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Amazon Crew Filming ‘Citadel’ Hails Film Birmingham for ‘Incredible Shoot’

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The TV crew producing upcoming sci-fi drama ‘Citadel’ have hailed Birmingham for facilitating an ‘incredible shoot’. Amalgamated Pictures Limited, filming on behalf of Amazon Prime, wrapped up on November 24 after nine days shooting in the city.

The multi-million pound production stars Richard Madden of Game of Thrones fame and actress Priyanka Chopra Jonas.

A staggering 430 background extras were used in the first three days of filming, from November 15 to 17. Edmund Street was closed every evening from around 7pm until the early hours to allow filming to take place. Cornwall Street was also used by the production team for parking. Amalgamated employees were spotted several times travelling from their Jewellery Quarter base – with actors even seen crossing Great Charles Street Queensway on horses.

Location manager Bill Darby told BirminghamLive : “The shoot went incredibly well, and the sequence is going to look amazing.

“We are all very grateful to the city for its help. It was a hugely complex and ambitious sequence to put together. It is a credit to the city and Film Birmingham for it being such a success.”

More 2021 Filming

Birmingham this year has become a hotbed for TV series and film; from Hollywood megastar Tom Cruise shooting Mission Impossible 7 in Grand Central, to new ITV crime drama DI Ray filming outside Three Snowhill. In a welcome boost to the city, DI Ray and Citadel were both being worked on at the same time, with the former’s production crew also spotted in St Paul’s Square.

News also revealed how the BBC plans to investment around £50million into Birmingham as the broadcaster looks for a new base in the city.

A BBC spokesperson said: “We’ve made a commitment to do even more in Birmingham, which means we’ll have more staff in the city in the coming years and different needs. We are exploring a number of options for the future including staying at our current base at The Mailbox.”

 

Source: www.birminghammail.co.uk

 

For more industry information, visit Film Birmingham’s news page. Or add us on InstagramTwitter or Facebook.

Step up to 1st AD in HETV or Film

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Are you an experienced 2nd Assistant Director working in HETV and/or Feature Films who is looking to step up to 1st AD?

Are you an experienced 3rd Assistant Director, with a little 2nd experience, working in HETV and/or Feature Films who is looking to step up to 1st AD?

Are you a recently stepped-up 1st AD looking to consolidate your knowledge and gain more confidence in the role?

If you answered yes, then this free to attend, short course is for you. In addition to the training course there are up to 15 funded ‘Step-up’ placements available for eligible participants. Step-up to 1st AD will enable 60 participants (40 from HETV and 20 from film) working across the UK to gain the necessary skills and knowledge to step-up to 1st Assistant Directors. In addition, and following on from the training programme, there are up to 25 funded placements as 1st AD available for participants who complete the course (up to 25 in HETV and 5 in film)

When

Date: 8 Jan, 14:00 – 15 Jan 2022, 18:00

Location: Online

Age: 18+

Price: Free

Application deadline: 17 Nov 2021

Why this 1st AD course?

This free to attend course is taught by a highly experienced Assistant Director and working 1st AD guest speaker(s) and is aimed at ensuring that UK Film productions have access to a cohort of skilled and educated 1st Assistant Directors who can bring increased value to the production chain. Assistant Directors need to be equipped to understand the necessary approach to take in what is a sensitive position, given that they are often torn between the needs of the direction and the requests of the production.

This training course will ensure that participants are better placed to serve both producers and directors, as well as maintaining a safe environment on set and ensuring they remain mentally healthy throughout the shoot process. It will also give experienced 2nd or 3rd ADs the skills and knowledge to feel confident making the transition to the 1st AD role.

