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Reverse Storyboard

Film development in the regions is vital for the industry

The film community is waiting with anticipation for the announcement from the British Film Institute (BFI) about their five-year plan to develop the UK film industry, film culture and film going. Following their consultation document New Horizon's for UK Film, many believe the BFI's proposals will include a call for a "UK-wide network of virtual and physical film hubs."

If this is the case it has to be applauded. The devil will be in the detail as to what these hubs will deliver, but I think the notion of a UK-wide network is a major step in recognising that film in its many manifestations – producing, making and watching – is a national activity.

It's always been easy to think of the film industry as London-based, with the gravitational pull of the capital as a natural phenomenon. Historically that has always been the case.

Yet a major shift is possible. Digital formats and the internet has fundamentally changed and challenged that assumption of the "centre" – work can now be made and distributed from where you're based; they can come to you, rather than vice-versa.

I was struck by a recent profile on Paignton-based singer, songwriter and film-maker Cosmo Jarvis, who as well as having released three albums and numerous singles at the age of 23 has also made short and feature films. For me he exemplifies the new phenomenon of talent coming from outside of the centre and establishing their creative profile without taking the traditional London apprenticeship.

In this decentralised and dynamic digital landscape it becomes more imperative to have equally dynamic UK wide networks of venues capable of responding to, nurturing and developing creative talent. This is not only about responding to the needs of local and regional talent, but also creating dynamic local and regional cultures and creative communities.

At Watershed in Bristol we have just launched FilmWorks, a networked regional talent development initiative with partners in Sheffield (Showroom) and Nottingham (Broadway) and funding from Creative England. This is a groundbreaking initiative in talent development with live talks and events across the partner venues while also working with locally-based film producers to train and mentor.

The aim is to develop regionally-based film talent and help generate self supporting cross regional networks that share skills and experiences – critically fostering a creative local environment where talent can grow without feeling that need to move to the capital.

Another element of the scheme which I'm excited about is the sharing of skills across production and exhibition. As we all know, thanks to digital the old models are being challenged. The film industry has always been based on the separate factions of production, distribution and exhibition – there was very little exchange of ideas and practice between these sectors. Instead, the only thing that ever really changed hands would be money: what deal was everyone getting?

Now, however, those boundaries are becoming more porous and discussions are becoming more interesting. In my day job I show films at Watershed cinema in Bristol, and these films are supplied by distributors. In the past I would have no contact with the makers unless the distributor had their film to promote. Now I am approached on a regular basis by directors who have just finished a film and want me to look at showing it or producers who are getting a project together and want me to discuss it.

The wonderful documentary mission to lars is a recent example of a film that fell below the radar of the traditional distribution model. The film's producer Kate Spicer approached me directly – with some helpful social media lobbying from friends – and I had a memorable packed screening and event in the summer. That connection between the makers and the audience, between producers and exhibitors is an area ripe for sharing.

The first event for film works takes place on Wednesday 19 September at Encounters Short Film and Animation Festival. On the panel will be Bristol-based Academy award-winning film director, producer and Aardman co-founder Peter Lord talking about developing an idea into a film script, and alongside him will be Bristol-based producer Alison Sterling, who will be talking about the development of her first feature Flying Blind.

Future film-making, like other creative practices, will increasingly be locally-based with potential global reach. It is important that we get a UK wide network of supportive and resourced venues to help nurture, platform and profile emerging local and regional talent.

First story Board

TV Drama Sequence

Analysis
In this TV drama sequence we used Levi Strauss  theory binary opposites between 2 people, a good girl and a bad girl. We created this by the way acted towards each other in each of the scenes.

The bad girl which was played by Megan Brant, she changed the way she acted towards the good girl (Hannah Alley) by the way she looked towards her, her body language. For example in our first scene when Hannah walked past Megan  Megan looked her up and down. She was looking at her as if she was disgusted with what she saw. Her body language was slouched like she didn't want to be at school, chewing gum like she didn't care. This shot was panned across as Hannah walked past and then stilled with both characters in the shot so that you could see the difference.This was a good way to show the binary opposites in the first seen because you could clearly see the differences between the two characters. Megan didn't agree with anything that Hannah done, she would shout, throw things towards her. This presents attitude as no other person would do something to such extreme just because someone was trying to help them.

The good Girl was played by Hannah Alley, She was presented as a very innocent girl, always happy to help, her posture is very straight, shes not slouched at all and she always has books her in her hand. In the scene in the changing rooms Hannah was just trying to be helpful but obviously Megan doesn't agree. When The camera pans across to show that no one is in the room with Megan  this represents that she doesn't have many friends. Being genuine as she is Hannah has found her ball and is kind enough to come and find her to give it to her, but being binary opposites Megan doesn't appreciate this. After the panning the last part of the scene in presented in a long-shot to show full concentration on them and all the surroundings.

The UK film industry contributed more than £4.6bn towards the UK GDP (Gross Domestic Product) in 2011, according to an independent report.

