Universal Film Film Reviews - “Dial M For Murder” and “Cleopatra” Classic
Issue 11 - 2013
UNIVERSAL FILM www.ufmag.biz
ISSUE 11 OF 2013
Mad Frankie Fraser Film P.8 Ireland -Cork Film Festival P.26
60 years of crime - 40 people dead - 42 years in prison - certified insane 3 times
Mad Frankie Fraser
“a true story about Britain’s most prolific underworld killer “
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Universal Film Issue 11 - 2013
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Universal Film Issue 11 - 2013
Contents FEATURED STORIES: Club Child Abuse Scandal 10 Groucho UK child abuse scandal /BBC/Grocuho 10 Cleopatra Classic Film Review by Derek Winnert Frankie Fraser 12 Mad New Brit Gangster Film Announcement 14 Fairlight Fairlight partner with Adobe Fischer Article 22 Steven Steven talks of Old School New School Film Festival 30 Cork The 58th Cork Film Festival BFI 34 57th London Film Festival Winners Monuments Men 42 The Twentieth Century Fox UK release date th Polish Film Festival 46 14Review by UFM’s own Pat Pawlak World Entertainment 56 Third by John Robert Beardsley with Paula Devlin
Exhibition P.16
Dial M For Murder P.19
Big Game P.20
Mandela P.44 3 www.ufmag.biz
Universal Film Issue 11 - 2013
NO END IN SIGHT FOR UK CHILD ABUSE SCANDAL Since our editor exposed the largest child abuse network operating on the members forum of celebrity haunt, the Groucho Club, one paedophile scandal after another has followed in the UK with no apparent end in sight.
E
ver since a child abuse network was uncovered operating on the famous Groucho Clubs own members forum, the BBC alleged child abuse scandal that has hit the headlines and has now become a threat to the existence of the BBC itself. Allegations of child abuse now incorporate two inquiries at the BBC and a Police investigation that involves hundreds of complaints against celebrities and a series of arrests have taken place. The scandal bears an uncanny similarity to another recent exposé of child abuse in the UK. The discovery that the UK Media Haunt: the Groucho Club, had one of the the largest child abuse networks in UK history operating on the clubs online members only forum which was covered up. Despite the network operating with complete impunity for almost a year on the members’ forum, where children as young as 7 years old were sold for sex.
BBC celebrity presenter, Sir Jimmy Savile, and a convicted paedophile pop star, Gary Glitter, sexually abusing underage girls in in the dressing rooms at the BBC studios. Karin Ward made the claims in documentary on ITV, a major public service TV network in the United Kingdom. Ms’ Ward claims that she was abused by another television presenter when she was 14 years old, and saw Glitter having sex with an underage girl in Sir Jimmy Savile’s dressing room.
“Police investigating hundreds of complaints”
We now come full circle, and over a year and a half later, one of the UK’s most well-known and respected institutions is also under attack over child abuse allegations and another alleged cover-up. This time it’s the UK’s own BBC that has been rocked by allegations that children were abused at the BBC’s own studios in London by a host of celebrities. The recent avalanche of allegations followed claims by a woman who alleges that she witnessed the
The Director-General of the BBC, George Entwistle, said that he would like to apologise on behalf of the BBC. However, he ruled out an internal inquiry into the damning child abuse claims despite a multitude of victims coming forward stating they were abused on BBC property. The BBC faced mounting pressure to investigate the damning claims. The British Prime Minister, David Cameron, called for the allegations of sexual abuse to be thoroughly investigated. The PM said that the women’s claims of sexual abuse as teenagers at the BBC were “truly shocking.” He said that the allegations should be looked into by the
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BBC – and, if necessary, by the police. At this stage the BBC then did a complete U-turn: George Entwistle said the BBC Corporation would conduct an inquiry into alleged abuse of teenage girls after all, but only after a police investigation had concluded. Just hours after Mr. Cameron called for a full internal investigation, former BBC chief, Mark Thompson, who stood down last month, made the astonishing claim that he knew nothing about the alleged abuse of teenage girls and had not even heard “rumours” at any time during his eight years as DirectorGeneral of the BBC. Mr Entwistle told BBC Radio 4’s Today , “These are awful allegations that have been made, and they are criminal allegations, and the first thing I want to say is that the women involved here have gone through something awful, something I deeply regret they should have to go through, and I would like to apologise on behalf of the organisation to each and every one of them for what they’ve had to endure here.”
they had been abused or had knowledge of abuse at the Duncroft School in Surrey, UK, which was shut down in 1980. But the investigation was never aired after Peter Rippon, the editor of Newsnight, decided to abandon the broadcast in December, shortly before the BBC broadcasted three separate tributes to the alleged paedophile, Sir Jimmy Savile, during the weeks surrounding Christmas, 2011. A British Politician, Mr. Rob Wilson, MP for Reading East, has written to the chairman of the BBC Trust, Lord Patten, urging him to ensure the BBC is totally transparent regarding all of the allegations being made. Speaking on the BBC Radio 4 Today programme, Mr Wilson said, “There’s a lot more to this than criminality – this is about a culture that apparently existed within, particularly the BBC light entertainment department and who knows where else.”
“Groucho Club forum had children as young as 7 on sale for sex”
Entwistle added that the BBC would conduct its own inquiry “when the police have finished everything they have to do, and when they give me an assurance that there is no danger of us in any way compromising or contaminating an investigation.” He went on to say that any investigation would need to be done in “two phases,” and that the BBC would “take a look properly” after the police inquiry. “So, it’s critically important that we start by putting the BBC at the disposal of the police in this regard. Any BBC probe,” he added, “would examine the broad question of what was going on and whether anybody around Jimmy Savile knew what was going on.” After BBC presenter Jimmy Savile died on October 29 last year, the BBC’s Newsnight programme spent six weeks investigating allegations that he abused pupils when he was at the height of his fame in the 1970s. BBC journalists spoke to ten women who claimed
Wilson added, “It was, according to those who were part of it, an environment where young girls could be molested and possibly worse, and female presenters groped. Now, this was allegedly tolerated, known about, and allowed to continue, and it’s alleged that a blind eye was turned to this. It’s becoming, with every passing day, more and more obvious that Sir Jimmy The Infamous Groucho Club Savile was rotten, but he apparently was not alone in this, and that the culture in at least part of the BBC was utterly corrupted.” Asked if he would call for ITV to hold an inquiry as well, Wilson said, “I hope that any broadcaster that has these sorts of allegations moves very swiftly to deal with them.” About 40 people have now come forward. The
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police are also planning to investigate claims that Savile and an accomplice ran a sex ring at the BBC. A BBC spokesman said, “Both the BBC Trust and the Director-General have stated that the police are the proper authority to look into these serious allegations. The BBC’s internal investigations unit is helping them in every way possible.” Mr Entwistle met with police, and subsequently wrote to his staff: “I wanted to write to you at the end of what has been a difficult week for the BBC, following allegations from a number of women that Jimmy Savile sexually abused them when they were young teenagers during the 1960s and 70s. “Like everyone who works here, I was appalled by the things I saw in the ITV documentary. I am determined that the corporation will do absolutely everything it can to help find out what happened. I want to make it clear that full cooperation with the police on this matter is vital. If any staff member, past or present, knows anything they think might help, I would urge them to come forward.” Although the BBC tried hard to evade the issue and put off calls for an investigation into the scandal, it would now seem that there may be some light at the end of the tunnel for the abused victims, as the Prime Minister has taken an interest. However, it remains to be seen if the BBC investigation will be open and transparent, or if it will follow in the footsteps of the Groucho Club and the wall of silence surrounding that
reprehensible affair. The famous Groucho Club opened its doors in 1985 in what was seen at the time as an antidote to the traditional members club. It was in this spirit that the club was named after the comedian Groucho Marx, who famously remarked “I refuse to join any club that would have me as a member.” Over the years the Groucho Cub has had its fair share of sensational headlines with media quotes such as “Members of the Groucho Club, the coke stained heart of media London” and “White powder scare at the Groucho Claims that Damien Hirst took cocaine at top Club investigated” The former head of the British Metropolitan Police, Sir Ian Blair once stated that he’d happily raid the Groucho Club, and implied that cocaine use at the Groucho Club was equivalent to buying oranges from apartheid South Africa or taking a holiday in Burma”. The raid never happened and most likely never will as the Police in the UK have no appetite to take on a media corporation. This was evident during the recent phone hacking scandal in the UK. While one former manager, Liam Carson, was found dead in a pool of his own vomit on a London street, another manager of
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the Groucho Club wrote a book “SoHo Society” about his experiences. Bernie Katz is renowned for his legendary abilities as a fixer. Son of a gangster murdered in a gangland hit in London, he is nicknamed “the little man who can.” Katz was quoted as saying about his book “It is quite tame compared to what really goes on”. A new exposé book on the club reveals a more sinister side of the Groucho Club. The book includes revelations of rape at the club by a rapist who has yet to be apprehended, and may still be prowling the corridors of the club. The revelations at the famous Groucho club get worse and include the discovery of network of child pornographers operating on the Club’s own members’ forum for almost a year. The network was operating on a enormous scale and had 42,348 members and 900,987 posts. As the book outlines, child pornographers were operating on the club’s forum for almost a year with complete impunity. The forum had thousands of posts made by child pornographers dedicated to photographs and videos of young children being made available for sex. Of the 42,000 members on the Groucho Club members forum, not one person reported the existence of child pornography network to the authorities. After the discovery was made, a colossal cover up followed by people yet to be named. The evidence on the Groucho Club’s website was deleted and destroyed without informing the Police. There was no consideration for the victims (the children) or the parents of missing children. This callous act impeded any Police investigation and it would seem allowed the pornographers to move on and evade justice. After this evidence was destroyed additional evidence was also discovered on the Google search engine cached pages and links. However, an unspecified number of applications were made (by people yet to be named) to the search engine to remove all the cached pages and links. There is a wall of silence surrounding this affair
as both the management of the Groucho club and their billion dollar corporation, Graphite Kapital refuse to comment on the child pornography network or issue a public statement outlining their position. According to the book’s author, Tyrone D Murphy, the exposé about the Groucho Club is an informative and in-depth account that is the result of a two year investigation. The book also writes about the failed libel action by the Groucho club, when they sought a “pre publication injunction for libel” to stop the author from actually writing the book. It was a libel action about what could be written and not what had been written. The author won the libel case and has since published numerous articles about the club. Since the expose, no media outlet will publish or tackle the allegations that have been made. All of the evidence was forwarded to the Levinson enquiry, an inept investigation into the UK media that appears to have made no difference whatsoever. What make matters worse is that the UK Police simply did nothing for months; this allowed a cover up on a huge scale to take place. The Police later issued a false report to any politicians who asked any questions after our editor instigated an inquiry. This Police report was later found to contain inaccuracies by the Independent Police Complaints Commission the UK Police watchdog. One of the inaccuracy was that the Police found only found legal porn on the Groucho clubs own members forum, this was in reference to children in swimwear on sale for sex as young as 7 years of age. This was despite statements from two serving Police officers confirming the discovery but were completely ignored. The Groucho club is still in business, the press still have no interest and the Police are simply doing what they normally do. If you have information about this issue please e mail us editor@ufmag.org We do not frequent the Groucho club, do you?
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B
eamr Video, developed a proprietary coding algorithm that can compress any video stream up to 75% (4x) without losing the perceptible quality visible to the human eye, freeing up bandwidth space that providers and end users could only dream of a year ago (see table below for the bitrate reductions by content source). Basically, it will be an encoder controller that will “enhance� current bitrates to make it make smarter decisions. Making the leap from optimizing stills and photos (.JPGs via their desktop app/ product JPEGmini), the company already powers several of the world’s leading media companies, social networks and web publishers, has figured out how to distribute video, with its massive file footprint, efficiently and cost effectively, using existing infrastructure - enabling a better user experience across devices.
Beamr Video represents a transformational trend in the broadcasting industry, with significantly reduced bitrates that will enable internet content providers, network operators, on-demand video services and over-the-top (OTT) providers to distribute exceptionally high quality video using existing infrastructure, requiring less storage space and enabling faster downloading and streaming on bandwidth-strainedconnections. Beamr Video produces fully compliant H.264 (MPEG-4 AVC) video streams and is device agnostic, making high quality video accessible from media player, browser or consumer devices such as smartphones or tablets, without installing additional software. One of those quality factors depends on more efficient compression as the challenge to accommodate more services of higher quality in limited amount of spectrum.
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Universal Film Issue 11 - 2013
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Universal Film Issue 11 - 2013
Cleopatra Classic Film Review
by Derek Winnert
J
oseph L Mankiewicz’s 1963 epic was O’Sullivan’s Ptolemy, Pamela Brown’s high more famous as a media event than a priestess, John Hoyt’s Cassius and Kenneth movie – it’s the moment when Elizabeth Haigh’s Brutus. Taylor met Richard Burton, creating an unprecedented media storm that helped The first half of the four hour movie, right create the modern cult of celebrity– almost up to the Intermission, is all and for its outrageous extravagances Making her Harrison. He seizes his opportunity entrance, a that nearly sunk its film studio 20th with obvious relish, upstaging the superb Century Fox. looking other two stars: he was too canny to Taylor let this opportunity slip through his Today, the film’s comfortably in profit, fingers. The film definitely takes a dip refurbished astoundingly beautifully and after his departure and the second half may rereleased for its 50th birthday, and a nice be more spectacular and more romantic, but little earner for Fox. And now we can see it for it isn’t quite as good. what it is, a vastly over-inflated, uneven but utterly spectacular and thoroughly enjoyable Making her entrance 20 minutes in, a superbtrip up the Nile, an exhausting, incredibly looking Taylor, throughout the movie in more over-long marathon, but worth the trip. eye makeup than is really seemly, brings the right statuesque beauty and imperiousness to It’s graced with a top-notch performance Cleopatra, while, as Marc Antony, appearing by Rex Harrison, speaking his more than after an hour, Burton makes a decent job of passably witty lines with conviction as a cool portraying a dashing but troubled man of and calculating Julius Caesar, admirable ones action dwarfed by Caesar and overwhelmed from Taylor and Burton, and a clutch of top by Cleo. With his chunky, manly, rugged support turns led by Roddy McDowall’s camp physique, he looks just right as the soldier ruler Octavian, Martin Landau’s Rufio, Robert Antony, convincing in a short tunic. Most Stevens’s Germanicus, Gwen Watford’s actors wouldn’t fit this bill at all. As actor, he Calpurnia, Jean Marsh’s Octavia, Richard often tends to declaim, rather than speak his
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lines, as though he’s in a huge theatre instead of on camera. As Harrison could have shown him, less is more on screen. Mankiewicz’s ambitious, literate, coherent script, written and re-written nightly under the great duress of expensive filming in Rome, covers the extensive ground extremely intelligently and is a considerable, often neglected achievement. If some lines of dialogue and plotting fall slightly flat, the best of the screenplay is very good indeed. Based in part on C M Franzero’s novel The Life and Times of Cleopatra, it’s way better than expected, and stands up to scrutiny and admiration 50 years later.
Taylor shows off an immense number of eyecatching frocks, it starts to look like a vintage fashion parade. [Spoiler alert] In the final stages, when audience fatigue is at its greatest, all attention is on the fate of the doomed lovers and first Anthony, then Cleopatra take a heck of a long time dying. Grab that knife boy, grab that asp, girl! Finally they do, and they go in style. There were many epics around this time in the 60s, but, for the pre-CGI era, this is pretty much the epic to end all epics. It’s amazing it still impresses quite so much. They don’t make them like this any more. Some will say, ‘thank God’, others will say ‘Shame’.
Satisfyingly, a lot of the film’s ludicrous cost is up there on screen in the vast, impressive sets and the film’s eye-catching set-pieces, particularly the Queen’s arrival in Rome and the Battle of Actium. Indeed, most of the visuals are simply astounding, the crowd scenes, the armies, the period buildings, the ships etc. The set designs (by John DeCuir, Jack Martin Smith, Hilyard Brown, Herman Blumenthal, Elven Webb, Maurice Pelling, Boris Juraga) are a series of amazing triumphs and the costumes by Irene Sharaff and Vittorio Novarese are a remarkable feast for the eyes.
Fortunately, the public liked it: the most expensive film (in inflation-adjusted real terms) ever made eventually made a profit. There were four technical Oscars, for Leon Shamroy’s lovely colour cinematography, costumes, Emil Kosa Jr’s special visual effects and art direction-set decoration, but no acting awards (though Harrison was nominated, the other two noticeably not). The 2013 release is the refurbished original roadshow version with its music soundtracks and Intermission and runs 248 minutes. Cut versions run at 222 min and 192 min. Director’s cut: 320 min.
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Universal Film Universal Film Issue 11 - 2013 Issue 11 - 2013
MAD FRANKIE FRASER
I
t is said that ‘Mad’ Frankie Fraser is one of the great continuing professional criminal links of the last century. From the 30’s to the present day, Frank has been cell-mate and partner in crime to racecourse
swindlers, train robbers and racketeers; He was quaffing beers with old man Charlie Kray while the twins were still in primary school. Frank has been a contract strong-arm, club owner, club minder, company director, Broadmoor inmate, fire bomber, prison rioter but - first and last - a thief. 26 convictions. 42 years inside. A police officer said recently that “we believe that Frankie Fraser may be responsible for the murders of 38 people. Fraser was dubbed the most dangerous man in Britain by two Home Secretaries. The film “Mad Frankie Fraser” gives an insight into the life of a top
gangster and his exploits with the Richardson’s, the Kray’s and tales of murder, extortion and torture. Born in Lambeth, south London, it was in the early 1960s
that he first met Charlie and Eddie Richardson, members of the notorious Richardson Gang and rivals to the Kray twins. One member of the criminal fraternity was quoted as saying that “Mad Frank joining the Richardson’s Gang was like China getting the atom bomb”. According to Fraser, it was they who helped him avoid arrest for the Great Train Robbery by bribing a policeman. Together they set up the Atlantic Machines fruit machines enterprise, which acted as a front for the criminal activities of the gang. In 1966
Fraser was charged with the murder of Richard Hart who was shot at Mr Smiths’s club in Catford while other members including Jimmy Moody were charged with affray. The witness changed his testimony and the charges were eventually dropped, though he still received a
five-year sentence for affray. Fraser was also implicated in the socalled ‘Torture trial’, in which members of the gang were charged with burning, electrocuting and whipping those found guilty of disloyalty by a kangaroo court. Fraser himself was accused of pulling out the teeth of victims with a pair of pliers. In 1991 Fraser was shot in the head from close range in an apparent murder attempt outside the Turnmills Club in Clerkenwell, London. He has always maintained that a policeman was responsible. www.madfrankiefraser.com
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Mad Frankie Fraser
“a true story about Britain’s most prolific underworld killer “
“a true story about Britain’s most prolific underworld killer “
13 60 years of crime - 40 people dead - 42 years in prison - certified insane 3 times www.ufmag.biz
Universal Film Issue 11 - 2013
Fairlight Controller with Adobe Premiere Pro application
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YDNEY, Australia - Fairlight is proud to announce the partnership with Adobe, through its Technology Partner Program. This collaboration enables the development of tactile hardware control surfaces for Adobe速 Premiere速 Pro and Adobe速 Anywhere. These compact and powerful controllers significantly speed up video workflow compared with just keyboard and mouse and are targeted at production facilities requiring maximum throughput. Professional video editors will value the high level of customization, the capability to record and playback macros, the ease of navigation and the support of local languages. Fairlight showcased the new XSTREAM and latest generation
XYNERGI as integrated Adobe Premiere Pro desktop controllers at IBC 2013. Fairlight is a Sydney, Australia based leading manufacturer of professional video and audio recording, editing and mixing systems offering desktop, console and mouse based environments. Fairlight is at the forefront of digital audio technology, having received numerous Scientific and Technical Academy Awards. Pioneering 3D sound development and customized control surfaces acknowledged by industry leaders as being the fastest and most ergonomic available. www.fairlight. com.au However, in this case, the tax credit is refundable, and no local tax liability is required for utilizing the incentive.
