkyries. He cannot focus on the writing of the film. He is having trouble casting his picture. His relationships with the women in his life seem to be catching up with him, leading to a point where we wants to cancel the whole production. Guido is a creative man on the edge – his dreams give him no solace. With the producer leaning on him it would seem that Guido is on his own.

At the centre of all of this powerlessness, there always seems to be a woman – Guido’s mother; the woman La Saraghina (Eddra Gale,) who lives on the beach and dances the rumba for Guido and his friends when they are around ten years of age. Then there are the women he may or may not have loved: his wife; his present mistress; and all those who seem to be at a certain age sent upstairs, out of the way, replacing them with those who are younger.

Guido’s mind falls in on itself. He suffocates in the way we find him trapped in his car at the beginning of the film. From this he escapes, only to be pulled back down to earth, crashing from his own subconscious dreams into the reality of his own suffocating malaise.

We never see the film which Guido was working on, instead, along with the march of Fellini’s personal symbol, the clown, the whole of the elements of Guido’s life stream down the stairs of the gantry built for the science fiction film. They lock hands and dance around Guido: his producer, his wife, his mistress, the cast of the film he is making, his critics, and his friends. It is here he will have to stand and actually begin to live through the various fragments that his subconscious has shown him. All of these fragments are the dance of life, as Fellini shows us.

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How to get music for your film? A few tips.

Martin Lejeune — Thu, 19 Nov 2009 21:43:54 +0000

The D+CFilm social network added a discussion about tips on how to get music for you film. Here’s the entry from Exeter-based filmmaker Martin Lejeune. There was also a response from Graham Sclater, of Tabitha Music in Exeter, who recently did a deal with Disney/Miramax for supplying music, and one from new composer Paul Abrey. Pop over to the D+CFilm social network for Graham’s, and Paul’s comments – now over to Martin.

Music can seem a big obstacle for the not necessarily financially burdened filmmaker but I’ve never had a problem finding composers for my stuff, I guess I’ve been lucky.

There are a number of composers out there who will work for less than their usual fee if they find a project different or exciting, as with actors, VFX artists or anyone else giving their time. They enjoy what they do and want to see their names on good films.

I asked David Beukes, the South African musician who I worked with on Untitled Dystopia what he looks for when he sees a micro-budget script.

“On micro-budget projects, there’s really very little to attract a score writer other than the ability to add the film to their showreel. On that basis, the production value needs to be high enough that the musician can actually use the footage to promote themselves.

“If you do have a budget, offer some to the muso. If you can’t afford what the job would be worth professionally, even a token goes a long way towards showing that you take their role seriously in the process. And if you’re paying other people, you can’t not pay your score writer without making the statement that you don’t value their work.

“Typically my workflow involves reading the script and watching the rough cut, if it’s available. I’ll be making notes as I go about what I think it needs. Then I’ll chat with the producer, over the phone or via skype, to compare notes and get their feelings about what needs to be there. A lot hinges on this interaction, because music is such a subjective thing that you need to work at establishing a common dialogue so that you all wind up on the same page.

“Then I’ll write up a cue sheet, which is a kind of spreadsheet that describes every piece of music that I’m going to write, including the SMPTE timecode of where the music comes in and how long it is. Once the producer has signed off on it (ie agreed), work begins.

“This enables me to deliver, via email attachments (if we’re working with mp3) or server download (if we’re staying with WAV), each piece of music on its own. The mix engineer can just drop them in at the required timecode. It saves having to export huge long chunks of the entire soundtrack, and it means that little cues can be changed around without it affecting everything else.”

Often filmmakers have certain music in mind which they use for a temp mix for rough edits for pacing reasons, which they can grow attached too.

“Temp tracks are tricky things because people tend to edit their films to them, and then you, as composer, wind up having to produce something that’s exactly like it so that the picture sits, only completely different so that no one gets sued,” said David.

“Having said that, it’s great to work with someone who already has some ideas about what they want musically, because music is an integral part of the film. It’s a highly emotive tool that can make or break scenes, so as much as it’s fun to be given free reign, you kind of want to be reassured that the producer/director has actually thought about this a bit.

“The danger of working with someone who hasn’t really thought about it, particularly where budget isn’t unlimited, is that they don’t specify what they want, and then wind up asking for a lot of changes because it isn’t what they wanted. This falls under the category of Pissing People About, and is totally fine, even desirable, when you’re being paid per hour, but never otherwise. Great friendships have ended over things like this.”

