A film by Andrew Turner
About TAPE TAPE’s core aim has been the same since its formation in 2008; creative opportunities for all. This ethos remains at the heart of everything TAPE does and has seen the charity become a benchmark for inclusive, person-led, responsive, creative opportunities in North Wales. From the start of operation to date, TAPE has engaged and supported over 15,000 people through cross-community projects, workshops, performances, events, festivals and productions. From one-to-one support to pan-Wales productions, TAPE has developed a reputation and experience built upon positivity, creativity and genuine social support. TAPE has worked hard to create spaces and opportunities in which people from across the community can engage, socialise, connect, train, learn and find employment through their creativity. Much of TAPE’s work in recent years has involved film, both making and screening. Screening work has included the development and delivery of two years of the Coastline Film Festival for which BAFTA Cymru is now an official partner.
Commissioned projects have supported growth and increased opportunities for people accessing the charity. Clients have included Waitrose, The Probation Service, The Prince’s Trust, Willmott Dixon, local authorities, Welsh Government to name but a few. TAPE has developed a working model which supports person-centred involvement in creative filmmaking, which has recently developed into the production of British Winters, TAPE’s first feature film. Such has been the success of the British Winters project and others, that the TAPE team are now fully sighted on developing more long-form projects which can be delivered in the same way. This development will centre on the upscale of the TAPE Community Arts Centre to incorporate the TAPE Community Production Facility.
Developing the idea
Following the successful application to the Coastal Communities Fund in 2014, the TAPE team found itself in a position to purchase equipment and make use of a small budget through which it was proposed we would deliver a feature length film project. As with all TAPE projects, this film would be a community project and be delivered in a way that supported and created opportunities for as many people as possible. The work would form part of the overall delivery of the Coastline Film Festival, with a premiere slated for the close of the festivalâ€™s second year.
British Winters had already been written and self-released as a novel by Andrew Turner and, having read the book and worked alongside Andy, it felt like the natural choice for the material from which the feature project could be developed. Again, the ethos of partnership, collaboration and finding opportunities for people needed to be central to the planning and delivery. Shooting a trailer at TAPE for the bookâ€™s release had also shown how the two projects could be mutually supported and be the base for significant opportunities for people.
In 2014, I learned that TAPE had acquired the funds to make a feature film which was extremely exciting news for both TAPE and myself. Having worked on various short films since joining TAPE, I was eager to get involved in something more ambitious. Not knowing the details of the project I was eager to assist in the production, in any capacity, regardless of the project. It was a few months later that TAPE, knowing I had a completed script came to me and offered me the opportunity to not only direct the feature film but also approached me about having British Winters be the project. Needless to say I was elated. Having left school at 15 and suffering from dyslexia I never thought an opportunity like this would be given to me. Andrew Turner Director
I had just arrived from Spain. I moved to North Wales because my girlfriend got a good position here and I didnâ€™t want to be far away from her. I continued working at home, writing films reviews, reading scripts or planning some shootings in Spain. But at the same time, I was looking to take part in the local way of life. I was interested in developing my career here. My English lessons had started but I still didnâ€™t feel confident in applying for jobs. One day I opened the newspaper and I found that a film festival was going to be organized in the area: The Coastline Film Festival. Tape Community Music and Film were organizing it and they were looking for volunteers. I thought that it was an excellent opportunity to meet people of my profession and I was brave enough to get in touch with them. The first day I visited the Tape, Steve Swindon, the CEO, very kindly show me the facilities. He was very
patient because I couldnâ€™t understand half the things he was saying. He repeated the same things one after another. It was amazing: they had very good technical equipment, a small amount but very effective and fully functional. But the most surprising thing was the amount of people involved, of all different ages, coming in and out, always very busy. There were teenagers editing a video, children taking part in animation workshops, and an old man asking how he could the tracks of his mother singing from a vinyl record to a digital system. I went home very excited. Four months have passed since that day and I collaborated with them on small projects. I volunteered in The Coastline Film Festival and I was part of the technical team of the feature film British Winters. Roque Cameselle Director