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Universal Film Issue 11 - 2013
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Universal Film Issue 11 - 2013
EXHIBITION J
oanna Hogg’s up-coming film, which has been previously referred to as ‘Joanna Hogg’s London Project’, will be released under the title EXHIBITION. The announcement of the title of the film coincides with the news that EXHIBITION will receive its World Premiere at the Locarno Film Festival in August. EXHIBITION stars Viv Albertine (former guitarist of the influential punk band The Slits) and Liam Gillick (conceptual artist) in their first feature film performances, and co-stars longstanding collaborator Tom Hiddleston in a supporting role following his performances in Joanna’s previous feature films, Unrelated and Archipelago. Explaining the thinking
behind the new title, Joanna Hogg has said: “I am delighted that the film will premiere at the Locarno Film Festival. The word ‘Exhibition’ struck me after we’d finished the final cut. There’s a very obvious level that it works on for the film, but I was also interested in coming from the word ‘inhibition’, the character I’m telling the story about, is inhibited. The film can be read as being about her coming out of herself and finding a more exhibitionist side of herself.” A UK release date is still yet to be announced, but the film is expected to be released in early 2014. EXHIBITION will be released by Curzon’s film distribution label, Artificial Eye.
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Universal Film Issue 11 - 2013
Dial M for Murder 2013 Classic Film Review
by Derek Winnert
A
lfred Hitchcock devises what The plan is that the crook’s going to do the could be studied at film schools dirty deed while old Milland’s establishing an as a template for how to film a hit alibi with his chums elsewhere. He will even theatre play. Taking only 36 days to phone her and hears her screams of death film it, Hitchcock transforms Frederick as she goes. Now that’s really creepy and Knott’s once-famous 1952 single-set evil, don’t you think? It’s even stage mystery thriller into a sizzlingly better in the 3D Hitchcock tense, cynical, wryly humorous and Naturally the best laid schemes of filmed it in thoroughly enjoyable movie. mice and men often go wrong (or, in Robert Burns’s original Scottish, the It’s even better in the 3D Hitchcock filmed best laid schemes o’ mice an’ men gang aft it in, with all its quirky low-angle shots and a-gley) and here they soon go wrong, But the weird close-ups of atmospheric foreground resourceful Milland quickly comes up with objects. Amusingly, the film starts with a a perfect plan B. All well and good, that is giant finger dialling the letter M on a giant, until Margot’s nice American novelist chum old-style prop dialling phone. Mark Halliday (Bob Cummings) turns up and starts snooping around, and so does an old An ideally cast Ray Milland is on his best form, British smoothie, chief inspector Hubbard creepily overconfident and super-1950s- of the Yard (John Williams). The unfaithful seedy as the ageing former tennis player Margot has had a brief fling with Halliday. You Tony Wendice who has murder in mind for can’t really say Tony and Margot are happily his gorgeous wife Margot (Grace Kelly), when married, can you? Margot had written love he blackmails a seedy crook Captain Lesgate letters to Halliday and lone had survived and (Anthony Dawson), who was at college with led to blackmail. him, into helping bumping her off. He’s fed up with her and now simply wants to inherit Then, Halliday, Hubbard and a tricky mix-up her fortune. with the house keys all combine to get in the way of what would have been a perfect
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murder. But can Milland still get away with it? It looks as though he can. Knott’s play is very resourceful, keeping up the tension throughout, with plenty of incident, fun characters and amusing dialogue. Hitchcock, evidently enjoying the material, brings out the best in it all. All five actors are exactly right for the movie, working ultra-hard to please the ever-demanding Mr Hitchcock. How the sadistically-inclined Hitchcock must have enjoyed making the icy blonde Grace Kelly, dressed only in her nightie, lose her cool in the nail-biting scene when she’s attacked from behind the curtains and retaliates with a pair of scissors! This sequence is a little marvel in 3D. Hitch also clearly relishes the technical challenges of filming in a restricted space and using the 3D cameras, and, despite the clunky technology of the day, does it with considerable style and panache. Hitchcock, who makes his customary cameo by appearing on the left in Milland’s wallmounted reunion photo, said: ‘I did my best to avoid going outside. I even had the floor made of real tiles to get the sound of the footsteps. What I did was to emphasise the theatrical aspects.’ Filmed both flat and in 3D, it was released briefly in 3D but not seen again in 3D till a 1980 release and finally again in 2013 spruced up and digitalised. Dawson and Williams recreate their stage roles. Remade for TV in 1981 and reworked as A Perfect Murder in 1998.
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When does a film become a classic? At what point does a film become a classic? We all know a classic movie but what makes it a classic, The age of the film? but what age a decade even longer or does a film become a classic from how much it makes in total but one question to another what is the answer to how much a film has to make before its considered to be a classic. Or is it Popularity that gives it its status. Maybe its all of the above age, gross and popularity. A few classics like The Good The Bad And The Ugly (1966) The Italian Job (1969) The Godfather (1972) these films are all classics for there well known performances and there amazing breakthroughs they made in the film industry showing other film makers that its about perfection and going for something phenomenal and outstanding. And most important something New. Each film is divided into class which is categorised into genre depending on how well the movies do its class rating will rise and the film will be acknowledged more to the public from how well its done in the box office, Younger and new members of the public will see the film and discuss its triumph which makes the film more known years later than it did on its original release date. The word CLASSIC means something that has been judged numerous of times and marked as a masterpiece in some way and makes it one of a kind. A piece of work or film that is highly recognised and known for all its beauty. Do movies become listed as a classic ones the decade has come to an end and the film is still referred to and mentioned for its magnificence for the date it was produced. A film is like an era it can last as little or as long as possible until the world changes and technology improves moving forward with the industry following. Once its ended then we refer to it as past presents “It was brilliant” “truly remarkable for its time“. We all see things different but Films let us see a little more. Sometimes clearer. By Evan P Shovlar
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Universal Film Issue 11 - 2013
“BIG GAME”
CAST ANNOUNCED
T
he first image from the set of Jalmari Helander’s BIG GAME features Samuel L. Jackson as “The President” and Onni Tommila as his 13-year old sidekick “Oskari” as captured on location in Bavaria. Joining the cast in the final weeks of the shoot are Felicity Huffman (Transamerica, Desperate Housewives) playing “The CIA Director”, Victor Garber (Titanic, Argo) playing “U.S. Vice President” and Ted Levine (The Silence of the Lambs, American Gangster) as “General Underwood.” Samuel L. Jackson and Onni Tommila (Rare Exports) take the leading roles and other previously announced co-stars include British talent Jim Broadbent (Iris, The Iron Lady) and Ray Stevenson (Thor, GI Joe: Retaliation) and, from Germany, Mehmet Kurtulus (Short Sharp Shock). An adrenaline-fuelled action adventure, BIG GAME is written and directed by Jalmari Helander (Rare
Exports: A Christmas Tale) and is nearing the end of its eight-week shoot on locations across Bavaria and at Bavaria Film Studios. When Air Force One is shot down by terrorists leaving the President of the United States stranded in the wilderness, there is only one person around who can save him – a 13-year old boy called Oskari. In the forest on a hunting mission to prove his maturity to his kinsfolk, Oskari had been planning to track down a deer, but instead discovers the most powerful man on the planet in an escape pod. With the terrorists closing in to capture their own “Big Game” prize, the unlikely duo must team up to escape their hunters. As anxious Pentagon officials observe the action via satellite feed, it is up to the President and his new side-kick to prove themselves and survive the most extraordinary 24 hours of their lives.
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Universal Film Issue 11 - 2013
Exploring the Mystery of Creativity Steven Fischer tells of the creation of Old School New School, his new documentary exploring the nature of creativity.
S
teven Fischer tells of the creation of Old School New School, his new documentary exploring the nature of creativity.
Hollywood, California. I’m in the home of William Fraker, the six-time Oscar® nominated cinematographer of such legendary movies as Rosemary’s Baby, Bullitt, and WarGames. My crew is shooting our conversation for Old School New School, a documentary on the nature of creativity. During a tape change Mr. Fraker asks me pointedly, “Why are you doing this?” Why am I exploring creativity? Good question. Old School New School is an extension of many coffees taken with artistfriends over the years, dreamy afternoons in the local café talking about life, art, philosophy, and the mystery of creativity. They were stimulating discussions that ultimately segued to the obligatory question all serious artists eventually examine: how can we as creative people grow in the direction we want to grow? Nursing our coffees my friends and I pondered this endlessly, carefully studying the early assents of our cinematic heroes and of the new filmmakers, those struggling artists like ourselves who’d made it to the big time.
A friend and I experimented with the idea of videotaping one of our highminded conversations. The intrigue and universality of the recording showed promise and I next brought a professional crew to the home of my mentor, acclaimed Irish playwright Sam McCready. “What is success?” I asked him. For Mr. McCready success has to do with realizing one’s potential, being happy and feeling fulfilled. Adding poignantly he declares, “You are the one who determines success, not society.” From his Beverly Hills home, the acclaimed poet James Ragan told me that early in his career he traveled west by car to try his hand as a Hollywood screenwriter. He decidedly made an adventure of it, pulling off at random, pitching camp, cooking out, and enjoying the journey. While I admit
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Universal Film Issue 11 - 2013
that sounded fun, it also seemed scary. What about money? It seemed … risky. It is risky, and taking risk is an inevitable part of one’s development, creatively or otherwise. “It’s the Odyssey,” the Scottish actor Brian Cox said as we sat at a wooden pick nick table in his back garden. “I think that’s what I’ve been doing all my life, finding the place where I feel this is where I should be.” Finding your place in the world. “But then you realize that home is in the heart.” But what we often do, dance artist Kirstie Simson adds, sagely, is “run for safety and security and lock ourselves into images of ourselves.” Because that’s what’s right for them, Mr. McCready argues. “Others may need security in order to do their best work.” He illustrated with a story of two actors he directed early in their careers: Kevin Spacey and Danny Boyle. He recalled Spacey as a struggling New York actor who refused to take any work that wasn’t acting, outright rejecting a bartending gig when friends offered to help him find employment. “No!” McCready heard him insist. “I’m an actor, and I will be an actor.” Danny Boyle on the other hand, eager to direct, took a steady job at the BBC and built up the skills that would later serve him so well on Trainspotting and Slumdog Millionaire.
A simple question about personal creative development over a cup of coffee led to a four-year journey of enlightenment, an exploration that uncovered insights about success, risk, individuality and so much more. And it took me into the lives of some of America’s most illuminated artists, for which I am forever changed and forever grateful. So, in answer to Mr. Fraker’s original question, I made Old School New School because I wanted to learn. Old School New School can be seen for free on SnagFilms at www.snagfilms. com/films/title/old_school_new_school. In addition to the above-mentioned artists, other luminaries who graciously contributed their time are Tony® Awardwinning producer Emanuel Azenberg (Rent, Brighton Beach Memoirs, Lost in Yonkers), Grammy®-winning jazz pianist McCoy Tyner (“Illuminations,” “The Turning Point,” “Journey,” “Infinity”), renowned cinematographer John Bailey, ASC (American Gigolo, Ordinary People, The Big Chill, The Accidental Tourist, In the Line of Fire), and actor-turnedCongressman Ben Jones (Dukes of Hazzard). Steven Fischer is a two-time Emmy® nominated filmmaker based in Chicago.
Tomas Arana chimes in from a loft in New York City. “The difference is how much you push yourself. If the person in some small town pushes himself to the max, he can push himself further than the kid trying to be the funky artist in New York.” “You can’t be like everyone else,” Mr. Fraker advised. “You have to be an individual.” What does it take to be an individual? Be honest with yourself. 23 www.ufmag.biz
MOVIE MONEY e n i z a g a m Universal Film Film Universal
Issue 11 - 2013
all about
FILM FINANCE IF you’Re looking for money YOU’VE COME TO THE RIGHT PLACE www.moviemoneymag.com 24
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Issue 10 - 2013
Universal Film
MOVIE MONEY e n i z a g a m
Issue 11 - 2013
Movie Money Magazine is dedicated entirely to film funding and film investment sources. Each issue contains in-depth interviews and contributions from many of the worlds leading industry experts on film funding, film investing. If You’re a filmmakers looking for production funds, a writer looking for devlopment funds or a fund manager wanting to stay informed of industry trends then Movie Money Magazine is a must. Subscribe to Movie Money Magazine online edition for one year for $50 Click Here to Subscribe Adrian Ward is the Senior Vice President - Entertainment Industries Division at Pacific Mercantile Bank in California, USA.
Jeanette Buerling, CEO of MMG, a film finance and production company, with offices in Beverly Hills, Cologne, and London
Steve Rogers is the CEO of Premier Pictures; a provider of funding to producers via structured finance, pre-sales, tax credits and EIS equity.
Paul Brett is a director of Prescience which is an integrated media company that focuses on film production, financing and international sales.
Bernd Stephan is the president & CEO at Media Finance Group, LLC. He is a seasoned expert in all aspects of film finance.
Craig Smith is a successful publisher and fund and investment advisor. He is also the CEO of the Film Finance Awards
Some of the Industry experts who contribute to Movie Money View Movie Money free free issue here www.moviemoneymag.com
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Universal Film Issue 11 - 2013
Fastnet Film Festival Corona Fastnet Short Film Festival 2014
T
he planning of the Corona Fastnet Short Film Festival 2014 is in full swing with the prospect of a new and very exciting line up for the last weekend in May 2014. We will keep you well informed as next year’s guests are confirmed. We are delighted to announce the return to the Committee of our former Chairman Chris O’Dell. He will take over the role of Artistic Director from Maurice and Maria whom, due to current work commitments will be supporting the festival until May in an advisory capacity. Congratulations to Helen Wells who has taken on the gruelling role of Chairperson, ‘may the force be with you’!! It is with great pleasure, we announce the addition to our list of Patrons, someone who has contributed hugely to the success of the festival so far. Carmel Winters, an award-winning storyteller, the maker of bold and innovative drama for stage and screen. ‘Snap’, her debut feature as writer/ director, has been critically acclaimed as ‘engrossing… nervy, audacious filmmaking’ (Variety) and ‘a masterclass in storytelling’, (HotPress) picking up a host of awards at international A-list festivals, including Critic’s Choice, (Karlovy-Vary), Best Film (Montevideo), Best Film and Best Director (Dublin Critic’s Circle at the JDIFF). Her most recent theatre plays include: ‘Witness’ which she wrote and directed for its premiere production at Fit Up Theatre Festival, August, 2013; ‘Best Man’, directed by Michael Barker Caven and produced by the Everyman Cork with Project Arts Dublin and Cork Midsummer, June/July 2013. Her 2011 Abbey debut, ‘B for Baby’,
won the Irish Times Theatre Award for Best New Play. Welcome aboard Carmel. CFSFF has entered the Better Together Video Competition, Please, please vote for us by clicking on the link http:// bettertogether.ie/video/corona-fastnetshort-film-festival and casting your vote.The top 10 most voted for videos will be shortlisted and the winner will be announced at the Better Together Awards on 12 December. Martin Levis our Technical Director has put together this amazing video, voiceover by Pauline. You may even star in it. Winning the award would see National exposure for Schull and the Festival, so please keep voting. http://bettertogether.ie/video/coronafastnet-short-film-festival You may vote once a day, every day from not until the . Your IP address will be logged at the time of voting, preventing you from voting more than once within any 24-hour period. If you share an IP address with others, only one vote will be accepted on a daily basis. We look forward to seeing you in Schull on Friday the 29th of November. All the best for now, more to follow.
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Universal Film Issue 11 - 2013
UP and Coming
by Kevin A Murphy
Interview with Irish Actress Maria Anastacia Keogh
H
ow Did You Get Into The Industry? I was inspired by many people but Shakespeare starting my acting drive.. I have read all his plays and I feel in love with the work of Laurence Olivier and Peter O Toole. I have watched a lot of the old black and white movies growing up with classical actress like Audrey Hepburn, Maureen O’Hara and Grace Kelly they really influenced me greatly.
I started acting when I was very young and traveled with productions across Ireland . Sometimes it was like living in a circus travelling around from one stage to the next but so much fun. I later meet a director at the Gaway film festival and auditioned for his film and then I got cast for my first lead role in the ‘ The Doubleganger’ I had done several small roles before this and it really set a fire in my stomach to work more and more in the film industry be it acting, composing or writing. As much as I love theatre I find it sometimes repetitive but on a film set anything could happen which makes it more fun. What Do You Like The Most About Your Job? Learning from others when you work on a film set there is so much behind the scenes work that the audience do not see for example the set design, lighting, cinematography, custome fittings, makeup, it really opens your eyes to how much work and detail goes into the a small clips. I also enjoy reading new scripts and thinking in
dept about my character I love method acting and really try to develop my roles. Most importantly i love being in the moment of creativity, making a scenes come alive from paper it’s just a magical feeling and of course you always make new friends. Who Would You Love To Work With? Judi Dench is one of my favourite actress I know I would learn so much from her. My most loved directors are Steven Spielberg, Peter Jackson, Christopher Nolan and Tim Burton. I recently meet Tim Burton and gave him my CV so if he rang me in the morning, I would jump for joy. What Advice Would You Give To Anyone Wanting To Pursue a Career In The Movie Industry? Acting is a tough profession you gotta have a love for it. I would say to any young actor keep working during your breaks and do refresher courses in acting to build your skills and maybe even try the Alexander technique it’s great for posture and your voice.
