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March 2019

Mar 17
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Back In 2019

Apply for Back In 2019 – Deadline March 25th

By Training, Uncategorized No Comments

Applications are open for the Back In 2019 programme run by creative agency Punch and Birmingham director Daniel Alexander. The Back In programme aims to increase diversity in the city’s film industry and creative sector. This year’s programme will reach creative talent from across the city region’s diverse communities and vibrant neighbourhoods and support them through a training & commissioning programme. It is a detailed 6 month programme that needs a minimum of 2 days per month.

Budding movie makers will attend boot camps and classes, receive expert mentoring and gain the professional connections needed to get their big breakthrough. By the end of the project, which is part of the BBC Digital Cities programme, they will have completed a short small budget film.

Back In 2019 is inviting applications from individuals or companies that want to gain practical real life training and experience around the following areas:

1. Networks around new funds and commissions

2. Budgeting and planning

3. Pitching (format and methodology)

4. Trips to film venues and Independent festivals

5. Technical guidance and grading

6. One to one discourse with Film Production CEO’s

7. Conference on Black Filmmakers

8. Small film commission

Those interested can sign up here for Back In 2019.

Closing date for applications is March 25th 2019, 12pm.

For more industry opportunities, visit our news page.

Mar 14
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British Academy Games Awards

British Academy Games Awards 2019: Full Nominations List

By Uncategorized No Comments

The British Academy Games Awards is BAFTA’s annual celebration of the very best in games of the past 12 months. The Awards take place on Thursday 4 April 2019. The nominations announced on March 14th highlight an outstanding level of creative excellence from a broad range of UK and international development teams.

The British Academy Games Awards, including the nominations, are voted for by BAFTA’s global membership, comprising experienced games industry practitioners from a range of backgrounds in game development and production.

Below is the full nomination list for the British Academy Games Awards 2019.

ARTISTIC ACHIEVEMENT 

  • DETROIT: BECOME HUMAN Guillaume de Fondaumière, David Cage, John O’Brien – Quantic Dream/Sony Interactive Entertainment Europe
  • GRIS Development Team – Nomada Studio/Devolver Digital
  • GOD OF WAR Development Team – Santa Monica Studio/Sony Interactive Entertainment Europe
  • MARVEL’S SPIDER-MAN Development Team – Insomniac Games/Sony Interactive Entertainment Europe
  • RED DEAD REDEMPTION 2 Development Team – Rockstar Games/Rockstar Games
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909

AUDIO ACHIEVEMENT

  • BATTLEFIELD V Development Team – EA Dice/Electronic Arts
  • DETROIT: BECOME HUMAN Guillaume de Fondaumière, David Cage, John O’Brien – Quantic Dream/Sony Interactive Entertainment Europe
  • GOD OF WAR Mike Niederquell, Todd Piperi, Leilani Ramirez – Santa Monica Studio/Sony Interactive Entertainment Europe
  • MARVEL’S SPIDER-MAN Paul Mudra, Phillip Kovats, Dwight Okahara – Insomniac Games/Sony Interactive Entertainment Europe
  • RED DEAD REDEMPTION 2 Development Team – Rockstar Games/Rockstar Games
  • TETRIS EFFECT Hydelic, Noboru Mutoh, Takako Ishida – Monstars Inc. and Resonair/Enhance, Inc.

BEST GAME 

  • ASSASSIN’S CREED ODYSSEY Development Team – Ubisoft Quebec/Ubisoft
  • ASTRO BOT: RESCUE MISSION Development Team – SIE Japan Studio/Sony Interactive Entertainment Europe
  • CELESTE Development Team – Matt Makes Games Inc./Matt Makes Games Inc.
  • GOD OF WAR Cory Barlog, Yumi Yang, Shannon Studstill – Santa Monica Studio/Sony Interactive Entertainment Europe
  • RED DEAD REDEMPTION 2 Development Team – Rockstar Games/Rockstar Games
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909

BRITISH GAME

  • 11-11: MEMORIES RETOLD Dan Efergan, Bram Ttwheam, George Rowe – Digixart, Aardman & Bandai Namco Entertainment Europe/Bandai Namco Entertainment Europe
  • FORZA HORIZON 4 Development Team – Playground Games/Microsoft Studios
  • RED DEAD REDEMPTION 2 Development Team – Rockstar Games/Rockstar Games
  • THE ROOM: OLD SINS Development Team – Fireproof Games/ Fireproof Games
  • OVERCOOKED 2 Development Team – Ghost Town Games & Team 17/ Team 17
  • TWO POINT HOSPITAL Development Team – Two Point Studios/SEGA