Planning / Crew In putting together the core team to plan and deliver the project, it was important to balance experience and ability alongside supported opportunities for those looking to develop skills and experience in related fields. At this point Andy was introduced to Roque Cameselle, an experienced filmmaker who had contacted TAPE with a view to being part of the festival team. Roque and Andy quickly formed a partnership and began to develop the pre-production schedule for the film. Identifying key roles during this process led to discussions amongst the TAPE staff team around who would benefit from the many opportunities generated by a project such as this. TAPE as an organisation benefits from being regularly approached by people looking to engage, develop experience or work in creative fields. Alongside this, the lack of other meaningful, vocational, creative activities locally places TAPE in a unique position from which to develop projects that support these people
and generate exciting community arts projects. This model has been developed over the last 8 years of delivery at TAPE and British Winters has, in many ways, been the best example yet of what this approach can support and deliver. The initial key roles which were filled included a cinematographer, sound recordist, storyboard artist and production support. It should be noted at this point that funding was ring-fenced to employ people within these roles and as key personnel; all were ensured a contracted payment for their work. It should also be noted that people who had limited or no experience on a project such as this filled all of these roles, but they were sufficiently, enthusiastic and knowledgeable in their chosen areas that they benefit from being provided these opportunities. It would be the job of the TAPE team to ensure appropriate support for these people to gain the most from the experience.
I’ve always been a creative person, and since high school have had a passion for films and making them. I went to college to study media production which gave me a head start in the right direction and then went on to university to further study film production and visual effects. Once I graduated there I had lost my path to get into the film industry and ended up returning back to my home town. After I spent a year and a half in a part time job, I decided to find a way back onto my path. A few people recommended TAPE, so I got in contact with Neil, the project manager at TAPE. Once I arranged a meeting with him, he told me exactly what TAPE does and how it changes people’s lives. I knew there wasn’t much of a film industry up here in the North, but joining TAPE had allowed me to pursue my film career once again one step at a time. I was assigned to work voluntary on a couple of projects beforehand, and once I proved myself, I was given paid projects to complete. This had opened up the opportunity of self-employment in this industry which I had been
after for a while and instead of having to let go of my dreams, TAPE had pushed me to keep chasing them. I was offered the role to become the Director of Photography on TAPE’s own low budget feature film ‘British Winters’. This was a chance I never thought I’d get for a long time, but being able to work as the role I’ve always dreamed of and getting paid for it sounded like the best thing I could possibly ask for. I went to the Coastline Film Festival 2015 to watch the independent film ‘Cream’ and it dawned upon me that it is possible with the right amount of funding and the right collection of people with the same passion, the film industry can actually be brought to North Wales. Working on British Winters was a nice experience. I had worked on a no budget feature film beforehand in university and so knew what extent of effort was required for the role. I found that this film was more organised than that last production, and I was part of a group of talented individuals to get the film complete. Every day was different, we had
different problems to overcome, but as a team we found ways around them. As a Director of Photography, I was responsible for the lighting and the framing and composition of the images produced on the Digital Bolex camera. We had a basic lighting kit which enabled us to light scenes carefully and to an extent, quite stylistically. I found it quite challenging on some days to light a scene the way I wanted it to look, but with suggestions from the Director about his vision, I was able to get there in the end. We had to shoot in real functioning locations and work around a business because we had no budget to hire it out for a duration of the shoot, but we tried our best to get what we could on the day, and then improve it for the final piece. The beauty of this film is that we made it with what we had available to us, on a shoestring budget, and with a bunch of creatively minded people alike with a dream of creating something that we in the end would be proud of. Liam Plimley
I first became involved with TAPE in 2008, I found out about them via alternative education. I had left school at the age of 11 due to ill health but had generated an interest in filmmaking, something that over the years TAPE has helped me improve upon, so much so that I now work freelance for them, even running certain projects. Over the many years I have been offered so many opportunities by TAPE, from writing and directing my own film 'Scarlett' to being able to get involved with 'British Winters'.
