Page 31

“We don’t make any money now, we earn enough to grow it and to run it and everything we earn goes back into it. We do struggle, without a doubt, but I think we’re getting smarter. It wasn’t just that we needed a solution to let the organisation grow, we believed in the value of it. There is an absolute value.” But what is the value? What makes Shooting People different from the contenders, competitors and pretenders? “We were good in the way we exploited technology to be enabling. We were always very clear about this. There is no single way to make a film and we didn’t want to be a place that claimed to teach you exactly how. Our aim was very simple: to facilitate the exchange of ideas, skills and diverse knowledge between filmmakers and after 11 years we’ve still been very true to that. I think it’s this principle that has kept us at the cutting edge, able to adapt to a constantly changing indie film landscape. “Fundamentally, independent film is always about collaboration, sharing ideas, exchanging, helping each other, getting advice from peer to peer. That is how culture flourishes.” The stats back her up. Shooting People had 57 films playing at the recent London Film Festival, and eight members of the community had features selected at the Sundance Film Festival. The yes men Fix the world, by Shooters Mike

Bonanno and Andy Bichlbaum, won the Audience award at the last Berlin Film Festival. With the continuing advent of social media and the harnessing of digitalisation, myriad ways of filmmaking and watching are emerging. Cath Le Couteur intends to stay right on the cusp, and is using the clout she has gained wisely. Shooting People helps to crew 200 films a week and Cath and her team are currently lobbying the Government to ensure minimum wage legislation does not prevent people to choose to work for free on each other’s films. “The need for collaboration is greater than ever,” she says. “The reality is that very few filmmakers are able to do everything by themselves. In order to get films finished and to take greater and more effective control over the distribution and marketing of independent work, filmmakers need strong partners and new kinds of collaborators. We’re deeply committed to this: to building new distribution tools, facilitating innovative approaches and to building strategic partnerships that will help mobilise audiences for independent film. We believe there are audiences who want to see different kinds of stories. It’s up to us to find innovative ways to open the door for those audiences. And, as we do, the independent film sector can only grow stronger.” tom SEymour

.

www.ShooTInGpeople.Com

29

The Dream Factory  

The Dream Factory

The Dream Factory  

The Dream Factory

Advertisement