DEBUT GAME

  • BEAT SABER Development Team – Beat Games/Beat Games
  • CULTIST SIMULATOR Alexis Kennedy, Lottie Bevan – Weather Factory/Humble Bundle
  • DONUT COUNTY Ben Esposito – Ben Espositio/Annapurna Interactive
  • FLORENCE Development Team – Mountains/Annapurna Interactive
  • GRIS Development Team – Nomada Studio/Devolver Digital
  • YOKU’S ISLAND EXPRESS Development Team – Villa Gorilla/Team 17

EVOLVING GAME

  • DESTINY 2: FORSAKEN Development Team – Bungie/Activision
  • ELITE DANGEROUS: BEYOND Development Team – Frontier/Frontier
  • FORTNITE Development Team – Epic Games/Epic Games
  • OVERWATCH Development Team – Blizzard Entertainment/Blizzard Entertainment
  • SEA OF THIEVES Development Team – Rare Ltd/Microsoft Studios
  • TOM CLANCY’S RAINBOW SIX SIEGE Development Team – Ubisoft Montreal/Ubisoft

FAMILY

  • LEGO DISNEY PIXAR’S THE INCREDIBLES Pete Gomer, Dan Crossley, Nicholas Ricks – TT Games/WB Games
  • NINTENDO LABO Development Team – Nintendo EPD/Nintendo
  • OVERCOOKED 2 Development Team – Ghost Town Games & Team17/Team17
  • POKÉMON: LET’S GO, PIKACHU! AND LET’S GO, EEVEE! Development Team – Game Freak/The Pokémon Company and Nintendo
  • SUPER MARIO PARTY Development Team – NDCube/Nintendo
  • YOKU’S ISLAND EXPRESS Development Team – Villa Gorilla/Team 17

GAME BEYOND ENTERTAINMENT

  • 11-11: MEMORIES RETOLD Yoan Fanise, Dan Efergan, Lionel Lovisa – Digixart, Aardman & Bandai Namco Entertainment Europe/Bandai Namco Entertainment
  • CELESTE Development Team – Matt Makes Games Inc./Matt Makes Games Inc.
  • FLORENCE Development Team – Mountains/Annapurna Interactive
  • LIFE IS STRANGE 2 Michel Koch, Raoul Barbet – DONTNOD Entertainment/Square Enix
  • MY CHILD LEBENSBORN Development Team – Sarepta Studio AS/Teknopilot AS, Sarepta Studio AS
  • NINTENDO LABO Development Team – Nintendo EPD/Nintendo

GAME DESIGN

  • ASTRO BOT: RESCUE MISSION Development Team – SIE Japan Studio/Sony Interactive Entertainment Europe
  • CELESTE Development Team – Matt Makes Games Inc./Matt Makes Games Inc.
  • GOD OF WAR Development Team – Santa Monica Studio/Sony Interactive Entertainment Europe
  • INTO THE BREACH Justin Ma, Matthew Davis – Subset Games/Subset Games
  • MINIT Development Team – JW, Kitty, Jukio, and Dom/Devolver Digital
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909

GAME INNOVATION

  • ASTRO BOT: RESCUE MISSION Development Team – SIE Japan Studio/Sony Interactive Entertainment Europe
  • CELESTE Development Team – Matt Makes Games Inc./Matt Makes Games Inc.
  • CULTIST SIMULATOR Alexis Kennedy, Lottie Bevan – Weather Factory/Humble Bundle
  • MOSS Development Team – Polyarc/Polyarc
  • NINTENDO LABO Development Team – Nintendo EPD/Nintendo
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909

MOBILE GAME

  • ALTO’S ODYSSEY Development Team – Team Alto/Snowman
  • BRAWL STARS Development Team – Supercell/Supercell
  • DONUT COUNTY Ben Esposito – Ben Esposito/Annapurna Interactive
  • FLORENCE Development Team – Mountains/Annapurna Interactive
  • REIGNS: GAME OF THRONES François Alliot, Tamara Alliot, Arnaud De Bock – Nerial/Devolver Digital
  • THE ROOM: OLD SINS Development Team – Fireproof Games/Fireproof Games