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Universal Film Issue 11 - 2013
SM90 and SM90s Hague Camera Suction Mounts by Kevin
H
ague Camera Supports announce the launch of the new Hague SM90 and SM90s Camera Suction Mounts for vehicles. Following on from the successful models already manufactured by Hague the new SM90 and SM90s incorporate a smaller, more compact pad whilst still providing the stability you would expect from a Hague car mount. The SM90 version is supplied with a double ball mounting system which allows the user to mount the camera in a variety of positions both internally and externally on the vehicle. Designed for
A Murphy
handheld camcorders and DSLR cameras it is compact, adjustable and secure. The SM90s version is supplied with a single ball joint and camera plate mounting system. Designed for action cameras (such as the GoPro), small compact cameras, lightweight camcorders and DSLRS this version is ideal for the smaller cameras. It is very compact and provides excellent stability when mounted externally or internally on a vehicle. Prices start from ÂŁ35.00 ex vat. Available now at www.haguecamerasupports.com
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Universal Film Issue 11 - 2013
2013
register now!
The Largest Pro Video, AV/IT Event on the East Coast Register with code UFMAG for a free exhibit hall pass and $50 off the conference program.
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Conference: December 3–5, 2013 Exhibits: December 4–5, 2013 Walter E. Washington Convention Center Washington D.C. For info on exhibiting or sponsorships contact: Jackie Gospodinoff at: 212.378.0493 or jgospodinoff@nbmedia.com
Co-located with
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CORK
Universal Film Issue 11 - 2013
Issue 11 2013
Universal Film
FEST DIRECTOR JAMES MULLIGHAN
THE SHADOWS
The 58th Cork Film Festival, Ireland’s oldest film festival opened last night Saturday November 9th with the screening of Nebraska, which is Alexander Payne’s (Sideways, About Schmidt, The Descendants) latest film and tells the story of a road trip between a father and a son where bittersweet personal truths are uncovered and savoured. The film stars lonely salesman David Grant (Will Forte) and his father Woody (Bruce Dern in a Cannes Palme d’Or Best Actor Winning Performance). Prior to the screening of Nebraska the festival screened the wonderful Irish short film Mechanic co- directed by Tom Sullivan and Feidlim Cannon and which stars comedian Phil Fox who attended the Festival last night. The Closing Night Presentation of the Cork Film Festival is Kill Your Darlings, which was nominated for the Grand Jury Prize at this year’s Sundance Film Festival and stars Daniel Radcliffe
(Harry Potter, Woman in Black) in a breakthrough career defining performance as Allen Ginsberg. Set in the 1940’s. Kill Your Darlings is a crime thriller based on the previously untold true story of a murder that implicated the men who went onto to become the great poets of the Beat Generation: Allen Ginsberg, Lucien Carr, Jack Kerouac and William Burroughs. This year, Cork Film Festival presents a series of films with a revolutionary spirit, looking at the brave individuals who fight injustice. 99% - The Occupy Wall Street Film documents America’s Occupy movement which lead the world in mass protest against the ruling elite, whose prime objective is profit over people. Forbidden Voices, tells the story of three women who have defied government censorship by blogging about their closed countries of Cuba, China and Iran, risking their lives in the process while Silence
is Gold, looks at the corruption of Canada’s mining companies in Africa and the man who outed them. The Festival will also present the full amazing cinematic television series Burning Bush, directed by the legenday Agnieszka Holland which follows the fight for freedom in communist Czechoslovakia after the death of Jan Palach, the young student who set fire to himself in Prague in January 1969. Exciting international features include The Counsellor directed by Ridley Scott and stars Brad Pitt, Michael Fassbender, Penelope Cruz and Cameron Diaz. The film is about a lawyer who finds himself in over his head when he gets involved in drug trafficking. Blue
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Universal Film
FILM FESTIVAL Issue 11 - 2013
NEBRASKA
Issue 11 - 2013
is the Warmest Colour, Winner of the Palme d’Or this year is an unhibitied exploration of the turbulent nature of love while All is Lost starring Robert Redford, who finds himself staring mortality in the face after a collision with a shipping container in the Indian Sea. Irish Feature Films include the thriller Dark Touch directed by Marina de Van, and How to Be Happy, a comedy about a marriage councellor who become involved with his clients in a misguided pursuit of happiness. Stong documetaries are to the fore at this year’s Cork Film Festival. The documentary The Pervert’s Guide to Ideology directed by Sophie Fiennes is the ultimate guide to psychoanalysis
and fiction film, Leviathan wonderfully capatures the mayhem of life and labour on a large fishing vessel while Assimilation: An Dubh ina Gheal ‘an Irish language documentary examining Louis de Paor’s poetry about the Irish emigrant’s experience in Australia.
s h o r t s festival within the festival showcasing the best in Cork, Irish and World Shorts. Director Tony Palmer will attend the screening of his legendary seven hour, fortyfive minute film Wagner in the Cork Opera House, which will be, screened in full with two meal breaks. Triskel Christchurch will host a Giallo Night featuring a live rescore of Amer by Serafina Steer while a series of films curated by the artist Anthony Haughey to commemorate the centenary of the 1913 Dublin Lock-Out will screen in the National Sculpture Factory.
Music lovers will enjoy the mini strand of Punk documentaries with the amazing Punk Singer and Bayou Maharajah: The Tragic Genius of James Booker and The Cork Film Festival will Lukas Moodysson’s glorious pay tribute to Nicolas Roeg slice of punk coming of age and screen a selection of We are the Best!. his films. There will be a special Mexican Programme The Festival welcomes including Heli, whose the Event Series Riching director won Best Director Pickings to Cork to explore Prize at this year’s Cannes through debate and film Film Festival. Comedian challenging and topical Dylan Moran will discuss themes including the his favourite movies while pathologising of mental the Festival will celebrate illness (Battle for the Brain) the work of documentary and how our corporal maker James Broughton selves define and drives us who paved the way for the (Rewiring the Body) Beat Generation. There will be a special
www.corkfilmfest.org
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Universal Film
KILL YOUR DARLINGS
Universal Film Issue 11 - 2013
Thuraya unveils new SatSleeve
T
he first and only satellite adaptor for the iPhone® now provides access to users’ favorite Apps, email and instant messaging in the most remote parts of the world. Thuraya Telecommunications Company, a leading Mobile Satellite Services (MSS) operator, today launched a new edition of the Thuraya SatSleeve, the world’s first and only satellite adaptor for the iPhone®. The new release not only allows users to make phone calls and to send SMS messages via Thuraya’s satellite network, it also enables them access to emails, as well as popular social media and instant messaging apps such as Facebook, LinkedIn, Twitter and WhatsApp among others. Thuraya SatSleeve users can now post news updates, chat via messaging apps with their contacts as well as send and receive email from the most remote locations in satellite mode. The device can be used across Thuraya’s extensive satellite network with coverage in over 140 countries. Samer Halawi, Chief Executive Officer of Thuraya, said: “The new release of the SatSleeve, which now includes data, underscores our commitment towards delivering new and innovative mobile satellite products. Thuraya is powering ahead of the competition with our strong product innovation strategy focused on making satellite communications more accessible and user-friendly. Users
today are increasingly relying on their smartphones to stay connected and we strongly believe- 2 -in listening to them and to their requirements as we develop new mobile satellite products that align with their needs.” Thuraya SatSleeve enables users to enjoy ubiquitous coverage even in the most remote environments that are not served or that are under-served by terrestrial networks. The device also serves as an important mobile communications device, in addition to being a security backup for users that are operating in remote locations and in areas where natural or man-made disasters can render terrestrial communications unavailable. The SatSleeve customers include corporate users, enterprises from all industries, explorers, mountaineers and other outdoor enthusiasts. The SatSleeve can be used across the Thuraya network either with a Thuraya SIM card or with a standard GSM SIM card available from 356 worldwide GSM operators across more than 160 countries. This makes the Thuraya SatSleeve highly flexible with the ability to be suited to the users’ individual needs. The Thuraya SatSleeve is available from all Thuraya Service Partners from September 10. For more information on the Thuraya SatSleeve, including pricing and airtime plans please check with your local Thuraya Service Partner.
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Universal Film Issue 11 - 2013
UK: 57TH BFI LONDON FILM FESTIVAL 2013 AWARD WINNERS
L
ondon – 10.30pm, 19 October 2013: The 57th BFI London Film Festival, in partnership with American Express® announced this year’s Official Competition winners at its high profile Awards ceremony, at The Banqueting House, Whitehall, SW1 this evening with guests who included Miranda Richardson, Rodrigo Prieto, Stephen Dillane, Saoirse Ronan, Susanna White, Jim Broadbent, Colin Salmon, Lone Scherfig, Deborah Moggach and Joanne Froggatt.
celebrated author Deborah Moggach, and Oscar-nominated cinematographer Rodrigo Prieto (Argo, Brokeback Mountain).
OFFICIAL COMPETITION: BEST FILM: IDA, directed by Pawel Pawlikowski Celebrating the most original, intelligent and distinctive filmmaking, the winner of the Best Film award, was announced by Philip French, recent BFI Fellow and President of the Official Competition jury. Philip French said: “The jury greatly admired Ida, the first film made in his native Poland by a director who came to prominence while living in Britain. We were deeply moved by a courageous film that handles, with subtlety and insight, a painfully controversial historical situation – the German occupation and the Holocaust – which continues to resonate. Special praise went to his use of immersive visual language to create a lasting emotional impact.” French’s fellow jurors were Lone Scherfig, director of the multi-Oscar nominated An Education, Canadian-based visual artist Stan Douglas, two-time Oscar nominee and BAFTA-winning actress Miranda Richardson, screenwriter of Pride and Prejudice and
BEST BRITISH NEWCOMER: Jonathan Asser – screenwriter STARRED UP The Best British Newcomer award honours new and emerging film talent, recognising the achievements of a new writer, producer,
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director, actor or actress. The award for Best British Newcomer, presented by Saoirse Ronan, went to screenwriter Jonathan Asser, for his uncompromising debut feature STARRED UP whose title refers to the practice of placing violent young offenders prematurely in adult prison. Jury President Amanda Posey said “STARRED UP is an original story told with an individual and authentic voice, at once moving, provocative and always gripping. The material, even from a new screenwriter, was intelligent and distinctive enough to attract very high quality filmmaking talent and actors, and to help illicit extraordinary work from all involved. The whole jury felt Jonathan Asser brought a fresh, resonant and surprising perspective to a classic conflict”. The jury also highly commended the performances of nominees Conner Chapman and Shaun Thomas for their roles in THE SELFISH GIANT. “The whole jury was blown away by these two performances and we could not separate them as together they are the heart of the film. These are two outstanding talents and we wanted the opportunity to recognise that with this joint commendation” said Posey. In addition to Amanda Posey, the Best British Newcomer jury comprised BAFTA-nominated director Tom Kingsley, acclaimed actor Cillian Murphy, Oscar-nominated Saoirse Ronan, BAFTA-winning actress Gina McKee and actress Joanne Froggatt currently appearing in the highly successful Downton Abbey. FIRST FEATURE COMPETITION - The Sutherland Award: Anthony Chen, director of ILO ILO The jury also commended Chika Anadu’s B FOR BOY for its eloquently simple but engaging portrait of a woman caught in the crossfire of old and new world value systems in contemporary Nigeria. The jury described it as “a powerful film, told with a visual and emotional elegance”.
DOCUMENTARY COMPETITION - THE GRIERSON AWARD: MY FATHERS, MY MOTHER AND ME The Best Documentary Award is co-presented with the Grierson Trust and recognises outstanding feature length documentaries of integrity, originality, technical excellence or cultural significance. This year it was awarded to MY FATHERS, MY MOTHER AND ME, a portrait of Friedrichshof, the largest commune in Europe, founded by the Viennese Actionist Otto Mühl in the 1970s and the devastating emotional effects on its residents. Jury President Kate Ogborn said “As a jury we would like to recognise the bravery of PaulJulien Robert for taking us on such a personal journey with MY FATHERS, MY MOTHER & ME. It is a thought- provoking and disturbing film, intimate whilst also raising larger questions of power, parental responsibility and abuse. The incredible archive footage combined with the personal journey of a mother and son left us disturbed, angry and feeling that this is a film that deserves to be seen by a wider audience”. Kate Ogborn’s fellow jurors were Commissioning Editor at SKY, Chris Wilson, cinema programmer for City Screen, Chris Harris, BBC newsreader and presenter Sophie Raworth and CEO of Renegade Pictures, Alex Cooke. BFI FELLOWSHIP: Sir Christopher Lee A BFI Fellowship is awarded to individuals inrecognition of their outstanding contribution to film or television, and is the highest accolade that the BFI bestows. As illustrated above, the fellowship was presented to Sir Christopher Lee by actor Johnny Depp who made a surprise appearance at the Awards ceremony. BFI Chief Executive Amanda Nevill said: “The BFI Fellowship is awarded to those at the pinnacle of their profession. It is a truly illustrious moment to be honouring Sir Christopher Lee for his enormous and unique contribution to film during a Festival that is committed to excellence.”
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Universal Film Issue 11 - 2013
DPA Microphones Highly Directional Microphone Palette
by Kevin A Murphy
D
PA Microphones is the leading of frequency), thus ensuring exceptionally Danish Professional Audio smooth and controlled sound. Unlike the manufacturer of high quality DPA d:dicate 4017 Shotgun, which includes condenser microphone solutions an interference tube and is therefore more for professional applications. DPA’s directional at the sides, this new variant ultimate goal is to provide you – whether offers more consistent rear rejection you’re in live sound, recording, theater making it an interesting alternative DPA mics or broadcast – with the absolute arepraised for to a conventional shotgun. While the finest possible microphone solutions their clarity MMC4017 is exceedingly directional, for your tasks. DPA takes no shortcuts especially at higher frequencies, the in the design processes nor makes any sleek and compact MMC4018 focuses compromises in manufacturing, which is all on low noise and high sensitivity, making it done at the DPA factory in Denmark. more suited to long-distance voice capture. As a result, DPA’s products are globally praised for their exceptional clarity and transparency, unparalleled specifications, supreme reliability, and above all, pure, uncolored and undistorted sound. On show for the first time at IBC is the new DPA MMC4018 – a modular supercardioid condenser capsule that is an integral part of the company’s d:dicate™ Recording Microphone range. Thanks to its directional pattern, the MMC4018 has an extremely controlled off-axis response and very uniform directional shape (independent
The DPA MMC4018 is the counterpart to the MMC4018V capsule, which is used in DPA’s popular d:facto™ Vocal Microphone. This means it offers extremely good isolation and feedback rejection, making it ideally suited to applications where clarity and audio quality are critical. Christian Poulsen, CEO of DPA Microphones, says: “Our new MMC4018 supercardioid condenser capsule expands the flexibility of DPA’s d:dicate range by offering the broadcast, film and music recording industries the perfect microphone for long-distance boom
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Universal Film Issue 11 - 2013
miking, spot miking in orchestras, foley and speech recording. Due to its shorter length, it is very easy to boom in low-ceilinged rooms or to mount in challenging film recording sets such as the inside of cars.” The modular nature of DPA’s d:dicate Recording Microphone range has enabled the company to expand its remit by entering the installation market. To this end it has introduced new desktop and podium microphones that give AV installers and conference organisers the clear, transparent and precise sound they demand. DPA’s new MMC4018 capsule is the standard recommendation for the d:dicate podium microphone. By combining the capsule with different active booms and cables, installers can specify the exact microphone for their needs. For example, an MMC4018 capsule combined with an MMP-C compact pre-amp makes an ideal desktop microphone, while the same capsule combined with an MMP-E modular active cable is perfect for applications where the microphone needs to be hung from the ceiling because the preamp only adds 12mm to the capsule – and thanks to its integrated cable it is very inconspicuous. DPA Microphones A/S Anne Berggrein Phone: + 45 48 14 2828 email: anb@dpamicrophones.com Web: www.dpamicrophones.com
AI on film advert_03_Portrait 27/04/2012 17:10 Page 1
real life stories of struggle and Courage from around the world
this is omar, a teenage refugee from somalia.
a life on hold
is a new film about omar’s life in a refugee Camp in tunisia. watCh at amnesty.org/refugees
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Find out more: avproduction@amnesty.org
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Universal Film Issue 11 - 2013
The new DaVinci Resolve is now even faster and easier to use! With over 25 years’ experience in color correction, DaVinci Resolve is the world’s most loved high end color grading system! Only DaVinci Resolve is designed to be real time all the time, so it keeps up with you when you’re working on demanding client jobs. With the most creative toolset and highest image quality, it’s easy to see why DaVinci Resolve is used on more Hollywood feature films, syndicated network television series, music videos and high end television commercials than any other system.
DaVinci Resolve includes more automatic tools such as the 99 point 3D window tracker so you’ll rarely need to manually track windows! You get automatic 3D eye matching, auto-grade, auto stabilization, auto 3D color matching, automatic XML, AAF and EDL conforming, real time proxies, auto scene detection and much more! World’s Best Compatibility
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Universal Film Issue 11 - 2013
Google + For Filmmakers
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ince the launch of Google+ in 2011, it has received a variety of coverage in the press. In particular, headlines of ‘“Google+: It’s a ghost town” seemed the most common. Well, as we approach it’s second anniversary we can see reports of 235 million active users making it the number two network, behind Facebook and flying past twitter. If you are in the film industry, it is something you cannot ignore. So, whether you’ve already signed up and checked it out, or if you need a little encouragement, here you go Google+ is a global network - unlike certain other social sites, with Google+ you will be able to contact anyone in the world who is posting content publicly. Using the tool of engagement: +1s (a bit like ‘likes’), comments and shares, you will be able to get their attention. I even interacted with William Shatner and his crew through creating a global trend to get his attention. Using Google Docs - you will be able to collaborate on projects with people at the same time with e.g. spreadsheets for cost predictions, text for capturing ideas, presentations for, well, you get the idea. The key thing here is ‘collaboration’ and once you’ve experienced it, you’ll know what I mean. Google Hangouts - these are free video conferencing with us to 10 people in the virtual room (15 with a corporate account), in real time. This will enable virtual teams to meet up, face-to-face and connect in new ways. Google+ circles - people have already created ‘circles’ of people you can just add in that relate to your industry and your specific job role as well. With Google+ coming up to being two years old, people have done a lot of work for you.