So when should a filmmaker start looking for someone to score their films?

“Film makers should just go ahead and contact composers. We don’t bite. If you don’t have a significant budget, a copy of a compelling script can go a long way towards getting someone interested in your project. Definitely contact your composer earlier in the process rather than later, because this helps with scheduling, for both of you.”

If you do not want an original music composed and just want something that fits there are of course other options.

Famous music obviously costs a lot of money in rights. Kevin Smith’s 1994 film Clerks spent more than it’s shooting budget on the rights to the soundtrack and the more famous the piece the more expensive the rights. Bubba Hotep, an Elvis biography* had to skirt around the music issue and not feature any Elvis music or scenes from his films.

The alternative is to find unsigned or independent bands, which is of course easier said then done, but if a smaller band thinks that having their music used in your film will get them more exposure they will jump at the opportunity.

It can also work out as a cheaper middle ground to commissioning an original score and If you get build a large audience it will certainly help the bands shift some mp3s. Buffy The Vampire Slayer went out of its way to feature unsigned bands in it’s episodes for just this reason.

We’ve talked about copyright but more recently a lot of artists and filmmakers have been releasing under Creative Commons licenses, this means the music comes with a licence agreement in some cases allows filmmakers (amongst others) to use the music. This music can be found on sites such as the podsafe music network.

*of sorts

Martin Lejeune is an Exeter- based filmmaker and effects artist. He also enjoys deep conversations and shallow depths of field.

• If you’ve got any tips on copyright for music in films, comment below, please. Or join the discussion on the D+CFilm social network

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Dartington Barn cinema showcases digital film facilities with live music and classic movie event

D&CFilm — Fri, 06 Nov 2009 12:58:49 +0000

Dartington’s Barn Cinema showcases its performance and state-of-the-art digital film projection facilities on Thursday, November 12, with a one-off opportunity to experience a special film and music collaboration.

London-based string group the Elysian Quartet will perform a live soundtrack to My Best Girl, the 1927 silent comedy classic starring Mary Pickford – the most famous and influential female movie star and producer of her day.

The Elysian Quartet has performed all over the world and is the only British string quartet of its generation dedicated exclusively to contemporary and improvised music, collaborating with artists including Mercury Music Prize nominees Polar Bear, virtuoso beat-boxer Killa Kela and composers Meredith Monk, Keith Tippett and Gabriel Prokofiev.

My Best Girl is a much-loved romantic comedy, often regarded as one of Hollywood’s best silent comedies, about a department store stock room worker who falls in love with the store owner’s son. For this screening the group will perform its own works and improvisations to accompany the movie.

This performance will take place on Thursday, November 12 at 8pm in the Barn Cinema. Tickets costs £5 to £8, and are available from the Dartington Box Office on 01803 847070 or go online to the Dartington Arts website.

(images: from the top, Mary Pickford in My Best Girl and the Elysian Quartet)

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Chagford Filmmaking Group’s next fairy tale set to start shooting

D&CFilm — Thu, 27 Aug 2009 10:50:00 +0000

The Chagford Filmmaking Group is nearing its next shoot The Laidley Worm of Spindleston Heugh, which takes place on Dartmoor between August 11 and 16.

It’s an incredible story from Northumbria about a princess who gets turned into a dragon. It carries deep indigenous wisdom, as well as being an utterly compelling tale, and will make a unique film.

The group is calling for assistance.

“Our volunteers need feeding,” said Elizabeth Jane Baldry. “If you are able to provide a meal, please get in touch. If you live too far away to whiz over to Chagford with food, then please consider donating a meal for £30.

“You’ll see your name in the movie credits preserved for ever and ever as a feeder of fairies! Isn’t that insanely fabulous? Just £30 for eternal fairy notoriety. AND you’ll have a nice warm glow in your heart knowing that you are supporting our magnificent folklore heritage.”

And the set building day is August 8.

“If you’d like to come and help create the princess’s bedroom in the afternoon, let us know so we can cater for you and bake cakes for tea,” said Elizabeth Jane.