I fully enjoyed being involved in the making of 'British Winters', my role on the film included sourcing a few locations, doing a little bit of lighting, rounding up extras, transport, as well as producing the making of documentary. 'British Winters' like every project run by TAPE offered many opportunities for the community, both in front of and behind the camera, as well as bringing the community together by working with many locations to benefit both the film as well as local businesses. Tom Ellis
Production Funding The budget for the project was very small indeed and would rely on volunteers both on screen and for locations. We were fortunate to have a budget for equipment, which allowed for the purchase of hi-end a/v kit with which to shoot the film and place the charity in a position to deliver other projects in the future. As the film was to be initially delivered as a weekly project, sessions were timetabled and these pre-production workshops allowed for the team to have a regular slot in which to begin the development work. These sessions took place at TAPE, which also gave other people using the centre a chance to take part and be around this process and the early stages of an exciting piece of work. Seeing this process, and the project as a whole, as accessible is crucial to TAPEâ€™s delivery model and it was important for those to be retained at every stage of the British Winters production.
Casting/Auditions The casting process presented one of the most difficult parts of the process but also one of the most important in terms of supporting involvement for the largest and number of people from across the community. A casting call was made across TAPE’s social media networks and quickly, people began to approach the team, keen to be involved. Roles were decided upon from an audition process, which offered support and close working with people to enable those who might be anxious or need additional help to be involved. TAPE has significant experience in this way of working and it has proven to be hugely successful again in the delivery of British Winters, with people taking part and gaining rich, valuable experience on a feature film production, many of whom would not be afforded this opportunity in the mainstream system of film production.
I got involved in the British Winters project whilst in the Cais Day Programme. Steve thought he spotted some talent in me whilst filming our own short film project at TAPE and asked me if I fancied getting involved. I agreed although I was very nervous about it, right up until the day of filming. I needn’t have been though because all the cast and crew made me feel very welcome and allayed all my anxiety, Although I only had a small part, it was a very interesting and enjoyable experience. I think projects like this are a wonderful thing because the give people like myself, who under any other circumstance wouldn’t, the chance to be a part of something again and that works wonders for a person’s confidence. I fully enjoyed the whole experience and I’m grateful to everyone involved for believing in me. Thank you to you all. Derek Fitton
The audition process was varied. Some people came in via a Facebook campaign whereas others came from involvement with TAPE projects. For example, while working with Flintshire Sorted on a local antidrug film, I met two aspiring young actors who were keen to get involved in other projects. This is a great example of how TAPE works, seeing talent in one project and being able to draw upon it for another. This happened numerous times in the casting process where we would use people who were new to TAPE but also filling some roles with TAPE stalwarts. In the cases of traditional casting calls and auditions, I took away the element of rejection. If you came through the doors you would be involved in the film in some capacity. Auditions were not quick 5-minute line readings, they frequently turned into acting workshops which allowed the actors more time to discover the character in a comfortable, supportive environment. Andrew Turner Director
I would like to say a huge thank for what was a marvellous opportunity (and one that would never have been possible ordinarily) for Katie both to have a role in but also to get behind the scenes, so to speak, of actually seeing what is entailed in the shooting of a film . This was such an exciting venture and such an adventure for her to be part of, and the camaraderie of the cast and the film crew was a truly joyous experience to be part of! I have spoken to Katie regarding her thoughts on the experience and she said that she felt an â€˜enormous privilegeâ€™ to be part of the project. So much made this special and we surely hope that this will be but the first of many for her. Katie and Carolyn (support worker)
I first saw an advert on Facebook asking for extras for a community film. I sent in my email and was asked for further information. To my surprise Andrew the Director said there might be a speaking part for me. Just so you know I am a 64-year old, part-time accountant who had not done any acting since my school days and even then never the main parts. I gulped especially when I was asked in for an audition. The first audition went by but I donâ€™t think I really did well enough and Andrew kindly gave me a few pointers and told me to come back in a week. I did practice and came back but somehow I got confused and the second audition was even worse! Luckily, I had one more chance. I managed to get through. Phew. Then the schedule for filming came through and I was needed on 4 days. The crew and Andrew were very kind and professional at the same time. I really enjoyed the experience and they managed to get me to say my