By Martin Shervington Communities - even though these were only launched in December 2012, there are almost 50,000 communities of people who want to talk about everything from ‘The Universe’, to ‘Bacon’, to, yep, films and filmmaking. Just do a search under the ‘communities’ button and you will see what I mean. Also, you can create your own community if you don’t see what you like. btw: have free video on my site and on YouTube that will cover all aspects of how to do this. Friendly people - this is something that needs to be mentioned. On Google+ there is a really positive vibe about the possibilities of the technology. I’ve met thousands of people from all over the world and been blown away with how welcoming they’ve been (I only started in March 2012). I’ve met some great film industry people, Google+ is Google - this will take you a little while to grasp, but Google have put a ‘social layer’ across Google’s products and services. As such, Google+ is actually Google, but they didn’t tell us all that at the start. Once you get it, you get it! Hopefully that will give you a little more inspiration to get involved with Google+ as a film maker. We will all make our own opportunities and this platform will enable you to connect with more people in new ways. Most of all...enjoy it! It is quite a ride. In 2011 Martin Shervington’s website is www. martinshervington.com where you will find everything you need to know about getting started and making the most of the experience. Also check out his profile in the Plus. You will find him here: www.google. com/+MartinShervington Reprint from Issue 9 UFM
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Universal Film Issue 11 - 2013
Manley Labs M anley Labs announced that they have signed HHB Communications Canada as their exclusive Canadian distributor. HHB Communications Canada Ltd is a major international manufacturer and distributor of recording equipment to the recording, MI, DJ and production sectors of the professional audio industry. HHB and HHB distributed products are sold through all major MI, production, pro-audio and DJ dealers across Canada. Manley Labs, a privately owned company that designs, manufactures and distributes high-end analog audio equipment, is thrilled about this expansion. “Canada’s size presents a big challenge for distribution but it also offers vast opportunities, “ said Rick McClendon, Vice President of Sales and Marketing at Manley Labs. “We are confident that the combination of HHB’s resources and their excellent staff will guide Manley Labs growth in Canada.” “HHB Canada is very pleased to be selected as the new distributor for Manley Labs in Canada. We have always had the greatest respect for the sound and quality of the products. We look forward to increasing the visibility of the brand in the Canadian marketplace, “ commented HHB Communications Canada President Dave Dysart. “I have always admired the look, feel and sound of Manley products. Our goal at HHB Canada is to increase the sales of Manley products through our network of dedicated dealers and sales representatives across Canada. Hanging out with the fun crew at Manley will be an added bonus!” About HHB Communications Canada HHB Communications Canada Limited, based in Toronto, has a staff of seven people including a dedicated product specialist, four independent sales representatives based in territories across Canada, as well as
contracted service and product specialists. In addition to the full range of HHB products, HHB Canada represents a comprehensive selection of tools for the audio professional, including ATC loudspeakers, Blue microphones, Drawmer Audio processing, Junger Audio broadcast processing, Royer ribbon mics, Universal Audio analogue and digital processing and SSL (Solid State Logic) analogue and digital processors and mixing consoles. HHB Canada clients include the CBC, CTV, TVA, Long and McQuade, Steve’s Music, Moog Music, CEV, Canada Computing and Axe Music. HHB products are available through a wide network of music stores, pro audio retailers, and computer resellers across the country. About Manley Laboratories, Inc. During decades of success, Manley Labs products have evolved from purist audiophile vacuum tube designs to professional audio and digital converter systems. As the company grew so did the respect their product’s garnered in the pro-audio marketplace. The company’s design philosophies have been proven thru years of real-world experience. Many of Manley’s high-quality modern components are produced in-house. Manley Lab’s 11,000 sq. ft. building houses a machine shop, printed circuit board manufacture, audio transformer winding, engraving, and wire harness prepping facilities. All custom design, R&D, assembly, testing, and quality control processes are performed with precision and pride at the Manley factory, located In Chino, CA just 35 miles east of Los Angeles, California. Of note, all Manley products are built in Chino, not China. http://www.manley.com
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Universal Film Issue 11 - 2013
AMERICAN FILM MARKET For actors, TV/film production crew, musicians and performers. Apply for auditions, castings BS JO and TV/film production jobs. AID ED P
T LIS LY! ON
by Warren Workman
The AFM, or the American Film Market is a yearly event bringing producers, distributors and buyers together to make deals, and hopefully make some money in the process. The website for the AFM recommends a wide variety of film industry professionals attend the event including Advertising Agencies, Agents,Directors, Press, writers, PR Agencies and several others who provide products and services to the motion picture industry. However, after my experience, there are only a few people that should attend the AFM.
Visit www.mediavolt.co.uk BAFTA present award to Queen BAFTA presented an honorary award to Her Majesty, The Queen, in recognition of her outstanding patronage of the film and television industries in the UK, earlier this month. On the occasion of a reception for the British film industry hosted by Her Majesty The Queen at Windsor Castle, the award was presented to The Queen by Sir Kenneth Branagh , himself a BAFTA-winner and recipient of the Michael Balcon Award for Outstanding British Contribution to Cinema. The Queen’s support through her various patronages of industry organisations has long been recognised, having been patron of the Royal Academy of Dramatic Arts , the Entertainment Artistes’ Benevolent Fund , and the Cinema and Television Benevolent Fund (for which money has been raised by Royal Film Performances ) since 1952. Over the years, The Queen has visited countless film and television organisations, supporting their efforts by shining a light on the work they do. More recently, The Queen starred in the Opening Ceremony of the London 2012 Olympic Games alongside Daniel Craig as James Bond .
Buyers. AFM is a great place to acquire original films. Distributors. Distributors try to get the right products buyers are looking for and add them to their library. The buyers make appointments with the distributors. If the trailer and key art looks interesting they will ask to see a screener. Sometimes the buyers are willing to buy films without a screener. The 3rd person that should attend AFM is a producer WITH FUNDING IN PLACE and without distribution. Producers can walk around to all the distributor suites to see who would be the best fit. If the distributor knows you have funding in place they can help guide you to make sure your film is marketable to buyers. If you don’t have funding in place it’s a much harder sell to a distributor. If you don’t fall into these 3 categories, take in the beach and pier. The weather is wonderful and you can explore the Santa Monica area on a bike. While you’re on the beach, polish that screenplay and feel free to visit the FREE producers lounge on the 4th floor lobby. Who knows, maybe next year you will have a completed film and now have a good reason to shell out the money for a seven day Executive Pass for $800.
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Universal Film Issue 11 - 2013
THE MONUMENTS MEN
Twentieth Century Fox UK release date 9 January 2014
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HE MONUMENTS MEN, directed by and starring George Clooney, is a dramatic thriller based on the true story of the greatest treasure hunt in history, focusing on an unlikely World War II platoon tasked with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners. Based on the book of the same name by Robert M. Edsel, THE MONUMENTS MEN reunites Clooney with long-time producing and writing partner Grant Heslov in their first production since winning the Academy Award® for Best Picture for Argo. Clooney is joined on-screen by an internationally acclaimed ensemble cast including: Matt Damon (Ocean’s Eleven, The Bourne Identity); Bill Murray (Lost in Translation, Ghostbusters); John Goodman (Argo, The Big Lebowski); Jean Dujardin (The Artist), Bob Balaban (Moonrise Kingdom); Hugh Bonneville (Downton Abbey), Cate Blanchett (The Lord of the Rings, Elizabeth) and Dimitri Leonidas (Centurion, Tormented). Based on the true story of the greatest treasure hunt in history, THE MONUMENTS MEN focuses on an unlikely World War II platoon, tasked by the Allies with going into Germany to rescue artistic masterpieces from Nazi thieves and returning them to their rightful owners. It would be an impossible mission: with the art trapped behind enemy lines, and with the German army under orders to destroy everything as the Reich fell, how could these guys – seven museum directors, curators, and art historians, all more familiar with Michelangelo than an M-1 gun – possibly hope to succeed? But as the Monuments Men, as they were called, found themselves in a race against time to avoid the destruction of 1000 years of
culture, they would risk their lives to protect and defend mankind’s greatest achievements. The distinguished creative team behind the film reunites Clooney with previous collaborators including Director of Photography Phedon Papamichael ASC (The Descendants, Nebraska), Oscar®-nominated Production Designer Jim Bissell (Good Night, and Good Luck., 300), Academy Award®winning editor Stephen Mirrione, A.C.E. (Traffic), Costume Designer Louise Frogley (The Ides of March, Syriana), with a score from five-time Oscar® nominated composer Alexandre Desplat (The King’s Speech, Argo). THE MONUMENTS MEN will open in the UK on 9th January 2014, distributed by 20th Century Fox.
MM
oney agazine M Movie www.moviemoneymag.com
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Film Production & Co-Productions
Film Productions/Co-Productions Post Production/Special Effects Crew/location scouting
Classic Media Entertainment An award winning production company 43 CMEFILMS | e-mail info@cmefilms.co.uk | www.cmefilms.co.uk Skype: www.ufmag.biz
Universal Film Issue 11 - 2013
MANDELA UK release date of 3 January, 2014
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by Kevin A Murphy
international studios. Singh spent 16 years developing the film before it began shooting in May 2012. Thousands of South Africans participated in the making of the film, both behind and in front of the camera, where the cream of South Africa’s acting talent Film on a ledgend a line up alongside British stars Idris Elba long time in and Naomie Harris. the making
he highly anticipated MANDELA, adapted from Nelson Mandela’s autobiography, will open at cinemas across the UK and Ireland on 3 January, 2014. This epic motion picture spans Mandela’s extraordinary life, from his childhood in a rural village through to his inauguration as the first democratically elected President of South Africa. MANDELA is the thrilling story of an ordinary man who rose to the challenge of his times and triumphed - an intimate portrait of the making of a modern icon.
The largest South African film production ever mounted, MANDELA was made with the full support and endorsement of Mr Mandela, the Nelson Mandela Foundation and the Nelson Mandela Centre of Memory. Mr Mandela entrusted his life story to South African producer Anant Singh in the face of fierce competition from the major
MANDELA is directed by BAFTA-winner Justin Chadwick (The First Grader, The Other Boleyn Girl) and stars Golden-Globe winner Idris Elba (The Wire, Prometheus, Pacific Rim) as Nelson Mandela and Naomie Harris (Skyfall, Pirates of the Caribbean) as Winnie Mandela. Double Academy Awardnominee William Nicholson (Gladiator, Les Miserables) has written the screenplay. It is produced by Anant Singh of Distant Horizon (the Oscar-nominated Yesterday, Sarafina!, Cry, The Beloved Country) and by David M. Thompson, for Origin Pictures. Executive Producers for Pathé are Cameron McCracken and Francois Ivernel.
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Universal Film Issue 11 - 2013
14th Annual Polish Film Festival I
by by Patricia J. Pawlak
t was a brisk and clear evening in Hollywood for the Opening and Gala of The 14th Annual Los Angeles Polish Film Festival at the historic and elegant Egyptian Theater on Hollywood Blvd. The festival director, Vladek Juszkiewicz was on hand to great the numerous stars arriving on the elegant red carpet. In attendance was Robert Forster from such hits as Delta Force and most recently, Olympus Has Fallen, Jerry Mathers, Leave It to Beaver, Juror Rachel O’Meara, in an elegant ensemble and Director/ Producer, Ms. Liliana Komorowska of the documentary Beauty and The Breast to name of few.
Once There Was A King and Lullaby. Festival Director, Vladek Juszkiewicz is an admirable director, working hard to bring Polish Films to the Los Angeles community, connecting our world that is starving for international motion pictures.
Guest feasted on polish delights and a bar hosted by Krol Vodka. The table itself was a masterpiece of art with visions of blue swirling around a goddess.
The Hollywood Eagle Animation Award: What Happens When Children Don’t Eat Soup? By Pawel Prewencki
After the reception, the opening of the festival began with Master of Ceremonies, Zbigniew Banas introducing the HB Barnum Life Choir singing the Polish and American National Anthems with a special performance by Wendy Waldman. Then it was on to the Presentation of Awards followed by a screening of the Award Winning film, My Father’s Bike by Piotr Trzaskalski. My Father’s Bike was the winner of the prestigious Audience Award at the 2012 Minsk International Film Festival. Other highlight films included, Yuma and Beauty And The Breast. Poland is famous for turning out international and top quality animators and this proved true with some excellent animated films including The Balland Of Nameless Joe, In the Moonlight, A Farewell To The Little Warrior,
The Award Winners were: The Piotr Lazarkiewicz Award For Young Talent: Julia Kolberger, Bartosz Gelner Bridging The Borders Award: Easter Crumble by Julia Kolberger
The Hollywood Eagle Documentary Award: Mundial. The Highest Stakes by Michal Bielawski The Hollywood Eagle Award: Imagine by Andrzej Jakimwoski and Manhunt by Marcin Krzysztalowicz
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Universal Film & Festival Organization Best Business Practices for Film Festivals No 1: Film Festival organizers should operate a transparent selection process and publish details of the selection process and the names of the Jury/selection committee (publication can be after a festival concludes) No 2: Film festivals organizers should provide full contact details for the festival offices including address and telephone numbers and the names of the festival directors and or committee No 3: A Film Festival should publish its legal status as a company, charity or non-profit (this only applies to a registered entity) No 4: Film festival organizers should not share filmmakers’ financial data with any third parties No 5: Film Festivals should publish a year by year history of festival winners and films officially selected No 6: Film festival organizers, committee and or jury should not show or demonstrate any favouritism to any film submitted to the festival or attempt to influence other members of the jury or selection committee No 7: Film Festivals should declare the number of films sought and/or invited by the festival organizers to participate in the festival prior to and before the general call for submissions is sent out No 8: Film Festivals should provide the names of the selection committee and/or jury members who viewed the submitted film screeners to the festival (this could be after the festival has concluded) No 9: Film festival organizers should view at least 5 minutes of all submitted films No 10: All Festival organizers should declare any conflict of interest that may arise from any film submitted to or invited to participate in the festival
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Universal Film Issue 11 - 2013
BLACKLISTED FILM FESTIVALS BLACKLISTING FILMMAKERS Recently we covered the darker side of social networking Social networking and how some people are all too prepared to write untrue and malicious comments about others. This was the case when a group of festival organizers on a facebook group set about blacklisting filmmakers with obsulutly no evidence what so ever other that a casual comment
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employment because of their political niversal Film Magazine recently beliefs or associations. wrote a series of articles the covered a series of incidents that led to The blacklisting of filmmakers began with a filmmakers being blacklisted and post on the group’s Facebook page by Kerrie libellous comments posted on Film Festival Organizers on Facebook. These incidents Long, director of the Edmonton Film Festival in Canada, alleging that her festival had were whole heartily supported by the moderators of the forum who were “As a film- received threats of violence from Canadian filmmaker Barry Gillis, who themselves film festival organizers. maker I wouldn’t was upset that his film was rejected by touch these the festival a month before the official The forum is led by Jon Gann, the festivals” film selection process began. festival director of DC Shorts Film Festival and this group appeared to The festival had informed him that his film, believe that they were a law onto themselves “The Killing Games,” was “too violent” for the with little or no opposition. Big Fish in a Edmonton Film Festival. minute pond bur their actions clearly have damaged reputations. However because The frustrated filmmaker wrote to the of the actions of UFFO, the Universal Film Edmonton Film Festival a number of times, and Festival Organization who are closely and was completely ignored. We (UFM) have monitoring the forum the group are now seen the correspondence between Gillis and aware that what they say about others can the Edmonton Film Festival, and although have implication against their own Film it clearly demonstrates Gillis was annoyed, Festivals the correspondence contains no threat of violence whatsoever. This was all to apartment to Mr Jeff Ross, the owner, founder and director of the SF UFFO was a member of this forum at the Indie Fest and Hole in the head film festival. time, and strongly objected to blacklisting UFM exposed Mr Ross as one of the main activity. UFFO believes it is fundamentally instigators blacklisting the filmmakers and wrong to blacklist anyone. Astonishingly, showed contempt for filmmakers film festivals blacklisted Gillis’ film despite a complete lack of evidence to suggest that This was the first instance of its kind since the allegation made by Kerrie Long was true. the systematic Hollywood blacklist of filmmakers in 1947, when a number of In the case of Gillis, it would appear that Hollywood actors, directors, musicians, Kerrie Long’s actions were deliberate screenwriters and other entertainment attempts to convince the other festival professionals were blacklisted from
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organizers on the forum to blacklist Gillis, perhaps because she was annoyed that he had ruffled her feathers in some way. Her comments posted to the group appear to have indeed blacklisted Gillis, and may have damaged the careers of everyone who was involved with Gillis’ film, including the cast, crew, financiers and distributors. Tyrone Murphy said, “As a filmmaker I wouldn’t touch these festivals” Prior to this incident, there was strong opposition and hostility in the FFO group towards UFFO and its remit of best business practices for film festivals. Over a period of almost a year, members of the FFO Facebook forum sought to harass UFFO at every turn. Amy Ettinger, one of the forum’s members and director of the Scottsdale International Film Festival, remarked in a thread about UFFO: “Hope it goes down in flames with no takers.” A comment by Matthew M. Foster, director of the Dragon*Con Film Festival, read, “And I second Amy. The faster this dies (UFFO) the better. No good can come of it and so much trouble.” The hostility and harassment did not stop there. UFFO also has also had to contend with an individual who has a track record all over the internet for scamming artists, and is now in charge of three film festivals. He made threats against a festival director and UFFO CEO, Tyrone D. Murphy, for discussing him in a thread. The moderators allowed this; but when UFFO responded, Jon Gann closed the thread.
The hostility came to a head when a number of the group’s members, including the moderators and Jeff Ross, were blacklisting filmmakers or supporting others who did so. Despite UFFO objections, they would not listen to reason, and Jon Gann banned UFFO from the FFO Facebook forum for merely trying to bring some sanity and reason to the situation. The complete lack of regard for filmmakers’ careers and legal procedure shown by Kerrie Long and other festival organizers is reprehensible. An entire cast and crew of a film can be affected, and the potential losses to financiers and distributors can be catastrophic. After UFFO was excluded from the FFO group, the moderator, Jon Gann created another thread which contained a racist/anti-Jewish video posted by Charles Judson, a programmer of the Atlanta Film Festival. The thread also included a torrent of abusive comments about UFFO and its objections to the blacklisting of filmmakers.
