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Biography Frances-Anne Solomon has made a considerable contribution to the regional and global film industry. The director, writer and producer behind A Winter Tale (2007), has a long list of credits including directing Peggy Su! (BBC Films 1997) and producing Heart Beat (Bravo! 2007-2008). Frances-Anne trained in Theatre Arts at the University of Toronto, and the Lecoq School of Mime in Paris before moving to Great Britain where she built a successful professional career with the BBC as a Producer, Director and Writer. Since her return to Toronto in 2000, she has continued to create, direct, write and produce television and film projects through her own company, Leda Serene Films. In 2002, she established CaribbeanTales, an innovative multimedia not- for-profit that promotes and celebrates the rich tradition of Caribbean-heritage storytelling through a variety of multimedia products, including an annual CaribbeanTales film festival and marketplace. CaribbeanTales Wordwide Distribution Inc. was established in May 2010 to provide a platform for Caribbean-themed film and television content in the international marketplace. Known for her savvy way of addressing controversial and taboo subjects in our society, Frances-Anne's films deal with race, class, sexuality and violence from a Caribbean and Diasporic perspective.
Christopher Laird - Gayelle
What innovations have your company brought to the industry in recent years? GAYELLE completely opened up the television environment in the Caribbean by showing that 100% local content on television is feasible and welcome. In doing this within the limitations of the present market Gayelle had to pioneer the use of appropriate technology, new production workflows and techniques and also a new relationship with the television audience – all developed from an indigenous base and intimacy with Caribbean culture combined Volume 1 September - November 2010
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with a familiarity with developing global If the audiovisual sector in your country was digital technology. granted US $10 million, over a 3-5 year period, what should be done with it? Given the transformations in the global industry, (e.g - technological changes, global There is no doubt that market penetration is economic recession) where do you see your key to the sustainability of a growing business going in the next 2-3 years? economic sector. There are two areas to which funds should be directed: production and Endogenous television production has only distribution. one future: State subsidy and/or larger markets. The regional and local markets Production needs to be subsidised to improve cannot sustain production above a certain production values and build local competence. quality. To achieve higher production values This would increase the marketability of both Caribbean film and television has to enter a the products and the services in the regional larger market to access a more sustainable industry. If say, $3 or $4 million US was put in revenue base. a feature film fund it could conceivably produce five or six feature films of quality – The first and most obvious expansion is into many more than has emerged from the region the Caribbean diaspora in North America and in decades. Five good features from the region Europe. A lot of hot air has been generated by in a five year period would attract tremendous this over the years but no one has achieved it. attention and funding for future production. We believe this is because until Gayelle no one has generated sufficient original Caribbean There is no doubt that the Caribbean Diaspora content. Gayelle does and the region is on the is thirsty for access to Caribbean content. verge of a flood of amateur generated content There are many ways being developed to taking advantage of the new technologies. We deliver such content but the business would expect within 2-3 years to have Gayelle infrastructure to give the Caribbean some available to cable viewers in these markets. If measure of control over distribution and we are successful in this it is possible that marketing of its content is almost non existent Caribbean production can be sustained and where it may exist is still in the realm of beyond a period of novelty and become an the ‘hustle’ rather than credible organisation accepted presence in world television. based on sound business principles and expertise. Development of the Diaspora What are the key lessons that you have learnt market is only a step towards a presence on from working in the industry that new the wider global market as production values entrants should know? improve. Entering the world of television or film production is increasingly easy as the technology is more and more accessible. Earning a living and sustaining one’s efforts is correspondingly increasingly difficult. Without significant funding and access to new and bigger markets new entrants will not be able to sustain themselves financially and the industry will not be able to absorb the flood of graduates from the films schools.
Biography Christopher Laird, has been a teacher, published the arts journal Kairi and ran a theatre in Port of Spain during the 1970s. He has produced over 300 documentaries, dramas and other video productions with Banyan Ltd. over the past 30 years garnering a score of national, regional and international awards.
How was your company financed in the He has overseen the establishment of what is initial stages and what are your key sources arguably the world’s largest collection of Caribbean culture on video in the Caribbean of income now? Film and Video Archive. He is now CEO of Gayelle was financed in the early stages by Gayelle: The Channel, the region’s first all four sponsors who each put up $300,000TT to Caribbean free to air television station which be associated with the station over the first year. This was enough to purchase a he co-founded with Errol Fabien in 2003. In transmitter and basic equipment to start 2009 Christopher was awarded an Honorary operations. Lack of proper capitalisation has Doctorate from the University of the West dogged us ever since and become most telling Indies as competition suddenly arose inspired by our example and as the recession hit. Most of all we have been financed by a mixture of sponsorship, airtime sales and the enthusiasm and sweat equity of those that work with Gayelle.
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