MULTIPLAYER

  • A WAY OUT Development Team – Hazelight/EA Originals
  • BATTLEFIELD V Development Team – EA DICE/Electronic Arts
  • OVERCOOKED 2 Development Team – Ghost Town Games & Team 17/Team 17
  • SEA OF THIEVES Development Team – Rare Ltd/Microsoft Studios
  • SUPER MARIO PARTY Development Team – NDCube/Nintendo
  • SUPER SMASH BROS. ULTIMATE Development Team – Nintendo, Bandai Namco Studios and Sora Ltd/Nintendo

MUSIC

  • CELESTE Lena Raine – Matt Makes Games Inc./Matt Makes Games Inc.
  • FAR CRY 5 Development Team – Ubisoft Montreal/Ubisoft
  • FLORENCE Development Team – Mountains/Annapurna Interactive
  • GOD OF WAR Bear McCreary, Keith Leary, Peter Scaturro – Santa Monica Studio/Sony Interactive Entertainment Europe
  • GRIS Development Team – Nomada Studios/Devolver Digitial
  • TETRIS EFFECT Hydelic, Noboru Mutoh, Takako Ishida – Monstars Inc. and Resonair/Enhance, Inc.

NARRATIVE

  • FLORENCE Writing Team – Mountains/Annapurna Interactive
  • FROSTPUNK Writing Team – 11 Bit Studios/11 Bit Studios
  • GOD OF WAR Cory Barlog, Matt Sophos, Richard Zangrande Gaubert – Santa Monica Studio/Sony Interactive Entertainment Europe
  • MARVEL’S SPIDER-MAN Writing Team – Insomniac Games/Sony Interactive Entertainment Europe
  • RED DEAD REDEMPTION 2 Dan Houser, Rupert Humphries, Michael Unsworth – Rockstar Games/Rockstar Games
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909

ORIGINAL PROPERTY

  • DEAD CELLS Development Team – Motion Twin/Motion Twin
  • FLORENCE Development Team – Mountains/Annapurna Interactive
  • INTO THE BREACH Development Team – Subset Games/Subset Games
  • MOSS Development Team – Polyarc/Polyarc
  • RETURN OF THE OBRA DINN Lucas Pope – Lucas Pope/3909
  • SUBNAUTICA Development Team – Unknown Worlds Entertainment/Unknown Worlds Entertainment

PERFORMER

  • CHRISTOPHER JUDGE as Kratos in God of War
  • DANIELLE BISUTTI as Freya in God of War
  • JEREMY DAVIES as The Stranger in God of War
  • MELISSANTHI MAHUT as Kassandra of Sparta in Assassin’s Creed Odyssey
  • ROGER CLARK as Arthur Morgan in Red Dead Redemption 2
  • SUNNY SULJIC as Atreus in God of War

EE MOBILE GAME OF THE YEAR (voted for by the public)

  • BRAWL STARS – Supercell/Supercell
  • CLASH ROYALE – Supercell/Supercell
  • FORTNITE –  Epic Games/Epic Games
  • OLD SCHOOL RUNESCAPE – Jagex/Jagex
  • POKÉMON GO – The Pokémon Company, Niantic/Nintendo
  • ROBLOX – Roblox Corporation/Roblox Corporation

 

The ceremony for the British Academy Games Awards, hosted by Dara O’Briain, takes place on Thursday 4 April at the Queen Elizabeth Hall on London’s Southbank and will be live streamed on all major social, online and gaming platforms.

You can stream the British Academy Games Awards here: www.bafta.org/games/howtowatch.

For more industry content, visit our news page.

Mar 12
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Irish Film

Irish Film Tour Coming to Birmingham

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Following the great success of its previous Irish film tours, Irish Film London is on the road again, partnering with independent cinemas and Irish organisations in Manchester, Leeds and Birmingham. The tour kicks off on Monday 11th March at in Manchester. Then it will reach Leeds before opening at Birmingham cinema The Mockingbird, on Wednesday 13th March. Tickets are available here.

Birmingham Irish Association is partnering with Irish Film London for the screening of Rosie. President of Ireland Michael D. Higgins recently visited the Association, and praised their work. He paid tribute to the Association for supporting all members of the Irish community that needed assistance.