Sometime later, Jon Gann issued a public statement and posted it the FFO and the UFFO forums on Facebook. This statement (printed opposite) was defamatory and untrue of UFFO and of Tyrone D. Murphy. Murphy was being branded a troublemaker for defending filmmakers who had no voice on the forum to defend themselves against the allegations that had been made. However, despite John Gann’s very dramatic statement, it later transpired that the “credible violent threat” that was, according to Gann, “a behaviour so horrific, unprofessional, and frightening” A friend of Jon Gann, Mgr. Jeff Ross, director simply never happened. of the SF Indiefest, seemed to delight in the harassment of UFFO. Within a discussion Gann’s statement concluded with an on the forum, Tyrone D. Murphy asked Ross invitation to members of the forum to why he is not transparent with filmmakers “investigate the situation before jumping regarding the fact that his festivals are non- to conclusions.” However, Gann removed jury festivals; Ross arrogantly replied, “If they the entire thread containing the damning don’t like it they can vote with their feet”. comments, so there was actually no way for Although this statement was contemptuous anyone to know the facts or to investigate the it was nothing compared with Ross’ other situation. (The entire thread is printed on the conduct. On one occasion, Ross stated to next page.) A libel action is being considered another festival director on the FFO forum that against the moderators of the FFO group. he possessed the home address of the UFFO Three of the moderators have resigned, and Founder and CEO, Tyrone D. Murphy, and one has apologized. Two other film festival suggested that he was sending something directors have also apologized for their part. nefarious to Murphy’s home address by mail. It must be said that the apologies came only
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after a threat of legal action was made against discussions on the Internet are public enough for libel to take place. the group. Another moderator of the FFO group, Ms. Anna Feder, who is (or was at the time) director of the Boston Underground Film Festival, is completely belligerent and unapologetic. She attempted to distance herself from her festival because of the potential backlash from filmmakers over her participation and support in the blacklisting of filmmakers. UFM has since uncovered irrefutable evidence that Ms. Feder has been salting funds away in Swiss bank accounts in an attempt to circumvent any award for damages and costs to UFFO or Murphy by the UK courts. Although the other moderators have had ample opportunity to remedy the situation, they remain supportive of Kerrie Long and her comments that blacklisted the filmmakers. Jon Gann has since appointed Kerri Long a moderator of the forum, and clearly supports her and her comments. Legal action may now be the only recourse for UFFO. However, the UK libel laws are abused on a regular basis by rich corporations and individuals. (Tyrone D. Murphy has been an advocate for change in the current law for a number of years.) Nonetheless, in response to a defamatory statement, UFFO would be justified in taking a libel action against the moderators of the group. English law allows actions for libel to be brought through the Court for any published statements that are alleged to defame a named or identifiable individual in a manner which causes a reasonable person to think worse of him. Once it is shown that a statement was published, and that it has a defamatory meaning, that statement is presumed to be false unless the defendant is able to raise a defence to this defamatory act. In a nutshell, this amounts to a presumption of the innocence of the plaintiff in the face of an accusation levelled by the defendant. In a libel action, the FFO group moderators would have to prove the alleged defamatory statement was true. In addition, the 2006 UK case of Keith-Smith v Williams confirmed that
Murphy said, “I have an aversion to the UK libel laws; however, Jon Gann’s statement was defamatory of me, and this leaves me with a moral dilemma: do I now use the same laws to bring justice to bear on the moderator of the Film Festival Organizers Group on Facebook?” Jon Gann’s Public Statement This is my first, and will be, my only public response to a situation which transpired earlier this week. Tyrone Murphy was removed from the Film Festival Organizers private Facebook group after he was asked to stop commenting on a spedfic thread of conversation. He was warned that his actions would result in his removal from the group, yet he continued the thread. The thread concerned banning a filmmaker after making a credible violent threat against a festival programmer -a behavior so horrific, unprofessional, and frightening -that it is understandable (and I believe, justified) to ban ANYONE from an event. Film festivals are not a right, but a public forum that is curated, organized and produced by an organization or individual fur the benefit of an audience. NO ONE should be subjected to such outright hate -filmmaker or organizer alike. Mr. Murphy’s action was not isolated, as he had a history of provoking others in the group before, and was asked before to stop. Over the past few months, many members had become inactive -- it was only after the removal of Mr. Murphy that I knew his previous actions were the reason fur their silence. The private Film Festival Organizers group was established as a safe place fur festival programmers and organizers to exchange information, tales, and film recommendations. It has been incredibly helpful fur festivals large and small to be able to have a free and open - and respectful - exchange, without fear of harassment. In the past few days, the group has received numerous requests fur additions to the group, and we are approving the requests of those whose employment as a festival director or programmer is verified. I have not recommended any new members fur a matter of months - and I have never “poached· the list of UFFO or any other organization fur new members - nor would I ever . I believe that any comments to the contrary to be libelous. It is my hope that anyone who reads this note investigate the situation before jumping to condusionssince as is the case with all tales, there are two sides to the story. Thank you fur your time. Please do not comment, as there is no reason to do so.s!
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This is the thread on the Film Festival Organizers Group on Facebook Kerrie long - Edmonton International Film Festival I apologize for repeating the thread about filmmaker feedback (It’s WAY down the line on this page) . We gave verbal feedback to a ‘filmmaker’ yesterday •Who lives in our city -- as a courtesy . .. BEFORE our offcial notification date in August. Let’s just say his actions since then make me very, very afraid. Please ... if ANY of you receive a feature length, horror film from Edmonton, Alberta, Canada message me and I’ll tell you whether it’s the same guy or not. He’s crazy! Like • Comment Unfollow Post •Wednesday at 9:34pm near Edmonton, Alberta
this filmmaker? I know several school teachers from the ‘90s and more recently who can’t stand that they can never tell their students the truth about how their students are doing. Yesterday at 10:23am• Like
Kerrie long - Edmonton International Film Festival Thank-you ALL for your support and words of encouragement. I’m grateful to have this private space to share. The saga continues ... today he EMAILED the Chair of Board to ‘Declare WAR on EIFF’. His exact words. We’re discussing now with our lawyer to determine if that’s enough to alert the police. In truth, I am very afraid right now ... I remember Mitch Davies Co Director The Fantasia Film watching his movie, thinking ‘What kind of person thinks up these horrible acts of Festival That doesn’t sound good at all. Just tried to torture?’. Will keep you posted. message you, but it doesn’t look like your Yesterday at 5:01pm • Like account allows non-friends to contact you through it. Could you message me details? Tyrone D Murphy Universal Film & Festival Organization Wednesday at 11:04pm • Like What you are now doing is fundamentally Helen Stephenson, Executive Director, and profoundly wrong. You are hijacking this filmmaker’s career Perhaps you may have had Prescott Film Festival a bad experience with a filmmaker or perhaps Sorry you had to go through that. .. • you may be in the wrong. We do not know Wednesday at 11: 49pm • Like this without seeing the evidence or all the Matt Marxteny (Programmer) The Red Rock facts (we only have your word). In saying that you are in the business of taking submissions Film Festival So sad that a few filmmakers cannot handle from filmmakers and sometimes festivals do criticism - no coincidence that a lot of these get one that could be considered “flakey”’ We filmmakers do not get into Cannes, Sundance, cannot say this for certain in this case as we Berlin, Toronto, SXSW and cannot understand do not know the whole story. Relating the why .On a lighter note, a few years ago a content of the filmmakers film to emphasize filmmaker did not make it into our festival. We your own predicament and stating that you thought the filmmaker would have a sense of are afraid of a horror filmmaker because they humor and invited their cheesy film to screen make horror films is simply nonsensical when at our ‘bad cinema night•. They entertained there is no evidence at all to support this. the idea. To our surprise, they submitted their You web site has a section explicitly geared new film later on and the new film got in! at horror filmmakers and has the following What a trooper -a true filmmaker. Filmmakers to entice submissions. “EDGE OF NIGHT. make note: it’s not about winning or being This series is lovingly tailored to the more the official selection; it’s all about contacts ‘adventurous’ festival-goer. Bizarre, scary, or and getting recognized. What was the age of just plain shocking”
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In addition, despite stating he is at war with the EIFF or on some sort of vendetta, the posts you have made here have dearly been made in an attempt to blacklist the filmmaker. This is completely out of line and unacceptable. You have a duty to protect all the filmmaker’s reputations and private and personal details who submit films to your festival. Perhaps you should confer with the volunteer Board of Directors for the EIFF before you make any further comments. If you have a genuine complaint against a filmmaker then why not what the rest of the world does do, report this to the authorities. I would strongly suggest that this groups administrator should really not allow this type of retaliation against a filmmaker when we have no idea of what has transpired and we are not in possession of the facts 59 minutes ago • Like Jeff Ross - SF Indie Fest How odd that I find myself disagreeing with you Tyrone, respectfully. I think a filmmaker who is abusive and threatening to one fest based on a rejection could quite possibly react the same way with another festival. All she is doing is warning people about an abusive individual. Some people have thin skin and dont appredate that kind of thing. You run a film festival, right? So you’ve said? Maybe you dont mind abuse from makers but I can see that some fest organizers may want to avoid such situations. (I on the other hand tend to get into it with them, as you can probably imagine ... . ) 51 minutes ago • Like
attack is as bad if not worse than the alleged offender. So who is worse here? the filmmaker who is annoyed and retaliating or the festival director who is annoyed and retaliating ? What I am saying is you have a duty to protect a filmmaker’s reputation as a festival and not blacklist them in such a way, it’s just not right!. In any event such an attack is as bad if not worse than the alleged offender. So who is worse here? the filmmaker who is annoyed and retaliating And yes1 (you do make me smile) I really could see that you would be over excited and eager to get into it and be argumentative with a disgruntle filmmaker. We all cope in our own way. Jeff Ross - SF Indie Fest I’m gonna hold my tongue and see if any of ourcolleagues care to comment before debating further . 35 minutes ago • Unlike • iJ 1 Tyrone D Murphy Universal Film & Festival Organization Okay Jeff1 I understand you are hesitant. Good call! Another important point to factor into this issue that must be considered is the Law. If this filmmaker is in litigation with the EIFF and this does seem very likely then it is paramount that the subjudice rule in Canada that restricts comments on an on-going case that may affect the outcome is strictly adhered to. Kerrie Long’s comments have really attacked this filmmaker’s credibility as not just only a filmmaker but his mental state1 Kerry even said “he’s crazy”. So we must all be really scared of this crazy horror filmmaker because she says so. Come on Jeff! she is dearly attempting to blacklist him among other film festivals. How would you feel of someone was attempting to blacklist your festival among the filmmaking community because you had an issue with them. So when you look at it from both points of view1 then you know it is wrong! Why just recently I was asked not to comment on wrong doing on this group when I was accosted by an individual with a dubious track record. As Jon Gann said at the time1 this is not the place!
Tyrone D Murphy Universal Film & Festival Organization Ah, Jeff my ond friend! Interesting as you are always the one to disagree (as always) This is a serious issue. We have not seen what this filmmaker has said, not one word! We also know that are some festival directors who have attacked the filmmaking community to fend off criticism of a shoddy and/or scam operation. What I am saying is you have a duty to protect a filmmaker’s reputation as a festival and not blacklist them in such a Charles Judson - Alanta Film Festival way, it’s just not right!. In any event such an If a festival organizer uses the words afraid
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and has to go so far as contacting other festivals, I would take that seriously. When we ran the 20 10 48 Hour Film Project one of the filmmakers who didn’t win any awards emailed all of our judges. He sent a very long, nasty and accusary e mail, the judges were all cool with it and shook it off Right now we have to manage one of our volunteers who in 2008 started exhibiting odd behivour and ion a film shoot in 2009 got into a fist fight and he stormed off another local film shoot in anger never to return. He hasn’t got into any psychical altercations since then, but his constant threats to sue us and shut us down and actions in general keep us on the alert. Every time we have someone new on staff and he contacts them it’s a major hassle. He still taunts me personally as least once a month and often a weekly basis. He sent me yet another cryptic tweet just this week (I had to unfriend him on FB) 9 m1nutes ago • Like
Charles Judson - Alanta Film Festival So a film festival opinion should live in fear instead and just let the threats escalate? This could all blow over, which it does 99.99% of the time. But if someone genuinely feels afraid for their safety, they should act on that. Again, Someone’s life is not worth a filmmaker’s career. And a filmmaker should never make statements that can cause any on to believe they may be in harm’s way, even if the threat turns out to be empty. It’s not only dumb career wise, but potentially a good way to go to jail a few seconds ago • like Jeff Ross - SF Indie Fest Kerri I support you and hope that you do feel this is a safe space for us to talk about our work. we just have to put up with this interloper who looks for things to get hot and bothered about . his mission is to protect all filmmakers from evil film festivals. hes like the NRA, always on the look out for a slippery slope. there was a time, on the WAB film festival directors board, that fest organizers could discuss INTERNAL issues amongst themselves without a self appointed defender of makers having to turn the attack on those who just want to talk about their day. Tyrone, seriously, this is not a court of law, this is a water cooler. chill out. 19 minutes ago • Like
Tyrone D Murphy Universal Film & Festival Organization I would agree if there was any evidence at all, but there is no threat here in this case, just a blacklisting exorcize insofar as I can see. We somehow have gone on to former volunteer you have had problems with. A question, why not apply the law to stop this former volunteer? Also , you are aware of some festival directors have been making threats to Tyrone D Murphy film-makers also? Universal Film & Festival Organization 2 minutes ago • Like Jeff, I can always rely on you to say something like that. I am not a self-appointed defender Charles Judson - Alanta Film Festival of anything. Interloper is an odd word, it How do you know there’s been no threat? would seem you are getting hot under the about a minute ago • Like collar again Jeff, please refrain from personal Kerrie long - Edmonton International Film attacks and childish remarks. This is also my working day and I do have an opinion. Festival Oh my. I didn’t mean to cause a stir. Your 15 minutes ago • Like points are all duly noted. I really believed this Jeff Ross - SF Indie Fest to be a SAFE place to share. Lesson learned. do you not even care what kerrie said “’ really about a minute ago • Like believed this to be a SAFE place to share. Lesson learned. • id rather you not stifle Tyrone D Murphy discussion here. stay your opinion and move Universal Film & Festival Organization on please. i would hate it if people felt they How do you know there has? (re Charles) couldn’t talk about our work here because of a few seconds ago • Like
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you. 12 minutes ago • like Quinten Bendigo Iraq International Film Festival Listen here buddy! (Mr Murphy) I support Kerrie long and the comments made by Jeff Ross. We are in business to make money and not to be pandering to filmmakers complaints about how we operate, most of the complainers are just whiners and sore losers, we get them all the time. Also, I have looked at this UFFO and I for one do not intent on supporting best business practices, also I will say what I dame well please here and anywhere else so you can take you high and mighty morals and remember that old saying (where the sun don’t shine) . I will not be allowing this “Whack job filmmakers” film to go through selection at our festival, any filmmaker who is dedaring war on a festival should be blacklisted by the festival community and I will be telling all my contacts about this nut case. Also,(this is the interesting bit) are the same Tyrone D Murphy who was an officer in the French Foreign Legion and worked as a counter surveillance operative for Hughes Aircraft, a company owned by the CIA. (I am also a former investigator Mr Murphy and I have looked at your background) 18 hours ago • Like
Universal Film & Festival Organization We are not talking about someone’s life, this is an extreme view. All of a sudden now this filmmaker is a potential murderer. This all reminds me of the movie “’ 12 angry men”, how quickly we all judge someone and how we take someone word for everything simply because they say so. Should you not know all the facts before you join in on this little blacklisting operation? Both you and I do not know the full story here, if someone has a problem go to the Police. We all love films, that’s what we all have in common and yes they are a few nut jobs but from all walks of life. As a former fraud investigator and surveillance specialist I lived with threats many times, I know what it’s like to receive a real threat and also know what veil threat is. But what I have seen here today is disgusting, so quick to judge. You are behaving like a jury in a kangaroo court, this guy is guilty, no consideration for his or her career, his or her own circumstances, no real thought or consideration if there may be something else going on here. Why not reserve judgement and not blacklist this filmmaker 8 minutes ago • like Tyrone D Murphy Universal Film & Festival Organization I would like to ask the admin to ask this person to refrain from this kind of hostility and abuse
From Jeff Ross - SF Indie Fest today : you showed your true colors with that last exchange, mate. have you noticed that no one in that group every takes your side in anything? four people told me they just block you so they dont have to read your posts, but i wont, because i want to be able to continue to expose your bullshit whenever neccessary. youve done a good job of proving to all the folks on that list that you do not have their interests at heart and are just a troll. every one now knows which side your on, so good Quinten Bendigo Iraq International Film job there, nicely done. we know exactly what to expct from tyrone murphy in any given Festival conversation. if you want to actually have an Mat you are a crazy kid! impact on the opinions of the people you are 13 hours a o Like your org are tying to influence, you might want to count to 10 before letting fly another Tyrone D Murphy Matt Marxteny (Programmer) The Red Rock Film Festival Wow, a lot of comments here. I think none of us understand what the abusive nature was in this case. We had a questionable filmmaker once that boasted about their “violent acts” and simply called the police, and left it like that. We just figured Hollywood would love them like they do domestic abusers, paedophiles, drug addicts and all the others ... 13 hours ago • Like
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200 word antagonistic post. Like • Comment Unfollow Post • 24 minutes ago Quinten Bendigo Iraq International Film Festival Well done Jef 21 minutes ago • Like Tyrone D Murphy Universal Film & Festival Organization please stop making comments that are hostile and meaningless 20 minutes ago • Like Jeff Ross - SF Indie Fest tyrone, please stop making comments that are hostile and meaningless 20 minutes ago • Like Quinten Bendigo Iraq International Film Festival gettig to much for you Mr UFFO man? 19 minutes ago • Like Jon Gann Moderator and DC Shorts Film Festival And this is NOW CLOSED. I am done moderating. Tyrone - this is a safe space for fest organizers to talk and discuss openly with one another and not judge. If you cannot follow this simple rule, you will be removed. Jeff- stop fanning the fire, please. 9 minutes ago • Like • .6 1 Tyrone D Murphy Universal Film & Festival Organization I would agree with that Jon , which is why I commented on Kerrie’s post which was judging film-makers and others jumping on the bandwagon and basically blacklisting a filmmaker. I am saying that judging in such a way is wrong also but now I cannot comment on this, I am not judging but question someone else judging. As Jeff is a moderator here he is really out to cause trouble 4 m1nutes ago • Like Quinten Bendigo Iraq International Film Festival Kick him off! 3 minutes ago • Like END
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Universal Film Issue 11 - 2013
THIRD WORLD ENTERTAINMENT
by John Robert Beardsley with Paula Devlin
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oday, perhaps more than any time in or training. As one corporate executive history, the controlling factor in the so brilliantly explained. “Don’t waste your theatrical arts industry is the bottom time giving these people anything artistic. line. The unfortunate difference They won’t understand. The audience won’t now is that at the major studios those appreciate anything with quality. They I quickly with little and no artistic depth or put their brains in their glove boxes found experience and a predetermined respect for before they come thru the gates.” my original (“Speak for yourself,” methought.) agenda are making the decisions. craft frustrated
After years as an actor and fight director, seeing audiences not know whether to clap or laugh or even when the show was over, I made a decision to work at the university level to train students in the art of stage combat. My career blossomed as an artistin-residence (which was a pleasant upgrade from starving artist status). The artistic choices were exciting and I enjoyed a unique freedom for discovery in the academic setting. From there, Themed Action Entertainment was the next step. It provided work with corporate as an independent contractor.