Who it’s for

  • Professional ADs who have held the position of 2nd on at least three significant HETV productions and/or feature films or
  • Professional Assistant Directors who have held the position 3rd AD on at least three significant HETV productions and/or feature films, and have some 2nd AD experience (e.g. short film) or
  •  Recently stepped-up 1st ADs in HETV and/or film looking to consolidate their knowledge and gain more confidence in the role

What it covers

Assistant Directors need to be equipped to understand the necessary approach to take in what is a sensitive position, given that they are often torn between the needs of the direction and the requests of the production. This training course will ensure that participants are better placed to serve both producers and directors, as well as maintaining a safe environment on set and ensuring they remain mentally healthy throughout the shoot process.

This training course is an opportunity for individuals to not only improve their technical AD skills but also their softer, leadership and management skills, to enable them to be ready to step up to 1st AD. By the end of this training course participants will have:

  • been trained by respected and established colleagues
  • in depth understanding of the role and responsibilities of 1st AD
  • gained a more detailed understanding of scheduling and the practical implications on the production process
  • learned about budgeting and budget management requirements of the role
  • knowledge of the health and safety requirements for the role, including running safety briefings
  • knowledge of the paperwork and reports expected of a 1st AD
  • learned how to manage and run a large busy set
  • learned how to position themselves within both the operational and the creative process
  • shared their knowledge, experience and concerns with colleagues and peers
  • had the benefit of a peer support network

To Apply for this 1st AD course

This course will run online across two Saturdays, with a choice of  dates to book in December 2021 and  January 2022.  If you are interested in taking part, please complete an application form here.

If you have any questions on the course, please email francesca@mission.guru

This programme is supported by the ScreenSkills High-end TV Skills Fund with contributions from UK high-end TV productions and by ScreenSkills as part of the BFI Future Film Skills programme using funds from the National Lottery.

 

Source: www.screenskills.com

 

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Lichfield Auctioneer Teams Up with TV expert for New BBC show

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The programme sees Will, who has appeared on The Repair Shop and Morning Live, and Christina, who is seen on Antiques Road Trip and Bargain Hunt, sift through a family home in each episode, identifying items which they believe will sell at auction. Will brings his craft and restoration skills into play to bring new life to neglected treasures.

The couple will visit Staffordshire for a special auction on November 4, at Middleport Pottery in Stoke-on-Trent. Richard Winterton Auctioneers, of Lichfield and Tamworth, is providing the logistics and staff for the special auction, which will see Christina Trevanion yielding the gavel on the day.

Bidders will be vying for dozens of special lots selected and restored by Christina and Will as part of the new show, which aims to unearth hidden gems and turn unwanted items into winning lots. Viewing of lots in Thursday’s auction will take place at The Lichfield Auction Centre, Fradley Park, by appointment only.

Richard Winterton said: “We are delighted to be working with Will, Christina and the BBC for The Travelling Auctioneers. Uncovering hidden treasures is absolutely what we are about so to be taking part in this innovative new series is a perfect fit for us. The sale features many very interesting lots and I am sure it will be a big hit with bidders.”

Included in the sale are collectables ranging from a USA-made 2004 Fender Stratocaster Deluxe and 22 lots of Star Wars Lego to dolls, jewellery and furniture.

Also featuring are Robert ‘Mouseman’ Thompson bookends each with three of his famous carved mice, plus Mouseman candlesticks and cheeseboard.

The sale starts at noon and members of the public are welcome to attend and should arrive by 11.45am.

 

Source: www.expressandstar.com

 

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The Uncertain Kingdom Development Fund

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Following the success of its short film anthology, The Uncertain Kingdom has launched a development fund for feature-length projects.

The Uncertain Kingdom Development Fund will support filmmakers with an agenda as strong as their vision and projects that interrogate British culture; asking who we are, how we got here or where we are going.

The fund will welcome projects of 70+ minutes in any form or genre, including fiction, animation, documentary and dance projects. Projects will be considered at treatment or script stage. The fund is commercial and will look for projects with a route to market. Unlike the anthology project, the features supported by the new fund will not be released together.

Filmmakers must be residents of the UK but need not be British. Seeking to address the challenges directors and producers face creating sustainable careers, The Uncertain Kingdom Development Fund will prioritise filmmakers who have previously made a feature.