lines etc so that I got into the final cut of the film! The whole experience was exciting; to see the young people showing their expertise and watch them bring a disparate group of amateurs together was really enjoyable. Everyone felt part of the whole process. When it came to the premier there was obviously nervous excitement. I had never seen myself on the big screen before. The credits rolled and my name was there, I had not been edited out! As I watched the film I was reminded of how the sound, lighting and camera man, as well as the director, had patiently, with only the basic equipment, filmed us and now I could see they had all edited the film very well. Overall it was a good experience for me, but for some of the younger actors I could see it added greatly to their life experience. Thanks to everyone involved, Peter Denton
Locations As a community arts charity working across North Wales, TAPE is fortunate in having a large number of partners keen to support projects. As such, we are able to source locations which not only support the project but also directly involve those businesses and organisations directly in the production. For British Winters, we were able to draw support from former partners such as the police and a local hospital, but we also required locations that meant developing new relationships with a number of local businesses. The response from local businesses and staff is almost always positive which in turn serves to generate a very strong sense of community support and collaboration for all involved. Often, people taking part in project will be facing isolation or a disengagement from the community, for any number of reasons; projects such as this can significantly support a positive re-engagement and access to local communities, which continue long after the project has ended.
When trying to scout locations for a film the most important piece of advice is just to "ask" For British Winters, we needed several pubs and a nightclub and though we looked at closed pubs on real estate websites the issues and costs associated with closed businesses made it prohibitive. We started off small, heading to the Albion in Conwy for looking at doing a one-day shoot. It is very important that before approaching any business owner that you have the necessary information such as duration, crew size, timing and the benefits it would bring to the business i.e. promotion in the local area. Communication, confidence and adaptability are key. We were relying on businesses which were open to customers so we needed to ensure we got the shots we needed whilst keeping any disruption to a minimum. This sometimes required delays in filming scenes or changing how we filmed but ultimately we were able to get the shots we needed while maintaining good working relationships with the the business owners. Andrew Turner Director
Lessons learned during this phase of production
Sponsorship/corporate opportunities during pre-production
Future projects should develop through the lessons learned during previous projects. In the case of a feature film project I believe that we could look to develop a more structured workshop process, which would allow for more people to take part from an earlier stage. It would also be great to see a space develop in which ideas and scripts could be collectively developed and progressed into production. There is significant appetite for involvement in the film and creative industries, for people of all ages. It is notable though that routes into meaningful creative and vocational, professional projects are limited locally and highly competitive nationally. This project has evidenced how it can support and develop this interest across disciplines and provide an alternate route to experience and employment within this industry.
Businesses and organisations, which provide financial support towards TAPEâ€™s community feature film projects, can look forward to significant marketing and CSR benefits. During pre-production, these can include branding and awareness-raising throughout the engagement and recruitment process via social and printed media. TAPE can also send weekly updates on the project as it develops to provide rolling outcomes for the whole project as well as documenting individual achievements and progress.
This graphic details the actual routes to participation for the cast and crew of British Winters. Housing associations
Part-time filmmaker/ creative
Older peopleâ€™s services
University Support worker Volunteer Support worker
Partner agencies Ignite scheme
Film school/ University graduate volunteer
Referrals freelance worker
volunteering freelance worker
TAPE Animation Club
freelance worker volunteer
During pre-production, it became clear that a workshop process would not work when it came to the shooting of British Winters and therefore the team began to plan for the filming to take place across a concentrated period of time. A month was cleared during which shooting would take place and a shooting schedule was drawn up. This process brought in new opportunities in some organisational areas further generating involvement for more people.