This mentality has been running everything for longer than we wish to know. We have been manipulated by “our betters” for way too long. Rarely have I seen ethical or professional behavior among big entertainment providers. They are bent on producing raunchy Hollywood drivel for profits instead of inspiring, thoughtprovoking stories with characters striving for noble goals. Base emotions are played: facts, logic and character development through dealing with conflict are gone. Degradation of mankind, traditional morals and culture is ubiquitous.
I quickly found respect for my original craft frustrated by artistic decisions made by “white shoe boys”, with their pricey MBA’s and no theatrical background, expertise
Many actors aspire to have meaning in their work. Unfortunately, many sell their souls for lucrative opportunities and once committed to that, rarely turn back. Work
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is for those who settle for low-end circus performing. Don’t get me wrong: I have great respect for real circus performers. I am talking about poorly trained performers in Pavlovian themed productions. They just run from stage left to right for a bone without credible interactions. Watching quality steadily drop on what I hold dear to my heart is disturbing. The land of the brave, free, self-reliant individual where I was raised has transmogrified into the land of corporate sock puppets programming the increasingly ignorant. Edward Bernays’ propaganda techniques (which he called Public Relations) have been employed with devastating success on a naive, trusting public. This has led me to focus on the contemporary art form, film, weaving together so many areas of expertise, and the underlying question of this essay: artistic freedom and the quality of life. The struggle I see is goodness, honor and intelligence being drained from our souls by design. How long are people willing to ignore it and accept this diabolical degradation of humanity?
egos were bigger than their brains and talent combined... on a good day. The client had no clue; the unethical production company cared nothing about whether the show even opened but was content to milk it for what they could. They boasted they would open with a viable product in four weeks. Five months later it had not opened. There was no preparation, communication or understanding of how to create a good product. Work that is being offered by corporate to artists has destroyed true art and the quality of human life. It offers little more than a highend slave market, just like everything else. Cecil B. DeMille marked the end of the Golden Era in Hollywood. He refused to accept the terms of the bean counters and was crushed in the process. Most great artists have all had to produce their art for the fickle, often perverted, elite.
Predictive programming through movies and TV has been wildly successful. However, general audiences may be begining to make a statement at the box office: witness the big What I learned is that everything has been bucks bombs in the summer of 2013. sold out to offshore interests that do not share our American/Western cultural values. Is it time for an Artistic Revolution? An artistic When I worked in Japan there was still quality renaissance must begin by weaning from and the opportunity to work with people of corporate. We will have to work with less, but artistic and personal integrity. In this new indies are already doing that by taking their third-world, arrogantly anti-Ameican control artistic visions into their own hands, creating of artistic quality, storyline and values, I in a milieu of freedom and integrity. found a completely degenerate quality to the business of providing entertainment. It The answer lies in the hands and hearts of real was people pretending to imitate art but people with sound artisic decisions made by producing nothing but clips and soundbytes culturally/historically (as opposed to politicalof something they understand about as well ly correct) educated Americans. Artists must not be swayed by the erroneous assumptions as they understand quantum physics. of the propaganda machine about humanThe world is numbed by these entertainment ity. Audiences will support good material, industry frauds who have no focus, training or well-executed. discipline, much less professional standards. That Caribbean production outfit took pride It is time to re-invent our industry: creating in treating artists as slaves, stupider than with integrity, honor and joy for people hunthemselves, aggravated by the fact that they gry for the same? had no idea of how to build a production or provide marketable entertainment. Their
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Universal Film Issue 11 - 2013
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UFFO UNIVERSAL FILM & FESTIVAL ORGANIZATION “promoting best business practices for film festivals” www.uffo.org 212 international film festival members
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MOVIE MONEY e n i z a g ma Issue 01 - 2013
all about
FILM FINANCE what are the banks saying? interviews with top film finance experts www.moviemoneymag.com
Subscription You can subscribe to Move Money Magazine online at our web site www. moviemoneymag.com.
ONLINE EDITION The online version of the magazine has the benefit of being interactive, and contains video interviews and links to many fund sources.
UFM When you subscribe to Movie Money Magazine, you will also receive a free subscription to our sister publication, The Universal Film Magazine. www.ufmag.biz
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agazine Movie Money Editor tyrone d murphy Assistant Editor Kevin a murphy Film and Event editor CRAIG SMITH Advertising Director ev johnson Sales & Marketing joanne kelleher Proofing Editor TODD VOLT Michelle Goode Contributions Steve Rogers Adrian Ward Paul Brett Carey Borth Vinca L. Jarrett, Esq Bernd Stephan Jeanette Buerling
Questions and feedback: Movie Money Magazine
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Editor: Tyrone D murphy Tyrone D Murphy is an award-winning filmmaker, the CEO and founder of UFFO, the Universal Film & Festival Organization (205 Film Festivals) and is the founder of the Universal Film Magazine, which is distributed in over 100 countries worldwide. He is also an active member of the BAFTA Management Committee, the NUJ and the DGGB.
Contributions from Industry Experts Adrian Ward is the Senior Vice President - Entertainment Industries Division at Pacific Mercantile Bank in California, USA.
Steve Rogers is the CEO of Premier Pictures; a provider of funding to producers via structured finance, pre-sales, tax credits and EIS equity.
Bernd Stephan is the president & CEO at Media Finance Group, LLC. He is a seasoned expert in all aspects of film finance.
Welcome
Welcome to Movie Money Magazine, the only publication in the World that is solely dedicated to film funding and investment. Each issue contains in-depth interviews and contributions from many of the worlds leading industry experts in film funding, tax incentives, industry trends and sources of funds. MM also includes a section dedicated to films in development, and feature films seeking film funding and distribution. MM reviews and profiles current trends by investors and funds and reports on funds, tax incentives and sources of soft funds all over the world. Movie Money Magazine serves as a financial conduit directly connecting film-makers with investors and fund sources.
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Movie Money Issue 1 of 2013
CEO of the Prescience Paul Brett talks to Movie Money
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aul Brett is a direc- Universal). Prescience is an future of film funding and tor of Prescience integrated media company investment heading? and has worked in that focuses on film prothe media industry duction, financing and in- PB - I don’t see any particsince leaving university 28 ternational sales. Launched ularly radical changes. This years ago. He has worked in 2005, it has provided business been in existence at Video Arts, Catalyst, Par- over £250m of film finance for about 100 years, and it amount Pictures, Universal for independent UK and carries on the same way Studios and Pathé. Paul de- US productions, including that numbers swell and reveloped and implemented multiple Oscar winner, “The treat, and players come and the UK exhibition go, and at the moand distribution “There is no particular genre that ment it’s a buoyant strategy over a market. The indeworks well” three-year period pendent film busiat the British Film ness is thriving, and Institute/UK Film Council, King’s Speech.” Prescience there’s been a continued before leaving to found Pre- also jointly owns the in- professionalism of the marscience with Tim Smith. ternational sales business ket for the past 25 years. Ealing Metro, in partnership At the BFI/UKFC, Paul was with Ealing Studios. Pre- MM – What film genre responsible for the BFI’s science provides a variety of shows the best return for relationships with exhibi- different sources of financ- your company? tors throughout the UK and ing for UK and international Northern Ireland, including film productions. PB - I have no idea. Any film both art house and comcan be made, it’s just about mercial cinemas. Prior to The different types of finding the right price. this, he worked for Miramax financing include: There is no particular genre International as Vice Presi- • Debt financing that works well, because dent of European Market- • Bridging the moment anyone sees a ing, as well as Pathé/Guild, • Development funding pattern, what you get is a VCI and CIC (a joint venture • Equity glut. The ambition is to find between Paramount and MM - Where do you see the a film that looks like a good
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Movie Money Issue 1 of 2013
value, because I think, subconsciously, the audience is thinking, “For my bucks, am I going to get value for the price of my ticket?” I think that’s the most important question. It’s certainly the one that drives us as we look to fund films. Will there be an audience for this film, will they see this as being valid? By definition, independent films are cheaper than studio films that have much higher overheads. You may have a “Paranormal Activity,” but the studios are bombarding the audience with films that are literally thousands of times more expensive, and I think the audience takes that into consideration. That being said, if they think that the film is going to be entertaining, that will overcome budget shortfall.
MM - How has the economic environment affected the way your company operates? PB - Every day we re-examine our business to make sure we are offering our investors the very best return for their investment – this is in the forefront of our minds. What has happened in the past 6 years of economic recession is that the money is still out there, but it doesn’t know where to invest. The issue is not that the money supply has dried up, but that it’s harder to make that commitment with one’s money. MM - What should filmmakers do to improve their chances when seeking funding? PB - That’s easy: think about the end user. You don’t alter
your movie, but you think about how the audience is going to consume it. If you are content for it to be streamed so people can view it on their computers, that’s fantastic. But if you want a Leicester Square or Chinese Theater premiere, then plan accordingly. Don’t alter your creative intent because the marketing maidens tell you to. I certainly would not ask to change a creative vision. MM - What difficulties can filmmakers face when finding funding? PB - In a nutshell, the competition. There’s too much demand out there; it’s far too easy to make a film. Our mantra is: it’s not difficult to finance a film or to make a film, the real trick is getting someone to see it.
Next Issue ,
MM will be profiling The Aramid Entertainment Fund in the next issue of MM. Arimid is an Open Ended Investment Company (OEIC) incorporated in the Cayman Islands. The Fund provides short and medium term liquidity, on a low to medium risk level, to producers and distributors of film, television and other media and entertainment content by way of loans, secured against a variety of assets.
www.moviemoneymag.com
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Movie Money Issue 1 of 2013
CEO of Premier Pictures Steve Rogers talks about film funding
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content using the latest mobile technology. The uncertainty over future income and sales creates a higher risk perception for distributors, investors and lenders. Coupled with today’s global financial difficulties, there The words of Bob Dylan, are fewer lenders of senior “The times they are debt (secured on pre-sales) a-changin’,” couldn’t be and gap lenders (secured on more true these unsold territories), days for the busiThe words of Bob Dylan, “The and they’re taking a more prudent ness of film, which times they are a-changin’,” to the is going through a couldn’t be more true these days approach amount they are period of painful, prepared to lend. but exciting, evolution. the public’s appetite for film Investors need to feel they is as strong as ever; it is just are getting a return approThese are indeed challeng- the way they like to view it priate to the risks, and dising times. Many film-relat- that is changing. tributors are generally beed businesses are failing. ing more cautious. Sales agents, distributors With the possible exception and post production houses of major studio blockbust- Although times are tough, have been migrating into ers, most movies must now governments recognise the administration. Traditional make their money from an many social and economic film distribution models are increasing range of non-tra- benefits that are delivered evolving and DVD sales are ditional sources rather than by film production. Attracfalling (closely linked to the box office and DVD sales. tive tax credits therefore failure of high street retail- This is the result of the remain available from ers and video rental firms, proliferation of digital dis- many international territoand the continuing prob- tribution channels and the ries for filmmaking in their lems with piracy), but ex- ability of consumers to view local areas, and many re-
teve Rogers has a wealth of experience in investment, Development, Venture Capital, and Film for Premiere Picture and Premiere Capital
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citing opportunities are being embraced, as well. The greater use of 3G and the rollout of new 4G broadband support an ever-increasing range of mobile platforms on which to view content. Briefer, overlapping profit exploitation windows create a more intense marketing period. Fortunately,
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gional grants are available. In the UK, the government encourages individuals to invest venture capital into new businesses by providing tax benefits (such as through Enterprise Investment Scheme and Seed EIS), which are ideal to help offset the risks associated with film production. At Premiere Picture, we have been providing funding to producers via structured finance, Pre-sales, discounting Tax Credits, and EIS equity. Our experience has been that the most successful producers – the ones who actually get their films financed and made – focus closely on the commercial potential of their films, match the budget, cast to realistic sales projections to give the investors the best chance of a return on their investment, and take full advantage of the government support available to filmmakers. Premiere Picture is attending the Cannes Film festival and can be contacted on info@premierepicture.com
UFFO Universal Film and Festival Organization “Promoting best business practices for film festivals” The Universal Film & Festival Organization was founded to support and implement best business practices for film festivals throughout the world. UFFO is a global voluntary organization and is non-for-profit. It’s remit is to bring together the highest quality of Film Festivals and the film making community by encouraging film festivals to become sound in best business practice. To date we have been very successful in this endeavor with over 205 international film festival members. The UFFO “best business practices “is completely voluntary, it is free and easy to implement. In addition it is a blueprint for filmmakers in deciding which film festivals to do business with. A Message from the UFFO President Maureen O’ Hara “Every once in a while there is something that stands out and compels us to notice it; I think that is what struck me most about UFFO when it was first brought to my attention. I am so tremendously honored and proud to be the President of such an international organization that promotes ethics in an industry I love so much” Maureen O’ Hara To get involved with the organization as a member, a volunteer or to sponsor UFFO please e mail info@uffo.org Our web site is www.uffo.org
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Movie Money Issue 1 of 2013
The Asia Film Financing Forum
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Award recipients include winners for the HAF Awards, HAF Script Development Fund Award, the 2nd annual HAF/Fox Chinese Film Development Award, the Technicolor Asia Award, the Paris Project Award, the Wouter Barendrecht Award, the Network of Asian Fantastic Films Award, and two new awards this year: the ARRI Awards and the Catapooolt Awards. HAF Awards were selected
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from 25 project finalists, chosen from more than 250 worldwide submissions. The selection comprised 22 features and three documentaries, with five quality Hong Kong-based projects in the running.
made the 11th HAF a success and continued its legacy as Asia’s most anticipated film-financing platform,” said Roger Garcia, Executive Director of the Hong Kong International Film Festival Society, the organisers of HAF. “We are proud of The Awards Ceremony our work bridging the gap was held at VIEW 62 by between talented filmmakPaco Roncero at the iconic ers and producers and film financiers who “E-Max Cineplex Presents the want to bring great 11th Hong Kong - Asia Film Fi- these projects to life.”
he 11th Hong Kong Asia Film Financing Forum (HAF) announced its winners for the culmination of a threeday event connecting filmmakers with financiers, distributors, and producers at the Hong Kong Convention and Exhibition Centre.
nancing Forum”
Hopewell Centre in Hong Kong, and attended by filmmakers. Films were awarded cash prizes of HK$150,000 each. “My deepest appreciation goes out to all participating filmmakers, funders, partners and sponsors for their support, and to the dedication of HAF staff and volunteers that have
The Hong Kong - Asia Film Financing Forum is widely recognised as the most important film-financing platform in Asia. It brings Asian filmmakers who have upcoming film projects to Hong Kong for co-production ventures with top film financiers and producers.
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Movie Money Issue 1 of 2013
Jeanette Buerling, CEO of the Media Magnet Group
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eanette Buerling, CEO of Media Magnet Group, a film finance and production company, with offices in Beverly Hills, Cologne, and London talks to MM. The Company was launched in 2009 as an equity film fund. It has since expanded to include senior and junior debt financing for films, funded by its German division MMP. MM. Where do you see the future of film funding and investment? JB. The film finance industry has undergone drastic changes in the last 24–36 months. Equity funding diminished and debt lending became more prominent. We started off as an equity investor and have done quite well. However, we do see that a combination of debt and equity may be the best solution for us. We are therefore more active in the debt/mezzanine space at
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present and we see that to be the best of both worlds. MM. What should film-makers do to improve their chances when seeking funding?
film-makers, enabling them to learn how to close their film project. MM. What made you decide you wanted work in this sector?
JB. In my view, film-makers need to learn about the complexity of film financing. Today it’s not just about the creative side of a film project and more. The financial side is a key element towards getting a film made. The more a film-maker knows about film funding, the easier it will be close films and to get them onto the big screen.
JB. My love for storytelling. I started working at a network station when I was still in university studying business. Soon I discovered that the combination of creativity and business are best suited for me and I am glad to be able to work with both sides of my brain on a daily basis.
We started a non-profit foundation to educate film-makers. We do so through conferences, round table discussions and film finance events. We also offer one-on-one advise. We are launching an online film finance channel (www. filmfinanceTv.com) to deliver important news to
I was trained in television and then in the studio system on how to develop and produce programming. I added the finance component about eight years ago, when I decided to find my own money for projects. It turned out to be a valid investment structure for various financiers, who to date still invest with us, because they made good returns.
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Movie Money Issue 1 of 2013
Bernd Stephan, President & CEO at Media Finance Group, LLC
B
ernd Stephan is the president and CEO at Media Finance Group, LLC. He is a seasoned expert in all aspects of film finance, with a long track record of securing large volumes of independent film finance.
funding heavily relies on pre-sales, for the companies I have worked with; the best genres are romantic comedies, action, thrillers and love stories. We have worked with companies that would not look at urban, sports or animated movies.
MM. Where do you see the future of film funding and investment?
MM. Given the current economy, how do private investors view movies as possible investments?