Like the original anthology project, the fund will take a hands-off approach – empowering writers, directors and producers to tell their stories their way – and will support filmmakers from a range of backgrounds and experiences.

Application Guidelines

Applications for The Uncertain Kingdom development fund are open now and close on November 12th at 11am.

Please apply here.

Before applying, please read the guidelines below carefully. Please also read the general conditions; applicants need to agree to them as part of the application.

Brief

We are looking for projects that interrogate British culture; asking who we are, how we got here or where we are going.

The brief is deliberately broad. Please show us what it means to you.

The Project 

  • Must be an audiovisual production suitable for theatrical release

  • Must be 70+ minutes long

  • Can be any form or genre, including fiction, animation, documentary and dance projects

  • Should primarily be set in the UK (or you should able to say why it’s still relevant to the UK despite being set elsewhere)

  • Can be at treatment through to script stage. It is not necessary to have a script to apply, but applicants will need to be able to provide detail about the project

  • Can be based on existing IP (but note funding won’t be provided for payment of option fees)

  • Must have a route to market; applicants will need to outline their proposed route

The Team 

For all projects:

  • The producer, writer and director of the project must be entitled to work in the UK but need not be British citizens

  • Directors (or one person in the directing team) of all projects must have directed a feature film

  • Producers (or one person in the producing team) of all projects must have produced a feature film or at least a single episode of a TV series

  • Writers must have demonstrable relevant writing experience. We don’t ask for a writing sample at application stage, but will do if applicants pass the initial stage. The less developed the project, the more important it is to have a relevant writing sample to share

For non-fiction projects 

  • an individual producer and a director must be attached to the project at the time of application

  • the project can have separate producer(s) and director(s) or a single individual may fulfil both roles

  • having a writer attached at the time of application is not essential

For fiction projects

  • an individual producer and a writer must be attached to the project at the time of application

  • a writer of the project may also act as an individual producer of the project provided that there is another individual producer attached who is not also a writer of the project

  • having a director attached at the time of application is not essential

  • a director of the project may also act as an individual producer of the project provided that there is another individual producer attached who is not also a director of the project

How the fund works

  • We take a hands-off approach; empowering filmmakers to tell their stories their way

  • We have £60,000 to distribute among a handful of projects – we’ll determine the amount to be allocated to each successful project once we know more about them

  • We fund a range of development costs including, but not limited to, writer and producer fees, early scouting, research, workshops, budgeting/scheduling and directors’ look books

  • As mentioned above, we do not fund option fees

  • We do not take a share of copyright or other similar rights in projects but in return for our development funding, you will need to sign our standard agreement which includes confirmation that (a) development funds shall be returned in full when the project goes into production together with a premium if the budget of your film is £1m or more (a 10% premium for budgets between £1m – £5m and a 50% premium for budgets in excess of £5m); (b) The Uncertain Kingdom will receive 1% of 100% of the net profit of the film; and (c) we will receive credit and a logo in the end titles

  • Unlike The Uncertain Kingdom’s anthology project, we will not be involved in the release of any of the projects we fund, but we are working with Picturehouse Entertainment which will have a right of first refusal to distribute in the UK the projects funded by this fund

Application: The Uncertain Kingdom Development Fund

  • We fund companies, rather than individuals, therefore producers need to apply on behalf of a company incorporated in the United Kingdom

  • The individual producer should be named as our point of contact

  • Applications require:

    • title (can be a working title)

    • three-word description of about the project (e.g. for Jurassic Park you might say, nature hubris dinosaurs)

    • single image that’s evocative of the project to be uploaded as a jpeg

    • maximum 25-word log-line

    • maximum 300-word synopsis of the project or a 3-minute video synopsis (please provide a link and a password)

    • max. 200-word explanation of how the project responds to the brief or a 2-minute video answer (please provide a link and a password)

    • maximum 200-word explanation of the project’s intended audience and route to market

    • brief overview of your development budget. For example, you might give prices for:

      • writer fee

      • producer fee

      • research

      • £x total

    • Company name and number of the applicant

    • Contact details for the individual producer

    • maximum 200-word bio for each individual producer, writer and/or director, as applicable

    • IMDb, if available, and website links for each individual producer, writer and/or director, as applicable

    • link to work sample from each individual producer and/or director

  • We encourage writers and directors to be involved in preparing applications

  • Video answers can be given by any member(s) of the team. Please provide links with a password

  • Individual producers, writers and directors may apply with a maximum of three different projects each

What happens next 

  • All applications will be read by us and external readers appointed by us to prepare a longlist of projects

  • Next, we will contact the individual producers of longlisted projects to ask for further information and materials. What we ask for will depend on the project but may include: a script or treatment for the project itself, writing samples, links to full films (rather than clips), look books, sample footage taken to date (for documentaries) etc. We’ll use these materials to arrive at a shortlist.

  • Our shortlist will be reviewed by a team at Picturehouse Entertainment and together we will decide on projects to interview

  • We aim to contact individual producers in January 2022 to arrange an interview and we will announce successful projects as soon as possible after all interviews have taken place

 

Source: theuncertainkingdom.co.uk

 

For more industry information, visit our news page. Or add us on InstagramTwitter or Facebook.

first look image of bbc's my name is leon

First-look Images for BBC’s My Name Is Leon

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The BBC has released a selection of images from upcoming adaption of award-winning novel, My Name Is Leon. Filming took place in and around Birmingham.

The special one-off film is Shola Amoo’s first screenplay for television and directed by Lynette Linton, her directorial debut on a television drama and stars Sir Lenny Henry CBE (The Lord Of The Rings), Malachi Kirby (Small Axe), Monica Dolan (A Very English Scandal), Olivia Williams (Counterpart), Christopher Eccleston (The A Word), Poppy Lee Friar (In My Skin), Shobna Gulati (Everybody’s Talking About Jamie) and Cole Martin will play the lead, Leon, in his first TV role.

Set in 1980s Birmingham, this feature film tells the uplifting and incredibly moving story of nine year-old Leon, a mixed-race boy, and his quest to reunite his family after being taken into care and separated from his blonde and blue-eyed baby brother. Told through Leon’s eyes, we follow his journey, full of energy and hopefulness despite the hardships he encounters, and witness the touching relationship between him and his foster carer Maureen. With his favourite action figure Sergeant Smith by his side, Leon’s adventure teaches him valuable lessons about himself, the world, love, and what family, in its various guises, really means.

Set against the backdrop of the race riots in the 1980s, this tender and inspiring tale balances gritty realism with charm and gentle humour, exploring the issues of identity and belonging with both urgency and wit.

My Name Is Leon (1×90’) is made by Douglas Road Productions (a Banijay UK company) in association with Tiger Aspect Productions, Ringside Studios and Vicarious Productions. It is executive produced by Sir Lenny Henry and Angela Ferreira for Douglas Road Productions, Gub Neal and Edward Barlow for Ringside Studios, Mona Qureshi for the BBC and Pier Wilkie. Jyoti Fernandes is Script Executive. Carol Harding is producer for Vicarious Productions.

Ingenious Media provided funding alongside Lipsync Productions and Creative England through the West Midlands Production Fund using ERDF funding. 13 Films are handling international sales. Filming took place in and around Birmingham.

 

Source: www.bbc.co.uk

 

For more industry information, visit Film Birmingham’s news page. Or add us on InstagramTwitter or Facebook.

Trainee Finder Recruitment Now Open

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Trainee Finder, ScreenSkills’ highly-respected programme of paid placements for new entrants into film and children’s and high-end television, is open with at least 250 places available.

The programme is open to candidates with less than a year’s paid experience in their chosen role or department from a range of jobs where there are skills shortages.

 Hear More about the Trainee Finder

A series of online Open Doors events about the Trainee Finder, where you can hear from people already working in the industry are open to people based anywhere in the UK. Book now for a session nearest to you: London and South EastNorth East and YorkshireScotlandNorth West and Midlands, Northern IrelandWales and South West.