The core crew comprised people with a wide range of experience and abilities. It was a central aim from the outset to provide as many opportunities as possible and to link people in such a way that they were able to benefit from each other and develop as a team as well as individually. It was a clear goal to try and establish a group that could move on to other projects following on from British Winters. The following is a list of the core team, their links to TAPE and journey into the project:
Access to equipment
Andrew Turner, Director Roque Cameselle, Director Sam Martin, Production assistant Sean Pritchard, Sound Liam Plimley, Director of Photography Lukasz Kusmirek, Sound Sophie Spree, Production Assistant Tom Ellis, Production Runner
For the majority of the crew, this project offered an important opportunity to get hands-on experience with state-of-the-art, industry standard equipment. Again, this is a vital opportunity for those looking to develop and further careers in the film industry.
Managing involvement and expectations Crucial to maintaining the community production ethos is the management of expectation and the provision of clear, accessible information for all those taking part. Central to this is the understanding that the project and the telling of the story is the main focus of the work. It is not an environment where egotistical behaviour or unnecessary hierarchy is welcome and therefore it is vital to create a working atmosphere where ideas, collaboration and teamwork can all thrive. People need to feel able to play their part and support others in the playing of theirs. This is something in which TAPE has developed significant skill and experience, all of which came to bear at every stage of the production. Consider Andrew Turner’s involvement: from film school graduate to TAPE volunteer into workshop staff, to workshop leader, to being offered the chance to direct his first feature and generate all the opportunities for himself and others set out here. His story of being a beneficiary of support to provider of support and opportunity to others exemplifies the success of TAPE’s delivery model.
We began filming British Winters in January 2016 after several months of pre-production and planning. Saying that British Winters is a collaborative project is putting it mildly. While the words and vision were constructed by myself, through TAPE we were able to bring together a synergetic team to make my vision into a reality. The filming drew heavily upon the TAPE ‘family’, a family made up of staff, colleagues and volunteers. I was keen to try and get as many TAPE regulars into the film and hopefully use the project to bring new people into TAPE. The production was intensive we filmed for five weeks only having Monday’s off. We used all North Wales locations and were humbled by the generosity of local businesses and people who volunteered their time and resources to assist. From donating free props to allowing us to take over their premises for a full week it was inspiring to come into contact with so many people who were willing to help out a community project. Andrew Turner Director
The shooting of British Winters was an amazing experience. We worked hard for five weeks to complete the feature film written and directed by Andrew Turner. I have already worked on a few feature films but this one was my first experience in English. Those intense five weeks were very useful for learning English, especially technical words. I also got to know how a shooting in the United Kingdom works. Within the technical team we felt free to experiment and learn different ways of shooting: with two cameras, during the nights, in small roomsâ€ŚAll these things are not usually allowed by the production companies. I also had the opportunity to know the authentic North Wales and its own culture, different than mine. This would be very difficult any another way and I feel very lucky and privileged because I know that a lot of foreigners cannot get to know it. But overall I have met a wonderful crew. People with the same interests as me. People, despite speaking
another language, who understand the love for watching and making films. British Winters and their crew have helped me to reaffirm to myself that making films is what I like the most. And, even though it is hard job you can really enjoy and have fun making them. Roque Cameselle Director
Lessons learned during this phase of production It is fair to say that a more concentrated period of pre-production work linking directly with locations and looking at set/costume and other non-performance elements of the production would strengthen the delivery of the project. Again, the facility to support individuals to take on these roles would be hugely beneficial to the production and in generating further opportunities for people. As we saw with one young person who came into the project during this phase, a small amount of involvement can be all it takes to inspire and lead into further creative learning and activity.