About the Irish Film “Rosie”

Written by the acclaimed Roddy Doyle, Rosie will tour each city with its award-winning director Paddy Breathnach. He is best known for films I Went Down and Viva, and he’ll take part in a Q&A after the screenings.

Rosie enjoyed massive critical acclaim and sold-out screenings after premiering at the 2019 Toronto International Film Festival. The Hollywood Reporter Critics subsequently named 25 favourite films from the autumn festivals. Rosie also went on to win two awards at the 2018 Irish Film London Awards. These were Best Feature Film, and the Ros Hubbard Award for Acting following Sarah Greene’s show-stopping performance.

The film tells the story of a mother trying to protect her family after they become homeless. Finding a room, even for a night, is a tough job and finding somewhere permanent to live is even harder. Within the confines of their car, Rosie (Sarah Greene of Nobel and Rebellion), and John Paul (Moe Dunford of Vikings and Handsome Devil) strive to maintain a loving home while shielding their young family from the reality of the situation around them. Rosie examines how even in times of crises, the love and strength of a family can endure.

Support for the Irish Film Screening

Birmingham Irish Association’s Culture and Heritage Project Officer Peter Connolly said “It’s great to work with Irish Film London again. We couldn’t be happier to do so on this particular film. The President has offered much encouragement, and we look forward to joining IFL in bringing such an important and topical film to our community.”

The film’s director Breathnach said, “I’m thrilled that UK audiences will have the opportunity to view Rosie on the big screen. We had some fantastic screenings at the BFI London Film Festival last year. So we’re are looking forward to bringing the film back to the UK this March.”

Irish Film London Founder Kelly O’Connor said, “It’s been a pleasure to work with Element Pictures and all our regional partners on getting this tour in motion. Our ultimate goal is to build the awareness of Irish film among audiences here in the UK. Also, promoting the work of the Irish community and cultural organisations like Leeds Irish Health and Homes or the Birmingham Irish Association. Paddy is such a generous and modest character, despite his exceptional talents. So I can’t wait for our audiences across the UK to meet him.”

The support of the Irish Embassy in London, the Ireland Funds of Great Britain and Culture Ireland has made this tour possible.

Tickets are available here.

The Irish Film Festival London is made possible with the support of a number of groups. These are: Screen Ireland, Culture Ireland, the Arts Council of Ireland, IFI International, the Department of Foreign Affairs & Trade of Ireland, the Ireland Funds of Great Britain, the Irish Youth Foundation and Film London. Interested parties are welcomed to get in touch for more information about available sponsorship opportunities.

For more industry news, click here.

Mar 12
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Effective Leadership for Creative Businesses

Effective Leadership for Creative Businesses – Apply by 24th March

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Leaders of creative businesses are faced with a changing and evolving industry in an often fast-paced environment. Therefore Creative England are running an exclusive programme in Manchester called “Effective Leadership for Creative Businesses”. This two-day mini MBA, set over two months targets business leaders in the Film, TV and Games industry. They will learn how to adapt as well as succeed against the uniquely complex challenges of the creative industries. Below are the details of the programme.

Effective Leadership for Creative Businesses

  • For business leaders of film, television and games companies
  • The cost for participation is £100 (this has been subsidized by the Creative Enterprise programme)
  • Dates you must be available: Tue 2 April and Fri 3 May
  • Location: Manchester Art Gallery
  • Led by PressurePoint
  • Application only

People development agency PressurePoint will lead Effective Leadership for Creative Businesses.  Participants will learn how to identify and isolate the main problems facing their business and develop strategies to find solutions.

Requirements

Applicants must have:

  • A base in the English regions outside London
  • A relevant track record in the film, TV or games industry
  • Ambitions for company growth and a clear vision for your business
  • Also, a business proposal that includes storytelling through creative content

Application deadline is 5pm Sunday 24 March. However, spaces are limited to 12 companies.

Apply here

About Creative Enterprise

Creative Enterprise is an ongoing national programme. It brings together companies who work in moving image for storytelling, spanning film and television as well as games and technology, to build meaningful connections and create opportunities for business growth. Creative Enterprise therefore will provide expertise and training to future-proof the next generation of moving image companies. This is through exclusive events and bespoke workshops led by industry leaders and mentors. Email creativeenterprise@creativeengland.co.uk for enquiries.