Additionally, they are hosting a series of online events focusing on different departments available for placements through Trainee Finder: accountsart department, editsoundlocations and script supervisor

Trainee Finder trainees receive an induction into the industry which includes sessions that cover set etiquette, health and safety, mental health and wellbeing and being a freelancer alongside paid placements over the course of a year.

Background

The programme is funded by contributions from productions to the ScreenSkills Skills Funds in children’s TV, film and high-end TV. Productions that contribute to the funds are encouraged to offer training opportunities to the trainees and receive a subsidy to support their salary.

The Trainee Finder programme has run since 2013 in its current form but started earlier in film. It has had notable success in matching participants on productions including films such as Fantastic Beasts, Everybody’s Talking About Jamie and 1917, high-end TV including Sex Education, ShetlandPeaky Blinders, The Crown and All Creatures Great and Small and children’s TV including My Mum Tracy Beaker, Molly & Mack, and Andy and The Band.

Claire Anne Williams, one of Trainee Finder’s hair and make-up alumni, was this year named by Screen International on its 2021 list of UK and Ireland Stars of Tomorrow. Go to Stars of Tomorrow to read more.

You can read about the experience of other former Trainee Finder trainees on the website.

Apply to the Trainee Finder

Applicants can apply for Film Trainee Finder or for High-end TV Trainee Finder which includes the opportunity to work in children’s television.  For full details of criteria and to apply go to Film Trainee Finder or High-end TV Trainee Finder. Applications will close on 5 December.

Applications are particularly encouraged from those currently under-represented in the industry including disabled, Black, Asian and minority ethnic talent and those in the nations and regions, because we are committed to creating a more inclusive and diverse workforce.

 

Source: www.screenskills.com

 

For more industry information, visit Film Birmingham’s news page. Or add us on InstagramTwitter or Facebook.

FOCUS – The Meeting Place for International Production

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Film Birmingham will again be marketing Birmingham and the West Midlands as an international film destination at FOCUS – The Meeting Place for International Production. This is an annual international event held in London.

FOCUS – The Meeting Place for International Production is currently planning a hybrid format for their seventh edition, returning to the Business Design Centre London from 7-8 December for the live component, with the virtual venue operating from 7-10 December. This gives productions, film destinations and production services a space to network and foster working relationships.

Whether you participate in person or online, FOCUS will continue to offer a vibrant space to connect, reconnect and share global production expertise across film, TV, advertising, animation and games.

You can read about the Covid safety measures for the Live edition here.

Welcome to FOCUS 2021 –  in person or online – in December!

About Focus

Connect

Meet with potential partners from every continent. Film commissions, agencies, locations providers and production services will be available to meet 1-2-1.

Be Inspired

Attend an array of programme sessions – keynotes, workshops, panel discussions and case studies –  covering the hot topics in the screen industries.

Discover

Discover millions of dollars worth of filming incentives and get the most up to date advice on the current filming situation around the world.

Register Now

FOCUS Delegate Registration is FREE and gives access to FOCUS London and FOCUS Digital. Applications are open to professionals working in the creative screen industries.

This year you can also upgrade to a Premium Package giving a range of additional benefits, including on demand viewing of the conference during and after the event, extra peer networking opportunities and subscription offers.

Register for Focus here.

 

For more industry information, visit our news page. Or add us on InstagramTwitter or Facebook.

Benediction Review Calls It “Beautifully Realised”

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Legendary British director Terence Davies is back with an elegiac biographical film. Filmed in Birmingham, ‘Benediction’ was recently reviewed by the Mirror’s Film and TV writer Lewis Knight, who called it “incredibly moving and beautifully realised”, with a lead (Jack Lowden) who “has never been better”. Read the full review below:

 

Amid the horrors of the First World War, poet and writer Siegfried Sassoon (Jack Lowden) takes a stand against the futility of the conflict but finds himself sent to a convalescence home. It is here that Siegfried makes a powerful connection with a fellow soldier and writer Wilfred Owen (Matthew Tennyson), one which he will struggle to match in the romances to come.