I am into filming and editing. I love general hands-on creativity and especially creative writing. I first heard about TAPE through my Dad, because he works for a company who had worked on stuff with TAPE. I then met Steve Swindon after the Ghostbuskers performed at a party my parents catered for. I emailed him some samples of fictional stories I've written and links to videos that I'm in or have edited on YouTube. He put me in touch with Andy because he thought I'd like to get involved helping out in various ways on set. I really enjoyed helping out with the filming of 'British Winters'. I became the clapperboard person for the days I could make. I learnt a whole bunch of stuff, including what to write on a clapperboard and when to change it and the actual purpose of a clapperboard. I always knew I could ask as many questions as I wanted.
All the TAPE people I met were very friendly and encouraging, open, happy to talk, and easy to approach. They were flexible and didn't mind that I had to fit them into my schedule and could only spend one or two days a week with them. I have a passion for movie making. My friends and I often struggle for ideas. Working with TAPE on 'British Winters' re-kindled my flame and I have since had a crazy idea and begun writing a film script. My experiences with TAPE thus far have been great fun and I've learnt a lot too. Sophie, 16 Sophie has since gone on to enrole as a participant on the BFI Film Academy programme, which is being delivered at TAPE.
Sponsorship/corporate opportunities during pre-production Location filming will often take a production into the community, which can provide a very public platform for the publicity of partnerships. There are also a great many links to other organisations who will be supporting cast members and extras to be involved, all of whom will receive materials from the production team, which can again carry information about sponsors and supporters of the production. Further to this, the shooting process can provide opportunities for direct involvement for sponsors and their products and services within the production, where appropriate.
Editing The editing process is possibly the most difficult area in which to support wide-scale opportunity for a large number of people. Nevertheless, it was important to maintain an overall collaborative ethos and support the central vision for the telling of the story whilst keeping the project accessible and open for involvement. The timescale for the work was fixed as the film was programmed to screen at the close of the 2016 Coastline Film Festival. This meant that the post-production process and initial cut of the film had to be ready within a set timeframe. Whilst this carried an inherent difficulty and worked against the idea of supporting as much opportunity as possible, it did also mean that there was a clear end point at which people could come together as part of both a high profile community event and in celebration of the work itself.
Very quickly a core post-production team formed which comprised, the co-directors and the sound engineer. Some re-shoots were required but in the main the work centred around a working edit of the film and work on the audio and soundtrack. Both audio elements of the film posed creative opportunities for the development of an original score and through the use of music and songs from local artists. Quickly, a long list of locally produced work began to find its way into the film from both high profile artists such as The Alarm, alongside cult bands and grass roots songwriters and groups. The team also commissioned a bespoke score which was to be written and performed by a first time film soundtrack composer who had provided a small amount of music for the trailer for the launch of the British Winters novel.
I was asked by Andrew Turner to write the original music for the British Winters movie and jumped at the chance. I’d never written music for film but had been writing original music for many years so I thought “yeah how hard could that be?” I now know that it’s a lot of hard work but well worth it. I loved being involved in the post production and working with Andy and his team to find the perfect places to fit my music. It’s something I’ll never forget and loved every second of the experience. Work on the sound for the film has proved to be the area where most work was required. Using live venues for some of the filming posed real challenges for the film crew and whilst it is not apparent in the visuals of the film, there are some scenes in which the audio recording has required significant work. To meet this challenge, sound engineer Lukasz Kusmirek found himself working in a brand new field and learning a great deal. Andy Kemp Musician
As the date of the premiere approached, the team had to work long hours to ensure that the version of the film which would be on screen at the festival, was something which they would feel confident in screening. It was apparent that it would not be the final cut of British Winters but it would need to be close to it. This added impetus for the post-production team fostered a strong, positive working relationship which is now seen as a very positive foundation on which to develop future working as well as producing the final cut of British Winters. The premiere for the film was held, as planned, at the close of the 2016 Coastline Film Festival. All sold out crowd gathered to watch, enjoy and celebrate their collective achievement alongside their families and friends. There was also an opportunity to here from the directors and ask questions at a Q&A event held following the screening. Again, the premiere presented
opportunities for creative people to get involved, with two local photographers, looking to develop their portfolios and business, were employed to shoot the event and produce a record of the premiere. These pictures are used in this document also. The premiere, caveats aside, was a huge success and a genuine celebration of large-scale creativity, collaboration, mutual support and community cohesion. Getting a feature film made, in any circumstance is a significant achievement; doing so in this highly collaborative and supportive manner is something to be celebrated and built upon. The reaction from the audience on the night far exceeded our expectations and I think carried no small amount of surprise that this was â€˜a proper filmâ€™! There were tears and laughter in all the right places and the support and hope for similar projects was remarkable.