BS. For independent film it is hard to find any institutional money right now. The reason is that institutional money has been burned a lot by the industry, that’s number one, so when you look for independent funding you either find it from an independent production company who are willing to take on your picture, or go to some high net worth individuals. MM. What genre film has the best return for your company? BS. In the independent film world, because the 10
BS. Movies are not a favorite investment choice, and private investors, most of the time, have an ulterior motive: they are not looking at great returns but because they see it as a sexy investment. My advice is for any business, not just movies: do not try to sell an investor on the fact that it’s a home run and he is going to make so much money, because the first thing any investor who looks at an investment is thinking, is how can these guys screw up and lose all my money? You must show the investor that you are responsible with
their money, and protect the downside, that’s number one, because at least if you get over that hurdle, then you have a chance to continue the conversation. You must approach it as a business, if you want to get someone to invest heavily in a film, say millions in a film, it’s a lot of money, so approach it as a business. It all comes down to revenue minus expenses and profit; then, if you show them that you’ve done your homework when it comes to the profitability, it will help your cause. MM. What is the key to success for any film-maker? BS. The key to any business is revenue generation, and in film the key is in achieving distribution; so getting a top international sales agent lined up and having a strategy in regards to domestic sales, is always the solution. I regularly tell people that it’s easier to find the money for a $25M movie
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Movie Money Issue 1 of 2013
than it is for a $2M movie. For instance, say you meet someone for drinks and the producers are sitting there at the next table, doing their calculations as to how much equity they need. They say the movie is $10M; so therefore $5M is needed in pre-sales, $3M in incentives and $2M in equity. Well, that calculation never holds water, because people tend to forget that even if they can get an incentive of $3m, if they need to cash flow it, they either need to bank it and a bank is never going to give 100% on a tax incentive, or you have sell to somebody and they are not going to give you a hundred cents on the dollar either. There is also a discount that people don’t take into consideration; consequently the equity requirements go up. MM. How does it work with pre-sales? BS. Well, it’s the same for pre-sales. If you have $5M international pre-sales, especially if it’s $5M total international sales or $5M real hard pre-sales that you have contracts for, it never translates into a $5M production loan. This is because a bank will never give you a dollar for dollar loan contract from a secondary territory, even
for primary territories such as the UK, Germany, France, Italy, Canada, Australia and so on, being contingent on the basis that the distribution may discount it. So when people do their calculations, they forget to take that into consideration. That’s one of the common mistakes that I see: they don’t understand that even if they are entitled to incentives, or if they have pre-sales, that somehow the money needs to be cash flowed.
incentive for the movie “Law Abiding Citizen” in Pennsylvania, but we had to sell the incentive because it was transferable but not refundable. You need a tax payer who has a liability of $9M, so we sold it for 91 cents on the dollar, but the banks still discounted it by 7% because there was a so-called tax credit risk. This basically means that if you don’t spend all the money then the banks won’t be able to get all the incentives.
MM. What percentage does a bank lend against a tax incentive?
MM. What is the hardest part of raising film finance?
BS. I would say that you can raise between 70-90% and sometimes 100% on a tax incentive; it all depends on which territory the incentive is from, as each territory’s criteria is different. If it is an incentive in Louisiana, the state of Louisiana buys back the tax incentives at 85 cents on the dollar, so the bank is giving you 85 cents on what you are asking for. MM. What steps does the bank take to protect its investment? BS. Well, the bank will hire an external consultant who scrutinizes the numbers, and this gives the banks comfort. We had a $9M
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BS. The hardest part is always the equity, because financing a movie is one of the hardest things you will ever do. It is the old dilemma of the chicken and the egg. You want to attach named talent to your project, and to do so you need to Pay or Play, and they (the talent) will want to see the money. However, you can’t send a Pay or Play offer without securing the talent with a deposit, and so you need the money, and the investor will want to see talent attached before they give you the money. Therefore, until you make it Pay or Play, the talent is not attached. No talent, no money, no movie.
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here are many factors for film-makers to consider when seeking funding, but first they must take an honest and objective look at the project and themselves. It must be worthy of a few years of their time and they must be truly passionate about the project before they involve “money people”. Filmmakers must recognize their own skill set. If skills are lacking, then consider a co-production with more experienced film-makers and If they have a highconcept script, they should pitch it to the studios instead. If the film-maker isn’t able to break down a script for a comprehensive budget, they should hire a line producer who will help determine an accurate budget and top sheet. Both the script and synopsis must be as well written as possible and in a marketable genre if foreign pre-sales are sought. Foreign pre-sales are difficult but can be
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Movie Money Issue 1 of 2013
What should film-makers consider
when seeking funding? achieved if the genre is psychological thriller or horror. Suspense and fear sells; it is universal. Stay away from comedies, as a rule, since crossover is low to multiple countries. Also realize that many investors do not read scripts. Instead, their focus is on the logline, beat sheet, poster/ graphics, a catchy synopsis, treatment, executive summary, business plan, A-list director/A-list talent, and the film-maker’s track record. They need to know the rate of return on their investment and how money will be returned to the investors. What are the comparables? List the box office estimate/cost, the cost for five similar films that made money and five similar films that took a loss. When you pitch your projects to investors be prepared, honest, knowledgeable, confident and fairly aggressive. Be forthright in your dealings, as this is an incestuous business. “Be nice to people on your way up because you’ll meet them on your way down.” It is the nature
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of the beast. Have your entertainment lawyer write about the risk involved in the project. Be prepared to discuss the organization of your company and who the managers are. Who is the director and who are the key production team members? Add as much credibility as possible along with an industry overview to your business plan and pitch. When the background information is ready and the top sheet of the budget prepared decide how the corporation or LLC will be structured. Consider crowd funding as a way to raise capital that you do not have to pay back. Your film “package ” will only be complete if you have set reasonable expectations for the budget. Recognize that you need to establish your own track record by starting with smaller projects before tackling larger ones. Consider the fact that this is an on going business and that you are establishing relationships. If you are in the US, for example, remember federal security laws change so you must keep up with them. Each state of the US and every
By Carey Borth province of Canada have their own tax incentives that change all the time. Producers must check and recheck the laws and never assume anything. Finally, establish a network of strong advisers. Agents, managers, publicists, social media experts, marketing professionals, well-known producers, lawyers, bankers, financial planners (as contacts), and mentors all add value to the filmmaking process. This is key so that you may run your ideas by them and thereby make yourself more attractive to potential investors. You may use them as a sounding board to seek advice on whether a potential deal is legitimate or if it is fraudulent just a bad deal. Also, do your due diligence before making any financial commitments to anyone, be it a friend or a stranger. Carey Borth Producer/Attorney/Writer BBA UW-Madison, WI JD Pepperdine Law School MFA UCLA Film & TV careyborth@mac.com
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Movie Money Issue 1 of 2013
Enterprise InvestmentScheme
T
he Enterprise Investment Scheme (EIS) is designed to help smaller higher-risk trading companies to raise finance by offering a range of tax reliefs to investors who purchase new shares in those companies. The company has to observe certain rules, not just at the time of the investment, but for at least three years afterwards. If it fails to meet those rules, tax relief will not be given; or, if it has already been given, it will be withdrawn. Similarly, companies should appreciate that investors must meet certain conditions for tax relief to be due. For individuals who subscribe for shares in an EIS, several kinds of income tax relief are available: Capital Gains Tax exemption. Investors who have received income tax relief
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(which has not subsequently been withdrawn) on the cost of the shares, and the shares that are disposed of after they have been held for a qualifying period. Any gain is free from Capital Gains Tax. Share loss relief. If the shares are disposed of at a loss, investors can elect that the amount of the loss – less any income tax relief given – can be set against income of the year in which the shares were disposed of, or against any income of the previous year, instead of being set off against any capital gains. Capital Gains Tax deferral relief. This is available to individuals and trustees of certain trusts. The payment of tax on a capital gain can be deferred where the gain is invested in shares of an EIS qualifying company. The investment. All shares must be paid up in full, in
cash, when they are issued. We would advise companies and investors to ensure that any shares on which EIS relief is intended to be claimed are not issued during the company registration process, but are issued only at a later date when the company is able to receive payment for them. Shares must be full-risk, ordinary shares, and may not be redeemable or carry preferential rights to the company’s assets in the event of a winding up. Shares may carry limited preferential rights to dividends, but there must be no arrangements to protect the investor from the normal risks associated with investing in shares, nor any arrangements at the time of investment for the shares to be sold at the end of the relevant period.
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Movie Money Issue 1 of 2013
UK Tax Authorities targeting the film industry as five more face charges
T
he UK HM Revenue and Customs (HMRC) has secured criminal convictions against a gang of tax fraudsters jailed in the UK for creating a fictional feature film in order to claim nearly £1.5 million in VAT relief along with nearly £1.3 million in film tax credit claims. The HMRC has concerns about scams involving this tax relief fund, which is designed to help get more British productions into cinemas and increase employment for UKbased film support businesses. The leader of the gang, Bashar Al-Issa, from London, was jailed along with Aoife Madden, Tariq
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Hassan, Ian Sherwood and Osama Al Baghdady. Evolved Pictures perpetrated the astonishingly bold scam, hyping the
project as a top-end production with Hollywood A-List talent attached. The producers claimed the film required a bud-
get of £19M, which translates to £2.8 million ($4,216,587) in VAT relief and tax credit claims. John Pointing, HMRC assistant director of criminal investigation (AKA “The Bulldog”), said, “This gang thought they could exploit the rules for genuine British filmmakers and thieve from the public purse for their own gain. They were wrong, as HMRC will not stand by and let that happen. Falsely claiming VAT that is not due is illegal – so we are pleased that instead of this film flop going straight to DVD, these small-screen Z-Listers went straight to jail.” www.moviemoneymag.com
Universal Movie FilmMoney Magazine Issue 1 of 2013
Sources have told MM that the UK tax authorities have now set up a special team to scrutinise current and past applications for irregularities. A recent announcement tells of yet another alleged UK tax scam by five British movie industry names who are being charged in a more than £125 million ($194 million) tax relief scam marketed to UK investors. Charges against Keith Hayley, Robert Bevan, Charles Savill, Cyril Megret and Norman Leighton are being brought by the UK’s Crown Prosecution Service after an investigation by HMRC, the UK government’s equivalent to the IRS in the USA. Each of the five will face charges of conspiracy to defraud contrary to section 1(1) of the Criminal Law Act 1977, section 17 of the Theft Act 1968 and Common Law. At the time those laws were enacted, the tax relief system operating in the UK was shut down after it was exploited by tax consultancies. The old system was replaced by the current tax credit system, which seeks to incentivize producers and investors in a more efficient way.
The Universal Film Magazine is a free magazine that delivers passionate and creative coverage to the global film and festival communities. The Magazine has gained a firm reputation for tackling corrupt or disreputable film festivals who rip off student film-makers, sponsors and even blacklist filmmakers with little more than a casual comment. This is evident in the magazine as it has exposed many festivals and has named and shamed those involved in dubious practices. UFM is partnered with and holds distribution rights with organizations including AFM, APP-World, Sat-Com, NAPTE, BEV, Production Show UK, NAB Show, Broadcast Show Africa, Latino Mediacon, IBC Amsterdam, Mandy, Directors Guild and Production Base as well as many more industry institutions and international production shows. The magazine is entirely free and has an impresssive circulation in over 100 countries. www.ufmag.biz
The CPS said all five defendants are due to appear before Birmingham Magistrates’ Court on June 18th.
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Movie Money Issue 1 of 2013
Interview with Craig Smith CEO of the Film Finance Awards
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he Film Finance Awards (FFA) is working together with UFFO, Universal Film Magazine and Movie Money Magazine for the next Film Finance Awards Gala, to be held in London on October 26, 2013.
ceremony. FFA recognizes structural, inspirational and creative investment across a range of film finance categories. During the year, the FFA team organizes several awards events in Berlin (February), Basel (April), Cannes (May), and Beverly Hills (September).
MM – What does the Film Finance Awards do?
On the night of the Awards, government organizations, the investment community, and individuals working on behalf of and within the film industry and film finance communities will be recognized for their achievements in more than 20 categories of investment.
FFA – Our team hosts a series of high-end film and entertainment investment events during the year, with the final Awards Gala taking place in the finance capital of the world, London, England, on October 26th. The Film Finance Awards jury will vote on all of the nominations to determine which will make the short list for 2013. The jury dinner and vote will take place the night before the awards
Common to all nominees is a shared goal: to promote and finance the production of critically and commercially successful films. The program consists of open-
ing VIP cocktails, seated dinner, awards ceremony, evening entertainment and networking. MM – Why have you brought Film Finance Awards to London? FFA – After successful events in the Martinez Hotel in Cannes during the Cannes Film Festival and the Lux Hotel in Beverly Hills, we started receiving requests to run the Film Finance Awards in London. With the ever-increasing importance of international finance for local and international film – and the fact that London is the capital international finance – it seems to be the logical location to hold the Film Finance Awards. You can send in your nominations for the 2013 Film Finance Awards through our website.
www.filmfinanceawards.com 18
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Movie Money Issue 1 of 2013
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Movie Money Issue 1 of 2013
THE EVOLUTION & FUTURE OF FINANCING INDEPENDENT FILMS
F
inancing inde- ance-backed schemes folpendent feature lowed by hedge funds (many films has come of them Ponzi schemes) and a long way since even banks dumped other the 1930s, when first doc- people’s stupid money into tors and lawyers put up feature films without any one hundred percent of the understanding of how films money for a film, about a provided a return on an inprize fighter, that the stu- vestment. What has changed dios weren’t interested in at significantly for financing the time. That film; part of films includes cheaper techa slate of three, went gang- nology for making indepenbuster, while the other two dent films; smaller returns never recouped, netting the due to the decreased DVD investors an overall profit market resulting in smarter, from just the one movie. Doctors and lawyers put
By Vinca L. Jarrett, Esq. and a new financing method through non-recoupable crowdfunding sources.
Increased awareness of global tax credit and soft money incentives has allowed investors to hedge ten to thirty percent of their investment just by careful production location and spending in jurisdictions that incentivize the total costs spent locally. While Canada has led the charge, America has challenged the global up one-hundred percent of the mon- market to make inFinanciers have centives based on ey back in the 1930s always been atspend rather than tracted to the alpolitically inspired ternative investment space less expensive films thanks “cultural tests”, allowing of film not just to turn a to technological advances; productions to shoot worldprofit, but for the residu- a worldwide increase in wide at reduced costs. Jurisal effects it can reap them soft money tax incentives; a dictions in Eastern Europe, such as invitations to exclu- need to make smaller films South Africa and Ireland sive events with stars and more appealing to a wider have sped ahead to protalent in locations such as audience through ensemble tect their share of producCannes. Today’s investors casting; more investment tion and compete for the are increasingly becoming coming directly from dis- coveted American projects more savvy about the film tributors; an increase in film that tend to be more star investment space after the festivals and social media driven and bring in more heady 90s through this new allowing the smallest player dollars to a local economy. century, where first insur- to market a film worldwide; Another change has been 20
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Movie Money Issue 1 of 2013
from global distributors and sales agents; all competing for fewer theatrical films in a crowded international marketplace; all trying to be the next Slumdog Millionaire. Today’s savvy distributor not only sells a movie after it is completed, but looks for product to pre-finance through its sales efforts by putting up a minimum guarantee (which can be banked by senior and mezzanine lenders) or getting involved in independent projects at script level; influencing casting choices in order to secure the best films early on in the production phase. Talent remains an important factor, but instead of the one-name headliner of yesterday’s indie marketplace, today’s films lean towards smart ensemble products with multi-national A-list actors (as well as directors and writers) that allow distributors to market the films to global buyers. This has increased the importance of agencies coming on to package the ensemble, financing and distribution primarily for the U.S. market at the major festivals. The most important trend for those seriously getting involved in film funding today is crowdfunding used to launch not only the development or post-production financing of a film, but
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the entire production, and also serves as the project’s first marketing efforts, establishing it with its first guaranteed audience before it’s even submitted to a festival. No film going forward today that hopes to garner a theatrical release in the United States can honestly seek success without a team that assures social networking on a global level, bankable ensemble casting, and financing that includes tax credits, minimum guarantees and crowdfunding in addition to the traditional equity investment. Today’s independent feature film investors no longer have to put up one hundred percent of the investment in order to reap the initially sought benefit of mingling with the stars. Instead, the smart ones have figured out that twenty five to thirty five percent of a film’s budget may be sufficient equity to invest in getting a film made in today’s independent feature film business, and still maybe hit the lottery with the success that gets them to profit. Vinca L. Jarrett, Esq. is an entertainment lawyer and president of FilmPro Finance, a financial consulting service for investors and producers funding oneoff films and building film slates. 21
Movie Money Issue 1 of 2013
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Movie Money Issue 1 of 2013
,
Next Issue MM will be profiling Clarius Capital Film Financing in the next issue of MM. Clarius Capital provides subordinated debt (mezzanine) financing for experienced producers of feature length motion pictures, with production budgets in the $10 million to $20 million range. Clarius also provides $18 million of marketing financing (prints and advertising--P&A). This approach to film production and marketing financing allows independent producers to secure wide-release domestic distribution agreements on favorable terms. They also structure each transaction so that their respective interests are aligned. According to Clarius, this is a fair and transparent approach, rare with studio financed productions, assures that any profit participation is shared proportionately. Full profile of CLARIUS in next months issue
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Movie Money Issue 1 of 2013
A
drian Ward, has a wealth of experience in the Entertainment Banking sector. He is currently the Senior Vice President - Entertainment Industries Division at Pacific Mercantile Bank talks to Movie Money MM - Where do you see the future of film funding and investment?
to be more sophisticated and can come on board from earlier in the process. Overall, smart money has tended to replace dumb money that was too plentiful in supply before 2008/09. MM - How has the economic environment changed the way you do business? AW - We are more cautious with our loans across the board. We practice more rigorous risk mitigation and there is more due diligence every step of the way. Hav-
AW - Be aware of the market that their film is intended for. Also, put more work in to reducing the production costs, especially above the line costs, of their film. Many smaller, independent films do not work as a business model because talent is paid too much. The final piece of advice is to be patient and always have a back-up plan.
AW - Crowd funding has MM - What difficulties can gained headlines recently filmmakers face when raiswith VERONICA MARS and ing funds in the film sector? other projects but is that model viable for AW - There are a high volume of many difficulties Crowd funding has gained mainstream, comfilm-makers can headlines recently with mercial features? face that range VERONICA MARS and other from Investors who – probably not. I still see the existmislead filmmakers ing model that we about their ability (banks) deal with – lending ing said that, content pro- to fund projects. Also, inexagainst pre-sales, tax cred- duction is still very strong perienced lenders who have its and providing gap – as (quality over quantity I unrealistic expectations on being viable, it’s just that would say) and we are see- how a finance structure will different rights are now ing international markets work or what their clients taking on more value (VOD) being more robust albeit should be paid, etc. etc. It as older rights (DVD) are in at significantly lower prices pays to get a good lawyer decline. than 4-5 years ago. and if you hit a wall find another producer who has Investment funds are com- MM - What can filmmakers previously got around your ing from different sources do to improve their chances problem. and now those sources tend when seeking funding? 24
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Movie Money Issue 1 of 2013
Film Production & Co-Productions
Film Productions/Co-Productions Post Production/Special Effects Crew/location scouting
Classic Media Entertainment An award winning production company Skype: CMEFILMS | e-mail info@cmefilms.co.uk | www.cmefilms.co.uk
Issue 1 of 2013
projects seeking funds WIPE
apache street gang
Genre: Thriller/Sci-fi Budget: £5 million Seeking: £5 million Distribution: No Country: United Kingdom
Genre - Brit crime Budget - £1 M Talent Attached- yes Distribution - UK DVD Country - UK Wales info@cmefilms.co.uk
alexsymes@wearetwinstar. co.uk
A gang of special needs kids take over the drug business on a run down housing estate.