After the war, Siegfried finds himself caught up in romances with the likes of roguish musician Ivor Novello (Jeremy Irvine), thoughtful actor Glen Byam Shaw (Tom Blyth), and the hedonistic socialite Stephen Tennant (Calam Lynch). Amidst this emotional turmoil, the film flashes forward to a more senior Siegfried (Peter Capaldi) as he reflects on his romances, marriage, war experience and identity.

Appropriately, Benediction feels like the sum of Davies’ filmmaking thus far. Intercutting the vividly observed dramatic sequences with stunningly edited newsreel and first-hand footage of the Western Front during the Great War, Davies sheds off any initial feeling of a docudrama to create an emotional odyssey grounded in tragedy.

There are also more lyrical and expressionist sequences but not in an over-abundance, instead creating short and sharp punches of dreamlike reflection.

Exploring sexuality, masculinity, gay romance, the need to conform and the weight of responsibility, Davies continues to examine themes he knows all too well and does so expertly.

Despite being well-acted, directed and written, one must question, however, whether the scenes featuring the older Sassoon are necessary to truly capture the character’s sadness as there is enough material in abundance to put across the poet’s heartache.

Regardless, the film still succeeds at delivering a compelling portrait of a literary titan. Jack Lowden offers his most powerful and emotionally wrought performance to date as Sassoon, delivering subtlety and naturalism until the floodgates open.

The entire supporting ensemble is also at the top of their game. A special shout-out should be given to Irvine who has never had such a ball as here, portraying a narcissistic and capricious Ivor Novello with aplomb beneath layers of thick black eye-liner.

Elsewhere, Calam Lynch also delivers charisma and theatricality as the larger-than-life Stephen Tennant, whose own vanity just leaps off the screen in spades.

Ultimately, this is Lowden’s chance to shine and thanks to the non-linear and emotionally-driven structure, Davies avoids the reeling of an episodic reel of various romances and instead uses them to add extra shades to a portrait of Sassoon.

The final devastating shot of Lowden will be what lingers long in the memory.

Verdict

Benediction is an incredibly moving and beautifully realised biopic of Siegfried Sassoon from director Terence Davies and star Jack Lowden has never been better.

 

Source: www.mirror.co.uk

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Let’s Reset: The Film & TV Charity Launches Behaviour Change Campaign

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The Film & TV Charity has launched a new campaign to tackle the mental health challenges facing the industry. ‘Let’s Reset’ is a 12-month campaign designed to tackle the stigma still associated with mental health by challenging common preconceptions, improving attitudes and behaviours across the industry, and by demonstrating the benefits of healthier, more supported, and inclusive working environments, including greater creativity, diversity, and retention of talent.

The Let’s Reset campaign launches with the support of the organisations that make up The Film and TV Charity’s mental health Task Force, and other leading bodies and organisations from across the industry, who are pledging to support and amplify a frank and open conversation about the meaningful changes needed to support mental health and wellbeing.

In 2020, when the charity announced its response to The Looking Glass Survey, its data showed as many as 9 in 10 people working behind the scenes in film and TV had experienced a mental health problem – well above the UK average – with stark evidence showing that working conditions, industry culture and lack of accessible support create conditions which mean mental health and wellbeing suffer. High incidences of bullying, racism and harassment have intensified the situation, and indicative results from an update to the Looking Glass Survey predict that the number of people feeling that the intensity of work is having a negative effect on their mental health has risen by almost 20% to four in five in the last 12 months. The update to the survey also indicates that only 10% of those working in the industry believe it is a mentally healthy place to work.