The budget available for the production of British Winters was ÂŁ20,000. This included purchase of equipment and created two two-year contracts and 4 fixed term short-contracts for crew positions. The funding also contributed to the production budget and some workshop delivery costs and expenses. The actual cost, calculated against volunteer hours, in-kind contributions, free community resources and support, gives an actual cost of approximately ÂŁ80,000. On the back of this experience, we are fully sighted on more feature length productions and delivering these in the same way and including screenwriting and script development aspects to the pre-production process, and distribution and marketing elements to the post-production phase of the project. Again, these additional processes provide valuable engagement, training and employment opportunities for a significant number of people in industries which are severely under-represented in North Wales.
One way in which these projects can be developed and financed is through sponsorship and the development of promotional opportunities linked to the film. Through the process of making and delivering British Winters, a large number of businesses have been able to directly support the production. At every stage, this support can be publicized on a local and national level, ahead of any mention within the screening and marketing of the film itself, thereby creating some significant and valuable opportunities. This model of private investment into film production is a mainstay of the film industry, however the added value of linking to community feature film production has been proven through this project and the team involved are now in the unique position of having the experience and ability to develop and deliver projects in the same way again and again. Benefits of supporting this work are many and varied.
Throughout the whole British Winters production, this project engaged with: • 20 North Wales businesses • 115 people took (over 50% per cent of whom required additional support to take part) • 10 community groups, schools and projects • 15 statutory and third sector agencies • 8 existing TAPE projects
Well known and local bands and composers who contributed to the film’s soundtrack including The Alarm, Gintis, Flotation Toy Warning, The Mexican Walking Fish, Dead! Dead! Dead!, State Sponsored Jukebox, Paracetamol and False Passport Office. These figures alone reveal the full breadth of diversity and inclusion supported throughout the project and evidence the successful delivery of a community filmmaking model which the team are now well placed to repeat and develop further. The BFI 2017-2022 plan clearly sets out aims and objectives which parallel a number of those achieved through this production and the ongoing aims of the charity as a whole:
I think British Winters is the first of many feature projects to come from TAPE that will benefit the community and help push to open a film industry here in North Wales. It’s important that TAPE continues to do projects like this in the future to allow creative people an opportunity to all come together and build a foundation for their raw talent and go on to do wonderful things with it. I have certainly learned new things doing British Winters that I wouldn’t have learnt anywhere else and I am grateful to have been a part of it. The crew worked together phenomenally well and we got the shots we needed in order for the story to flow well and allow the audience to connect emotionally with the characters on screen, and in my mind, that makes it a success.