For more industry opportunities, visit our news page.

Mar 07
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Whickers' Cost of Docs

The Whickers ‘Cost of Docs’ Survey: RESULTS

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The Whickers works in funding and supporting emerging talent. However, they also seek to be a champion for documentary makers globally, amplifying their voices in the industry. The initial aim their first annual Whickers ‘Cost of Docs’ survey, back in 2016, was to ensure their main funding award of £80,000 was still the game-changing amount that they wanted it to be. This year, however, they have added some new questions. They cover role, gender, the funding application processes, pitching, crowdfunding, and the hopes and fears of UK filmmakers around Brexit.

Below are some highlights of the Whickers ‘Cost of Docs’ Report, published by The Whickers on February 20, 2019.

Our third annual survey is our most comprehensive and international dive into the lived reality of documentary filmmaking so far. Carried out between the beginning of December 2018 and mid-January 2019, in association with Sheffield Doc/Fest, this unique insight reveals the passion, pain points and increasing challenges facing this specialist sector of film production.Download the full 2018/2019 Report

Whickers ‘Cost of Docs’: Who responded

  • those who have worked less than five years in the industry (53%)
  • 72% aged between 25 and 44
  • 89% of whom are either currently working on a documentary or have worked on one in the last two years
  • twice as many women as men (62% cf 35%)
  • 63% of respondents based in the UK and the remainder based in a range of countries including Serbia, Portugal, India, Indonesia, Vietnam, the US, Canada, Chile, Kenya, the Philippines, Georgia, Martinique, Uganda, Qatar and Italy.

Whickers ‘Cost of Docs’: Key findings:

  • Funding remains the most significant challenge
  • 32% rely on savings to support themselves whilst making documentaries (page 8)
  • 30% rely on financial support from family and friends (page 8)
  • 39% rely on freelancing on other projects (page 8)
  • 71% felt they had not been paid what they consider an appropriate wage on their most recent documentary (page 11)
  • 36% of respondents had never applied for funding for a documentary (page 13)
  • Of those who did apply, 19% did not receive any funding and 11% of respondents received less than £10,000 (page 14)
  • The average time spent on a funding application is 8 days (page 15)
  • Just 19% of respondents had ever used a crowdfunding site to raise finance for their documentary (page 16)

“Budgets from broadcasters are becoming increasingly tight – leading to unrealistic schedules and unhappy teams, desperately scrambling to make something unachievable and sacrificing their personal lives in the process.”

  • The majority of documentary makers are not investing in formal training
  • 52% of respondents claim to be self-taught (page 5)
  • Only 26% attended a short course on documentary (page 5)
  • 32% had obtained a postgraduate documentary qualification (page 5)
  • Each year we ask which costs are rising and which are falling or staying the same. In 11 of 18 categories, respondents claim that costs have increased.
  • Rising costs include archive (32%), attending pitches and film festivals (51%) and post production costs (36%) (page 22)
  • Another big surprise is the percentage of respondents making documentaries for TV has increased, 52% this year compared to 42% in 2017 (page 6)
  • 61% made documentary films for online, compared to 39% in 2017 (page 6)
  • 46% of respondents had worked on a documentary that has been broadcast on TV (page 17)
  • 12% had worked on a documentary that had found an audience online (page 17)
  • Unsurprisingly, Brexit was a hot topic for UK-based respondents with 20% fearing an end of access to European funding as a result.
  • The second biggest concern for UK-based respondents, at 14%, was that travel could become more difficult (page 29) 

On Brexit: “I’m concerned about freedom of travel, ability to work with cross-border crews and rising costs. The effect will be massive and hugely problematic.”

And finally, the all-important question of why, despite all of the challenges, filmmakers continue to want to make documentaries. The overriding responses fell into five main camps, with significant overlap between them: passion for storytelling, self-expression, the search for truth, curiosity and social justice.

Jane Ray, Artistic Director at The Whickers said of this year’s survey: “I am grateful that in increasingly busy and stressful lives so many independent documentary makers have given such time and thought to this Whickers ‘Cost of Docs’ survey. Mulling over the results it is sobering to realise that the pressure in this industry to produce ‘more for less’ is intensifying. When respondents claim to be cutting back on frivolities such as “food” and “accommodation” (page 23 of the report)to complete their films one wonders if, without more sustainable funding models, we are going to lose the essential range and diversity of real stories that engage viewers in experiencing our world and what it truly is to be human.”