The ‘Let’s Reset’ Pledge

The Let’s Reset campaign seeks to show individuals working in film and TV that the commitment to improving the industry’s mental health and wellbeing comes from the top down, with senior leaders showcasing their support for the campaign and pledging to:

  • Directly address underlying causes of poor mental health
  • Encourage open discussion to challenge unhealthy behaviours
  • Put specific support in place, including clear signposting of The Film and TV Charity’s growing suite of support services available to anybody working behind the scenes in film, TV, or cinema
  • Highlight the work being done internally and build on work being done by other organisations including BECTUBAFTA, BFICoalition for ChangeScreenSkills and beyond

Rooted in behavioural science and co-created in consultation with individuals and organisations from across the industry, the campaign will move from awareness-raising in the initial launch phase to showcasing and amplifying tools and initiatives to improve the support available, while continuing to address the root causes of the mental health and wellbeing emergency in the industry through to September 2022.

Alex Pumfrey, CEO of The Film & TV Charity, said: “People in the film & TV industry are passionate about their craft, but their mental health is too often being strained to breaking point. Unhealthy working hours, bad practices, bullying, racism, harassment, and ableism are too common in an industry we all love, and all of us have a role to play in speaking up to create change. It’s time to come together and reset by putting our mental health centre-stage and committing to changing a culture that impacts us all. The Let’s Reset campaign is also an opportunity to ensure individuals are made aware of the support that is available. Yes, the charity’s own services, including brand new resources to support the wellbeing of freelancers who too often feel unsupported, but also the excellent work from partners across the industry, such as the guidance to prevent bullying, harassment and racism put in place by BFI and BAFTA, the recent publication of the Freelancer’s Charter by the Coalition for Change, essential training from Screenskills, and the support available from BECTU, to name just a few. It’s also a critical moment for senior leaders to showcase their own meaningful commitments to protect and support their people.”

Comments on ‘Let’s Reset’

Lucinda Hicks, CEO Banijay UK, said; “Making sure that Banijay UK is a great place to work is a huge priority for me and my senior team. We want everyone who works with us to feel supported, listened to, empowered and respected. From mandatory training initiatives, to ensuring teams are aware from day one of behaviour expectations on set and beyond; encouraging people to call out behaviour and working practices which don’t feel right, either via our confidential whistle blowing line or via open senior channels, to training mental health first aiders across the company.  We are working hard to understand the issues and to tackle them head on so are delighted to be supporting this excellent campaign from The Film and TV Charity.”

Charlotte Moore, Chief Content Officer, BBC, said: “A healthier working environment is something we can all get behind. Freelancers are the lifeblood of our industry, and the BBC stands alongside the rest of the film and television community to help improve working conditions for freelancers.”

Ralph Lee, CEO, BBC Studios Productions, commented: ““We’re proud to support and amplify this incredibly important campaign. Our production crews across the UK are the beating heart of our content output and we place their wellbeing and safety above anything else. Last December, BBC Studios launched the Thrive virtual platform where staff can better learn ways to manage resilience and mental health. Eliminating the key triggers for poor mental health is paramount to us.”

Lee Jury, Senior Vice President of Studio Marketing, Disney EMEA, said“We fully support the need for change and it’s fantastic to see the backing the Let’s Reset campaign is getting across the whole industry. Positive employee wellbeing and mental health is a huge priority for us at Disney but there’s so much more we can all do, so we encourage everyone to get behind this initiative, spread the word and to continue championing better mental health for all.”

Kate Best, Head of Production at IMG, said: “IMG is fully behind the ‘Let’s Reset’ campaign as we recognise the importance of mental health in the working environment and raising awareness of individual’s needs and concerns.  It’s imperative to have the correct work/life balance and realise it is ok to sometimes not feel ok! This is a very important initiative for IMG and the industry as a whole.”

Carolyn McCall, CEO at ITV, said: “Supporting and promoting a culture where mental health and wellbeing is both understood and taken seriously is a priority for ITV which is why we support the Let’s Reset campaign.  ITV wants to encourage more openness about mental health in the workplace and to ensure that anyone who works directly for ITV, or on an ITV show, feels able to speak up and seek any support they may need.”