TAPE is a great creative charity which is still in the early stages of operation. It’s on the verge of expanding into something much larger with the right amount of attention and creative people collectively with the same passion. I believe that students from college, if introduced to this charity early, may in fact wish to join and come along to the workshops and volunteer in order to gain new experiences. TAPE is a great welcoming place with very friendly and approachable staff. They aim to help whoever you are in the right direction with your creativity, whether you’re interested in music, animation or film, and of all ages. Liam Plimley Director or Photography
Following the filmâ€™s completion, the team at TAPE has been looking at the possibilities for screenings, distribution and development of British Winters. Again, this thinking centres on the generation of opportunities for those involved, the charity and itâ€™s partners along with the wider, grass-roots and aspirant filmmaking communities. There will be a strong focus on clearly documenting the work and how the film was made, in an attempt to highlight lessons learned, share new ideas and practices and strongly encourage creative community collaborations and inclusive working methods. Initial screenings of British Winters will be held in community cinemas, with film and media students, film clubs and community groups, with an accompanying Q&A and/or workshop. An initial programme of these will be delivered for free in an effort to screen the film to new audiences and encourage creative activity. It has been very apparent at every stage of this
production that it is very possible to develop and deliver an engaging, well told and well-presented story whilst providing real and meaningful opportunities for people from across the community to engage with and be part of that process, whatever you experience or ability level might be. It is absolutely possible to do things differently: this project has clearly proven that. It is of real importance to develop a route into filmmaking which serves as an alternative to existing, traditional routes which are not accessible to a large number of people. Again, this film serves as an example of how that can work and be developed. This process should strongly link with those traditional systems and we are very keen to support the BFI Plan 2017 â€“ 2022. The filmmakers will also look to get the film screened through more traditional routes such as the festival circuit and online platforms. Again, there will be an emphasis on involving people in these processes in order to develop learning and awareness of what is
involved and how these systems work. We also see these as opportunities for partners to raise awareness and publicise their work on national and international platforms. Ultimately there are three key aims to focus on now that the film has been successfully been made: • to screen the ﬁlm widely • to share inclusive and community-focused working methods • to generate funding for future productions to be delivered in the same way It is clear that following over eight years of supporting community arts and creative activities, much of which has involved filmmaking projects; TAPE has established itself as a charity which is able to expertly support inclusive projects. Now, with a full length feature film production ‘in the can’, the charity is looking to build on this success in an effort to support even more people to play a part in something very special, indeed.
I was very excited to watch the recent premiĂ¨re screening of TAPE's first feature film, British Winters, knowing what a Herculean labour of love it had been to make for writer/director/actor Andrew along with Roque, Lukasz, Liam, Sean and everyone else involved. Despite the number of recording gadgets we now possess and despite what even the briefest glance at any form of social media might lead you to believe, making a watchable film of any length is no easy feat. What the TAPE team has given us with British Winters is not just a credible and coherent feature film with a script, an aesthetic and performances that would be a credit to any national or
international production company, but an engrossing, tender, thought provoking and very human portrayal of a cast of characters, facets of whom will resonate with us all. The fact that such a small crew has made a full-length film through force of will, passion and copious quantities of talent is impressive enough in its own right; the artistic and professional standards of the finished work are the most glowing endorsements I can think of for supporting and commissioning future TAPE film projects. Harry Morris Chair of TAPE Board of Trustees
Tech Spec Production Visual 2x Digital Bolex D16 2x Libec tripods 1x 100cm Slider 5x Kish Lenses - 10mm, 18mm, 25mm, 38mm and 50mm 1x GoPro Hero 4
Post production hardware 2012 iMac 2016 MacBook Pro 4x 4tb harddrives 6x 2tb harddrives 1x 3tb harddrives
Sound 1x Edirol / Roland R-44 and Boom 1x Sennheiser Wireless Lavalier Microphone
Software Adobe Premiere Pro Adobe After Effect Adobe Photoshop
Lighting 3x Redhead 3x Large LED 2x small LED 2x Studio Circular Reflector Board
Logic Studio RX audio edtior
TAPE Community Arts Centre Berthes Road Old Colwyn Conwy LL29 9SD
t: 01492 512109 e: email@example.com w: tapemusicandfilm.co.uk Registered charity no. 1151513
British Winters is the first feature film from TAPE Community Music and Film. The film was made as a community project which supported 115 p...
Published on Aug 14, 2017
British Winters is the first feature film from TAPE Community Music and Film. The film was made as a community project which supported 115 p...