Source: www.whickerawards.com

 

Cick here to view the full Cost of Docs report.

For more industry news and events, visit our news page.

 

Mar 07
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Salaam Pakistan Film Festival

Salaam Pakistan Film Festival in Birmingham

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Salaam Pakistan Film Festival is a brand-new touring film festival showcasing the very best of Pakistan’s new independent films. Audiences will have the rare chance to see award-winning films, a UK premiere, Oscar winning documentaries and special Q&A’s. It will be on at Birmingham’s Midlands Arts Centre on Sunday 24 March, Wednesday 27 March and Saturday 30 March 2019. The inaugural Salaam Pakistan Film Festival is a small but mighty film programme, which will also be touring other UK cities throughout March.

Various prestigious organisations support the Festival, including the British Film Institute and Rangoonwala Foundation. This year’s festival covers a range of themes including the 1947 partition, class and social struggle, female rights and the fight for social justice.

Salaam Pakistan Film Festival Listings

The UK premiere of the compelling UK-Pakistani film Lakeer will open the festival. Film critics hail this as the first Pahari film. Pioneering filmmaker Shiv Dutt, who sadly passed away in 2018, is the film’s director. Lakeer tells the story of a Kashmiri couple divided by Partition in
1947. The film’s UK-based writer Ali Adaalat will be present for a special Q&A following the screening.

Further highlights of the festival are the rare screenings of A Girl in the River and Saving Face. These are two powerful and hopeful Oscar winning documentaries by Sharmeen Obaid-Chinoy. In 2012, the Government of Pakistan honoured Sharmeen with the Hilal-i-Imtiaz, the second highest civilian honour. She is also the only woman to win two Oscars by the age of 37.

The festival is also excited to announce Pakistani filmmaker Iram Parveen Bilal will be present for her film Josh. The thought-provoking film about class and social struggle closes the Festival. Iram, a Physics Olympian turned filmmaker, initiated the Pakistani Oscar committee and is the founder of Pakistan’s first professional screenwriting lab (QALAMBAAZ). Iram will be taking Q&A’s from the audience after the screening.

Book at Midlands Art Centre

MAC’s Chief Executive and Artistic Director Debbie Kermode commented “We’re delighted to welcome the first Salaam Pakistan Film Festival. Our audiences will appreciate the opportunity to see this fantastic collection of cutting-edge Pakistani and British Pakistani films.”

Tickets for all screenings at Midlands Arts Centre can be booked via the Box Office on 0121-446 3232 or online at www.macbirmingham.co.uk (all films are screened with English subtitles).

Click here to book your place.

Salaam Pakistan Film Festival acknowledges the support of all its partners: The National Lottery, BFI FAN, Film Hub Midlands, Film Hub North, Rangoonwala Foundation, British Pakistan Foundation (BPF).

 

Read more about the festival here.

For more industry events, visit our news page.

Mar 05
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Bumble's Female Film Force

Bumble’s Female Film Force 2019 – Apply by March 20

By Funding, Uncategorized No Comments

Last year, Bumble’s Female Film Force was an unprecedented success, Bumble has decided to do it again in 2019 — but they’re taking it international.

Bumble is expanding their initiative, which offers grants to aspiring women filmmakers, to include France and Germany. It will again include the UK, where the inaugural competition yielded 1,100 pitches. Here is what they have to say:

About Bumble’s Female Film Force 2019

Once again, we’ll give five female teams (writers, directors, or producers) £20,000 each to make a short film. They must have a theme rooted in Bumble’s values of kindness, respect, and equality.

So, why are we doing this? Look no further than this past awards season — or, indeed, any in the film industry’s history. In February, the Academy Awards bestowed Oscars overwhelmingly to men (73% of winners). Across the Oscars, BAFTAs, and Golden Globes, every Best Director nominee was a man.

At this year’s BAFTAs, only a third of the winners were women (34%). In France, only one woman, Jane Campion, has ever received the Palme d’Or at the Festival de Cannes. That is during its 70-year history. And in Germany, only about 15% of films shown in cinemas are directed by women. In the last 17 years of the Berlinale, only four women have won the Golden Bear.