Costume graduate Laura Mackrill is creating the dragon. We’ve included one of her sketches, but you can pop along to see more.

posted by Cptn

. You can see her sketches for it on: http://sites.google.com/site/lauramackrilldesign/Home/about-me/work-in-progress/the-laidly-worm

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EAST short films to feature in Spacex’s Summer Screen programme

D&CFilm — Fri, 07 Aug 2009 13:28:36 +0000

Short fims from the EAST video programme are to be shown at the Spacex, Exeter, this summer.

Expect to see:

Patricia Esquivias – Sped up Dawn
Andrea Buettner – Little Works
Angela Bartram – Licking Dogs
Olaf Brzeski – In memory of Major Jozef Moneta
Laure Prouvost – OWT
Gernot Wieland – Eine Reise nach Wales (A Trip to Wales)
Ursula Mayer – Interiors
Grace Schwindt – The Chair
Elizabeth McAlpine – LIGHT READING Cinematic Explosions
Kate Corder – Tolhurst vegan organic vegetables
David Jacques – Por Convencion Ferrer

The Spacex Summer Screen programme runs from August 22 to September 5.

posted by Cptn

(image: Urusla Mayer’s interiors)

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The Phoenix Bursary winning film Man-Cub is now available to buy as a DVD

D&CFilm — Wed, 22 Jul 2009 08:44:32 +0000

Tom Austin’s has put his black comedy Man-Cub, made as part of last year’s Phoenix Bursary, on DVD to raise the funding for his next film, La Legende~Dali

Man-Cub that tells the story of a young loner, Frank Scarfe. Now 22, he is stuck in the past, due to the traumatic incidents that happened to him 10 years previously.

The death of a former guide-leader triggers off a series of events that help him bury the past and get on with his life. He’s aided and abetted in his quest by Jackie, a flirtatious grave-digger with a mean set of wheels.

The DVD comes with the 12-minute film, a producer and director’s commentary, a 1960s documentary interview with Bertha Winchester, a retired and grumpy Totnes grave-digger, and a gallery of photos from the shoot

All money raised will be used to help fund Tom’s next film, La Legende~Dali.

There’s a minium donation of f £6 (although £10 would be better). Each donor will be entered into a draw to win a two-night break for two in a hotel on the English Riviera!

Donations of £30 or over would mean a credit for yourself or your business/website address on the new film – you could even have a role as an extra!

For more information, email Tom Austin at thehaphazardorganization@hotmail.com

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Topsham Film Society picks a bumper crop for autumn

D&CFilm — Thu, 16 Jul 2009 09:45:16 +0000

Rome and Juliet, Some Like it Hot, Slumdog Millionaire and Persepolis, which was in the 2009 Animated Exeter, are planned to be part of next bumper season of screenings at Topsham Film Society.

The next season to the 200-strong film society begins in autumn with 12 films in six months (you do the math).

The screenings take place in Matthews Hall on Fridays with matinee and evening performances.

For more information on the Topsham Film Society, visit the website.

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Former Plymouth student animates Shane Meadows opening sequence

D&CFilm — Wed, 15 Jul 2009 17:34:37 +0000

Bill Edwards, a former Plymouth Student, had designed the opening creditis for director Shame Meadows new feature Le Donk and Scor-Zay-Zee.

Bill, who grew up in Plymouth and went to what is now PCAD, entered an animated competition, and Shane picked up on the ‘rough and ready’ style, elevating the sequence from an extra on the DVD to the full cinema release.

posted by Cptn

Got any animations? Send them in, email info@devon-cornwall-film.co.uk

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Elliot Grove honorary degree from PCAD marks the start of a Raindance relationship

D&CFilm — Wed, 15 Jul 2009 15:38:15 +0000

Elliot Grove, the fella who founded Raindance and the British Independent Film Awards, will get the first honarary degree from Plymouth College of Art, and marks a closer association of the college with the Raindance crew.

There will be filmmaking masterclasses this summer and a new foundation degree in independent filmmaking.

College film arts programme leader Dan Paolantonio told the Plymouth Herald: “With Raindance as our partners, students at Plymouth College of Art will have unparalleled access to the heart of the independent film industry and an exclusive London footprint for their studies, creating regionally unparalleled work experience and networking opportunities. It really is an exciting opportunity for all involved.”

Elliot said: “Success in the movie-making business is a simple matter of demystifying the process of breaking into the film industry and allowing individual talent to prosper.

posted by Cptn

Who would get your honorary award for filmmakers?

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