Zai Bennett, Managing Director, Content, Sky UK and Ireland, said: “Improving working conditions across our industry and creating a culture of respect and support is something we’re hugely committed to at Sky. Together across the industry we need to normalise conversations around mental health, encourage people to speak up and ensure they can access the support available if needed.”

Ben Frow, Chief Content Officer, ViacomCBS Networks UK, said: “After a year like no other and with rising poor mental health a growing concern across our sector, we applaud and support the Film and TV Charity’s important and timely campaign. The talent operating within our industry is what makes it unique, consistently delivering the world’s very best in creative excellence, so it is absolutely vital that we work in unison to foster the healthiest, most equitable environment which empowers everybody to do their best work and thrive. Similarly, it’s crucial that we press ahead with our respective efforts as individual companies to embed mental health awareness into our internal cultures and working practices. At C5/ViacomCBS UK, this includes employee, freelancer and contractor access to an extensive suite of educational, informative tools and wellness activities designed to support our people through challenging moments in their personal and professional lives.”

Kevin Trehy, Managing Director, Warner Bros. Productions, said: “The mental and physical wellbeing of WarnerMedia staff and production cast and crew across all our divisions is of paramount importance to us.  With our industry benefitting from a production boom, it is more important than ever that our people are cared for and that this support is embedded in all aspects of our business from the top down. We are fully committed to The Film and TV Charity’s ‘Let’s Reset’ campaign and continuing to effect positive change across our industry.”

Business can find out how to support the Let’s Reset campaign and help to shape the future of TV and film by visiting www.filmandtvcharity.org.uk/letsreset. Individuals can also find access to all of the charity’s support services, including the brand-new resources designed specifically for freelancers.

Anyone working in the film and TV industry who needs support can call the 24/7 Support Line on 0800 054 0000 to ask for professional advice and be connected with the best person to help. Let’s Reset.

 

Source: filmtvcharity.org.uk

 

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ScreenSkills Trainee Finder About to Launch

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Trainee Finder will open recruitment on 28 October with at least 250 places available. , This is ScreenSkills’ highly-respected programme of paid placements for new entrants into film and children’s and high-end television. It is open to candidates with less than a year’s paid experience in their chosen role or department from a range of jobs where there are skills shortages.

Trainee Finder Webinar

Recruitment will kick off with a one-hour webinar at 6pm on 28 October hosted by the Trainee Finder teams and joined by current trainees who will talk about how the programme works and how it supports people into employment. Attendees will be able to ask questions and the event will be recorded to be made available afterwards for those unable to attend.

Trainee Finder trainees receive an induction into the industry which includes sessions that cover set etiquette, health and safety, mental health and wellbeing and being a freelancer alongside paid placements over the course of a year.

Book webinar

The programme is funded by contributions from productions to the ScreenSkills Skills Funds in children’s TV, film and high-end TV. Productions that contribute to the funds are encouraged to offer training opportunities to the trainees and receive a subsidy to support their salary.

History of Trainee Finder

The Trainee Finder programme has run since 2013 in its current form but started earlier in film. It has had notable success in matching participants on productions including films such as Fantastic Beasts, Everybody’s Talking About Jamie and 1917, high-end TV including Sex Education, ShetlandPeaky Blinders, The Crown and All Creatures Great and Small and children’s TV including My Mum Tracy Beaker, Molly & Mack, and Andy and The Band.

Claire Anne Williams, a hair and make-up Trainee Finder alumnna, was this year named by Screen International on its 2021 list of UK and Ireland Stars of Tomorrow. Go to Stars of Tomorrow to read more.

You can read about the experience of other former Trainee Finder trainees on the website. They include:

To Apply

Full details of criteria and how to apply will go live on 28 October with applications closing on 5 December.

Applications are particularly encouraged from those currently under-represented in the industry including disabled, Black, Asian and minority ethnic talent and those in the nations and regions, because we are committed to creating a more inclusive and diverse workforce.

Source: www.screenskills.com
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