We want to do our part to help redress this gender imbalance.

How to Apply to Bumble’s Female Film Force

To enter, women across the UK, Ireland, France and Germany can download Bumble, head into Bumble Bizz, our professional networking mode, and match with the Female Film Force application card. We encourage anyone who identifies as a woman to apply.

Applications for Round One of Bumble’s Female Film Force will close on March 20th. We will then announce a shortlist, and filmmakers will need to submit further materials to support their ideas. 

Then, our team will ask ten teams to pitch to our industry panel in London in May.

Bumble will announce the five chosen teams in June, with films delivered in January 2020. We will showcase those films at an exclusive industry event.

Over the production period, our five filmmakers will also receive guidance from leading industry experts as part of a bespoke mentorship programme created in partnership with WDW Entertainment and Female Film Force Producer Elisabeth Hopper.

A panel of industry experts from France, Germany and the UK will judge the submissions to find our teams of women ready to bring their stories to life.

For more industry opportunities, visit our news page.

Mar 05
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Executive Ready

“Executive Ready” Funding for Female Film/TV Leaders – Deadline May 3rd

By Funding No Comments

A pool of scholarships are currently available for female leaders across the UK’s film and television sector. Women & Leadership International is administering this national initiative to support participation in “Executive Ready”, a practical and targeted leadership development course. The campaign is providing women with grants of up to £1,000 to enable participation in the programme.

The scholarship funding will provide a powerful and effective development opportunity for film and television sector women. However, the funding is strictly limited and has to be allocated prior to the end of May. Mid-level leaders and managers are eligible to apply for a £1,000 partial scholarship to assist their participation in “Executive Ready”.

The Programme

“Executive Ready” is a seven month leadership and career accelerator.  This programme should stretch mid-level leaders and rapidly propel them towards executive level performance, behaviours and mindsets. The program challenges participants to see themselves, their responsibilities and their opportunities with fresh eyes, enabling and inspiring them to achieve career and life goals.

Expressions of Interest

Find out more or complete the Expression of Interest form here before Friday 3 May.

For more industry opportunities, visit our news page.

Mar 04
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Military Veterans

Military Veterans Invited to Work in Television

By Training No Comments

Initiative for Military Veterans

Military veterans now have the chance to retrain to work in the location and unit management department. This is through a new initiative by ScreenSkills High-end TV Skills Fund.

The ScreenSkills location and unit management training will help ex-Armed Forces personnel identify how skills acquired in the military can be translated into behind-the-camera roles in high-end TV production. The Services Sound and Vision Corporation (SSVC) and Creative Media Skills will deliver the programme, which targets professionals who are within two years of leaving the forces. It will introduce the professionals to careers options in the location and unit management department. Careers in this department make up key skills shortages in the screen industry.

The investment in location management training is a response to the projected recruitment difficulties highlighted by the ScreenSkills Quarterly Barometer. This state-of-sector snapshot published in December 2018 concluded that location managers are high in demand. Vacancies in this area are therefore increasingly difficult to fill.

About the Programme

Interested ex-Armed Forces professionals will learn about the challenges and rewards of working in the screen industry during an initial information held at Pinewood Studios on 21 March. There, they will network with location managers and have access to a number of online modules . This will introduce them further to a range of topic. These include the life-cycle of a high-end TV production and the different roles in the department.

Following this, 12 interested participants will attend a two-day intensive boot camp. This will provide a thorough overview of the knowledge needed to be a valuable member of a location team. Finally, six participants will put the knowledge gained from the course during a six-week paid work placement on a high-end TV show.

Why It Works

Kaye Elliott, ScreenSkills Director of High-end TV, said: “ScreenSkills is dedicated to developing talent and crew across the UK. Helping experienced professionals who are looking for a career change to identify how they can use their existing skillset in the screen industry is one way of achieving that. Locations and unit management departments experiencing skills shortages would really benefit from the skills of ex-Armed Forces professionals. So, we are really pleased to support this scheme.”

Kristen Platt, Client Success Manager of SSVC, said: “Self-motivation, resilience and problem-solving are very much in demand in the high-end TV industry. And especially in the location department. We’re delighted that the industry recognizes this and is investing in people coming out of the armed forces, to help them establish careers.”

 

Source: screenskills.com

For more industry news, click here.

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