Debt Of Gratitude Genre - Brit crime Thriller Budget - £5.8m ($9m) Seeking - £ 4m Talent Attached- yes LOI Distribution - TBA Country - UK & Ireland.
“One Flew Over The Cuckoo’s Nest” meets “Scarface”
Alex@leomediagroup.com
the blarneys Jeffrey O’Kelly, the universal storyteller who brought fun, adventure and classic entertainment to millions of children and grown-ups around the world with his animated TV series Doctor Snuggles, now welcomes you to step into the unequalled, captivating fantasy world of Blarneyland and the Blarneys of Blarney Castle. A family orientated feature film which will be produced in live action with SFX and animation, entitled Blarneyland and the Great St Patrick’s Day Caper. jeffrey@blarneyland.com
BONOBO
Wheeler
THE QUIET HOUR
mark@bigbrushfilmsltd.co.uk
pweed56@gmail.com
sean@frenzyfilms.com
Genre - Drama - horror Budget £50,000 Seeking £20,000 Talent Attached - yes Distribution - No Country UK
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Genre - Action Budget - $4M Seeking - $2M Talent - Committed Distribution - Sony Country USA
Genre - SCI-FI Budget - £100k Seeking - £50k Talent - No Distribution - No Country - UK
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Issue 1 of 2013
The Boy Who Died Comfortably Genre - Drama Budget - £3,000,000 Seeking £3,000,000 Talent Attached - Director Lucy Brydon Distribution - N/A Country - China, United Kingdom, America lucy.brydon@gmail.com
mad frankie fraser Genre - British Crime Budget - £5M Seeking - 90% Talent - yes Distribution DVD UK & IRL Country - UK & USA Principle Photography:2013 Feature Film on Britain’s most prolific underworld killer. It is said that ‘Mad’ Frankie Fraser is one of the most feared criminals of the last century. He has been a contract strong-arm, hit man killing 40 people, a member of the infamous torture gang, a firebomber, prison rioter and a thief with 26 convictions and 42 years inside. A feature length documentary has been made but will not be distributed until the feature film is completed info@cmefilms.co.uk
Facility 31
Death of a Rose
Genre - Horror Budget - £1.5m Talent - yes Distribution - yes Country - UK
Genre - Thriller Budget - $10m Seeking - $1m Distribution - yes Country - UK
mark@facility31movie.com
vipstudios1@aol.com
THE COMPETITION Genre - FAMILY Budget - £500k Seeking - 90% Talent - yes Distribution TBC Country - UK Principle Photography:2013 In a cynical age where old people are frequently marginalised, a family unite behind one seemingly unremarkable old man to make his dreams a reality. rupert@mphfilm.com
send your movie listing to editor@moviemoneymag.com www.moviemoneymag.com
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Movie Money for
your home
New id
ea s
Issue 1 of 2013
Hubert Bals Fund
The Hubert Bals Fund is designed to bring remarkable or urgent feature films by innovative and talented filmmakers from developing countries closer to completion. The HBF provides grants that often turn out to play a crucial role in enabling these filmmakers to realize their projects. http://www.filmfestivalrotterdam. com/en/hbf/
Channel 4 Brit Doc Foundation
gives financing to support independent filmmakers making documentary projects that would not be commissioned by a UK broadcaster. Since their inception in 2005 they have funded over 60 award winning films.metu.
National Film & Video Foundation - The Nation-
al Film & Video Foundation provides film and video-related funding in www.britdoc.org four broad categories:Education and Training,Development Funding,ProWomen in Film Foundation’s duction Funding, and Film Finishing Fund (WIFF FFF) sup- Marketing and Distribuports films by, for or about women by providing cash tion in South Africa. grants of up to $15,000 and in-kind services http://nfvf.co.za/funding http://www.wif.org/fff/
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Movie Money Issue 1 of 2013
Global Film Initiative
The Global Film Initiative promotes cross-cultural understanding through the medium of cinema. The Initiative has developed four complementary programs to promote both the production of authentic and accessible stories created in the developing world and their distribution throughout the schools and leading cultural institutions of the United States. http://www.globalfilm.org/about. htm
sue of s I y r e v In e re is a e h t y e on Movie M m fund l i f f o selection er the v o l l a from sources world
Nigerian Film Fund
Nollywood is the place to be. The Nigerian Film Fund (NiFiFu) is the only way for people outside the industry to get a share of the action. http://www.nififu.com/Who.htm
National Endowment for the Arts - The National
Endowment for the Arts supports organizations that are involved in a broad spectrum of activity in the media arts -- film, radio, and television -- including the production, exhibition, distribution, and preservation of work; the provision of services to the field; and the training of artists. www.arts.endow.gov/grants/apply/ Media.html
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Movie Money Issue 1 of 2013
(1) AIDC Marketplace (AUSTRALIA) - MeetMarket is designed to match selected documentary makers’ ideas with over 50 national and international executive producers, broadcasters and distributors attending AIDC. http://aidc. com.au/pages/aidc-home/ marketplace/ (2) Baltic Sea Forum for documentaries (LATVIA) - is a pitching session and workshop combined with film screenings. http://www.edn.dk/activities/ edn-activity-texts/balticsea-forum-for-documentaries-2010/ (3) CPH DOX: FORUM (DENMARK) - is an international event dedicated to help facilitate the development and financing of creative and visually strong film projects. http:// www.cphdox.dk (4) CNEX Chinese Doc Forum (CHINA) - is designed as a platform for film-makers who adhere to Chinese culture and meet the commissioning editors from broadcasters..http:// www.cnex.org.tw/cnex_all. php/42.html (5) COPro (ISRAEL) - The event is meant to expand and advance Israeli independent documentary makers and facilitate collaboration of Israeli documenters with TV networks and producers from around the world. The two- day pitching
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DOCUMENTARY FUNDS AND PITCHING FORUMS
There are many funding sources all over the world for the production of documentary films. Most applications for documentary funding are rigorously assessed in terms of their potential for broadcast or are capable of reaching an international audience through theatrical release and film festival exposure. takes place every spring. www.copro.co.il/ (6) DocEdge Kolkata (INDIA) - promotes creative and socially engaged documentary through workshop and intensive training. http://docresi.org/docedgeKolkata_about.html (7) Docs Meeting Argentina Pitching Forum (ARG.) - is DOC Meeting Argentina’s area where documentary producers and directors are offered international financing opportunities for their projects.. http://www.docmeeting.com.ar/english (8) Docs in Thessaloniki (GREECE) - is an international pitching forum and workshop offering an outstanding opportunity to create alliances for future collaborations: http://www.edn.dk/activities/edn-activity-texts/ docs-in-thessaloniki-2011/ (9) Docs in Barcelona Pitching Forum (SPAIN)- filmma-
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Movie Money Issue 1 of 2013
kers and producers can present their documentary projects in development in order to attract finance. http://www.docsbarcelona.com (10) Documentary Edge Forum (NZ) - is an industry event, held during the Documentary Edge Festival. It brings together local and overseas filmmakers. http://www.documentaryedge.org.nz/forum/pitching-forum. html (11) Dragon Forum (POLAND) – takes place during the Krakow International Film Festival. Attendance of 15 commissioners representing Channel 4, HBO, ARTE and TVP. www.dragonforum.pl (12) Durban Filmart Finance Forum (SOUTH AFRICA) - provides selected African film-makers with the opportunity to pitch film projects to leading financiers. http://www.durbanfilmmart.com/ (13) East European Forum (CZECH) - is the region’s largest meeting of East European documentary filmmakers with Europe’s and North America´s leading commissioning editors, distributors, buyers and film fund representatives. http://www.dokweb.net/en/east- european-forum/ (14) HotDocs (Canada) –international documentary market in North America, the Forum is a pitching event that stimulates international co- production financing for projects: http://www.hotdocs.ca/conference/hot_docs_forum (15) DFA (NETHERLANDS) – The Forum is IDFA’s international co-financing market for documentaries: http://www.idfa.nl/industry/markets-funding/the_forum.aspx (16) Leipzig Forum (Germany) – is where Documentary Campus and DOK Leipzig present new developments and trends in
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the international documentary film industry. This year we focus on the multimedia strategies of ARTE, YLE and Channel 4. http://www.dokfestival-leipzig.de/v2/cms/ en/dok-industry/overview/dokideas/page280.html (17) Miradas Doc (CANARY ISLANDS) - is an internationally bridging media content market where documentary producers may sell their films to television companies and distributors. http://miradasdoc.com/ (18) Open Doors (Locarno Film Festival) - This initiative, focusing on a different region every year, brings professionals from the chosen region together with potential partners, mostly from Europe, to foster support for projects that would otherwise be difficult to make. http://www.pardo.ch/jahia/Jahia/home/ Open-Doors/Presentation/lang/en (19) Sheffield Doc/Fest MeetMarket (UK) - is the pitching initiative at Sheffield Doc/Fest, Projects can be in any genre looking to raise finance and distribute/exhibit their projects through alternative strategies including via crowd funding and third sector. Doc/Fest also offers other pitching opportunities and formats for all levels of experience. http:// sheffdocfest.com/view/meetmarket (20) Sofia Meetings – Pitching Forum (BULGARIA) - has two modules: Second Films Pitching - presentation of first, second and third feature film projects, looking for financial support and co-producers. Balkan Screenings - showcase of the latest Bulgarian and regional feature and short films fro directors and programmers from different international festivals, world sales companies and journalists. http://www.siff.bg/ sofiameetings More funding sources in the next Issue www.moviemoneymag.com
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tax Money Movie
scheme Issue 1 of 2013
Revenue: Irish Tax and Customs Section 481 Scheme The Scheme was introduced to promote the Irish film industry, by encouraging investment in Irish made films which make a significant contribution to the national economy and Exchequer and/or acts as an effective stimulus to the creation of an indigenous film industry in the State. The scheme was broadened in 1993 to include individual investors. The details of the scheme are contained in Section 481 of the Taxes Consolidation Act 1997. Summary Of The Scheme The scheme provides tax relief towards the cost of production of certain films. The maximum amounts which can be raised under the scheme are:(1) up to 80% of the cost of production for all budgets up to the cap of €50,000,000. (2) in no case may the total amount raised under Section 481 exceed €50,000,000. Tax relief on 100% of their investment is available to individual investors and to corporate investors. Individual investors can invest up to €50,000 under the scheme in any year of assessment. An investor who cannot obtain relief on all his/her investment in a year of assessment, either because his/her investment exceeds the maximum of €50,000 or his/her income in that year is insufficient to absorb all of it, can carry forward the unrelieved amount to following years up to and including 2015, subject to the normal limit of €50,000 on the amount of investment that can be relieved in any one year. A corporate investor and any connected companies can invest up to €10,160,000 in any 12 month period. The total amount which can be invested in any one film cannot exceed €3,810,000. Investment may be made by an individual company or a corporate group. Where the total investment exceeds €3,810,000, the excess can only be invested in productions with a budget of €5,080,000 or less. Revenue: Irish Tax and Customs Dublin Castle, Dublin 2 Dublin , Ireland Phone:+353 1 6475000 - Email:filmrelief@revenue.ie Web Site: http://www.revenue.ie/en/tax/it/leaflets/it57.html
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CREATIVE DATING FOR THE INDUSTRY
Irish Film Board The Irish Film Board (Bord Scannán na hÉireann-IFB) is the national development agency for the Irish film industry investing in talent, creativity and enterprise. The agency supports and promotes the Irish film industry and the use of Ireland as a location for international production. IFB role sees to be directly involved in the creative process of Irish films from script to screen, providing investment for the development, production and release of Irish feature films, television, animation, documentaries and short films. The fund administers Fiction Creative Coproduction Irish Film Board 14-16,Lord Edward Street Dublin 2 Dublin Ireland Phone +353 91 561398 Web: www.irishfilmboard.ie
Ireland’s National Screen Agency As Ireland’s National Screen Agency, Bord Scannán na hÉireann / the Irish Film Board (IFB) has a dual role. In addition to funding local and international production, they promote Ireland as a film location internationally. The Irish Film Commission, a unit within the IFB and also ensures that Ireland remains a film-friendly location for both local and visiting filmmakers.
Creative Professionals have finally been put on the internet dating map. With the way that modern life has changed and lives are busier than ever, it is no wonder that internet dating has grown prolifically. Every sector from Religion to Uniforms has been covered , but at long last www.creativesdating.com has arrived! Opposites may sometimes attract, but lasting relationships flourish when couples have a common ground. This is the ethos behind Creatives Dating which was started by Atalanta Harmsworth, an Equity/MU Member, who wanted to find other people in a similar creative career. This came out of her own experience, because she’d had two failed marriages partly down to, she felt, her spouses not understanding her commitments when working. Finding that there were no dating sites strictly for professional creatives, she decided to start her own.
14-16 Lord Edward Steet, Dublin 2 Phone : +353 91 561 398 Email: naoise.barry@irishfilmboard.ie Web: www.irishfilmboard.ie
“We’ve maintained the privacy and safety of the site,” said Atalanta, “and membership has grown rapidly, with an even wider range of like-minded professional creatives.”
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Movie Money Issue 1 of 2013
UK - New projects announced for Regional Film and Creative Talent Development funds
C
reative Skillset has funded 24 new projects from the Regional Film Fund and Creative Talent Development Fund programmes, investing over £700,000 into the UK film industry. The aim of the Regional Film Fund programme, in training film industry professionals, is to make sure that relevant training is delivered across England, meeting specific local skills needs. Over £350,000 has been awarded to organisations to run training across England for over 700 industry professionals. Funded programmes range from The Generator, a development programme by 104 films to raise the film market and business development skills of outstanding emerging disabled film talent in Yorkshire, to Show Me The Money, a four-day residential lab in Birming34
ham by First Light, which will train 15 new entrants in the art of feature film financing. Many of the regional programmes address gaps in business and entrepreneurial skills - such as finance, marketing and management, areas also identified in Creative Skillset’s 2010 survey of the production sector workforce. In a creative industry where many freelancers establish their own small, independent companies, these types of skills are vital. The Creative Talent Development programme aims to support emerging and established Writers, Directors and Producers on training programmes with a project and team focus, which prepare talent for the realities of the industry and help establish and reinforce industry connections. Areas of particular interest are: Script development and
script editing schemes. Training linked to short film production. Training linked to microbudget feature film production. Structured festival-based training programmes which help talent better understand the UK and international film industries. Over £350,000 has been awarded to organisations to run training for over 650 established industry professionals in these areas. Programmes range from The Bureau Film Company’s Save Our Scripts, which will connect emerging writers and producers from across the UK, to LOCO’s Kickstart Your Comedy Career, a year-long programme for upcoming comedy filmmakers with live craft sessions, masterclasses and workshops as well as networking and collaboration sessions.
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Movie Money Issue 1 of 2013
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Movie Money Issue 1 of 2013
Sources of Film Financing in the UK Other key organisations responsible for film funding Cinema and Television Benevolent Fund Established over 80 years ago the CTBF has been providing valuable practical and financial assistance to people working in the film and TV industries. They raise their funds through donations, charity events and memberships. Collabor8te Collabor8te aims to build filmmaking teams by giving opportunities to new talent while encouraging them to learn from more experienced professionals. Collabor8te hope to nurture homegrown talent and help them to establish themselves internationally. IdeasTap IdeasTap is a charitable organisation established to help young, creative people at the start of their careers. The organisation offers a variety of free resources for young people including showcasing opportunities, workshops, funding, mentoring and advice. IdeasTap also manages an online arts magazine, IdeasMag, which offers advice through interviews and features. iFeatures A feature development and production programme supported by Creative England which supports the development of 16 projects and the production of three films on budgets of £350,000. Based originally in Bristol, the initiative which began life in 2009 is now widening its net to a search for stories that reflect England for iFeatures2.
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Microwave An initiative of Film London and the BBC Microwave challenges filmmakers to shoot a feature film for no more than £100,000 with cash and in-kind support. It is open to film-makers working in documentary, fiction, animation and to artists working with the moving image, and has resulted in some extraordinarily well recieved films from Shifty to Ill Manors. Scottish Doc Institute SDI is an internationally recognised documentary research centre at Edinburgh College of Art specialised in documentary training, production and distribution. Its aim is to stimulate and inspire the documentary scene in Scotland and beyond through focus on creative excellence and clear international outlook, in order to develop a slate of feature documentaries with some of SDI’s Bridging the Gap alumni, and enable ambitious co-productions such as “The New Ten Commandments”, “Future My Love” (forthcoming) and “Breathing” (in post-production). Wellcome Trust The Wellcome Trust is a charitable foundation whose aim is to improve the health of humans and animals. For many years the Trust has been encouraging the collaboration between scientists and artists to help generate understanding and debate around key issues affecting science and society. This is achieved through a variety of awards and initiatives open to all art forms.
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Movie Money Issue 1 of 2013
Northern Ireland Screen Creative England Creative England works in partnership with the British Film Commission to support film and television productions shooting outside London, and to promote England as a place to film. England offers some of the very best filming locations, crew, facilities and studios in the world. Creative England can help your production to find and access them, and can liaise with local authorities on your behalf to ensure your shoot goes smoothly. Creative England have been working to develop a new and exciting library of locations, crew, facilities and production companies in the English regions. This is a fully searchable, comprehensive listing of filming locations, crew, facilities and production companies working throughout all grades and departments within the industry outside London. They have now launched the new service and are dealing with enquiries from production companies on a daily basis. Contact production@creativeengland.co.uk Tel:- +44 (0)208 324 2311
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Northern Ireland Screen is the government-backed lead agency in Northern Ireland for the film, television and digital content industry. Its mission, to accelerate the development of a dynamic and sustainable screen industry and culture in Northern Ireland, Northern Ireland Screen provides focused intervention in 8 key areas: (1) FILMING IN NORTHERN IRELAND (2) INVESTMENT AND FUNDING (3) BUSINESS AND SKILLS (4) IRISH LANGUAGE BROADCAST FUND (5) ULSTER-SCOTS BROADCAST FUND (6) EDUCATION (7) ARCHIVE AND EXHIBITION (8) MARKETING AND INFORMATION Northern Ireland Screen is funded by Invest Northern Ireland (Invest NI) and part financed by the European Regional Development Fund under the European Sustainable Competitiveness Programme for Northern Ireland; the Department of Culture, Arts and Leisure (DCAL); it is delegated by the Arts Council of NI (ACNI) to administer Lottery funding for film in Northern Ireland. For further information. Tel:- +44 (0)208 324 2311
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