It said the industry has "grown significantly" in the last 20 years.
The number of UK films has grown from an average of 43 in the 1980s to 136 in the 2000s, according to report author Oxford Economics, a global forecaster.
The economy was worth about £1.5 trillion in 2011, with UK film accounting for 0.3% of GDP last year.
The GDP is a measure of the value of goods and services produced in the economy.
The report said UK box office receipts hit a record high last year of £410m, boosted by films including Harry Potter and the Deathly Hallows: Part 2 and Sherlock Holmes: A Game of Shadows, plus independent films such as The King's Speech and The Inbetweeners Movie.
'Long-term growth'
The most recent previous report on the film industry, also by Oxford Economics found that, in 2009, the core UK film industry contributed £4.5bn to UK GDP.
The 2012 report suggested the 2011 figures demonstrated that "despite the on-going recession the UK film industry is thriving".
It also stated the number of jobs the industry sustains has risen from 100,000 in 2009 to 117,400, while tourism generated by films depicting the UK was estimated to have contributed about £1bn to UK GDP.
"With a significant upward trajectory over the last 20 years, the overall picture for the UK film industry is of continued long-term growth," said the report, adding: "Growth outstrips the UK economy as a whole; there is significant and continued investment in infrastructure."
By comparison, another major contributor to the UK's creative industries is the music industry, which last year made £3.8bn, according to PRS For Music, which represents songwriters, composers and publishers.
Creative Industries minister Ed Vaizey said the film industry report "clearly highlights the huge contribution that the UK film industry makes to long-term economic growth".
"The UK's successes at the Bafta and Academy Awards celebrate the wonderful creative talents and accomplishments of UK film, but this report reminds us of the crucial role the industry plays in job creation, tourism, inward investment and the promotion of all that is great about Britain," he added.
The report, which is updated every two years, explored the following aspect of the British film industry:

• Jobs and skills
• Exports
• Tourism
• Inward investment
• Promoting British culture
• Merchandising
• New technologies

It also estimated that production would be 71% smaller without Film Tax Relief, which is suggested to cost HM Treasury about £114m per year, generating about £12 for every £1 invested.
Films that qualify for the relief are British films intended for commercial release in UK cinemas and of whose total production costs, at least 25% relate to activities in the UK.
"Without it [tax relief], national GDP would be reduced by approximately £1.4bn a year and Exchequer revenues by £430 million a year," the report stated.
Adrian Wootton, chief executive of Film London and the British Film Commission said: "The UK film industry has proved itself to be vital to the economy and that is something which should be celebrated, and of which we should be very proud."
The report was commissioned by the British Film Institute and Pinewood Shepperton plc, with support from the British Film Commission and Creative England.

Clip Analysis

Clip Analisyes

China denies pressuring Disney over Dalai Lama film

The Chinese government... has never put pressure in any wayon the Disney Co., Foreign Ministry spokesman Shen Guofangtold a news briefing. We only hope the Disney group will be able to bettercooperate with China in relevant areas, he added without elaboration. Shen made his statements after reporters asked about a film industry letter that criticized Beijing for what it called attempting to impose worldwide censorship on Chinarelated films. A group of 41 movie actors, actresses, producers and directors including Paul Newman and Bernardo Bertolucci sent the letter on Wednesday to the Chinese ambassador to the United States.

Last month, China reportedly blasted Disney for moving ahead with the production of the film Kundun, based on the Dalai Lama. Beijing accuses the Dalai Lama of inciting unrest in the region. Despite Beijings objections, Disney said it had no plans to cancel the films release.

In Wednesdays letter, the film industry personalities said Chinas warning to Disney was the latest incident in a persistent effort by Beijing to censor the film industry. The letter cited 12 incidents, in which the film industry believed China has interfered with production.

Disney is eager to expand into Asia, particularly China, where demand for U.S. products is high. It remained to be seen if Disneys involvement in Kundun would hurt its ambitious business expansion plans in China.

The Dalai Lama fled his Himalayan homeland in 1959 after afailed uprising against Communist rule and won the Nobel Peace Prize 30 years later for his nonviolent campaign for autonomy for Tibet.

Reuters contributed to this report.

1996 Cable News Network, Inc.All Rights Reserved.

Exiled Tibetans sustain culture from afar December 7, 1996Dalai Lama calls for pressure on China over Tibet July 16, 1996Dalai Lama arrives in Australia amid Chinese warnings September 14, 1996

Disney Home PageKundun Rumors, facts and infoInternet Movie Database KundunDalai Lama

Hotel Babylon (Ethnicity)

The hustle (gender)

Monarch of the Glen video

 This is a Birdseye camera shot.

This is a typical camera shot where the character is standing directly in the middle of the image.

This camera shot has shallow focus so you are focused on the main character.









This is a close up to see the characters facial expression and emotion.

This is a worms view, you are looking up at something to make it look bigger than you.

Mock Exam

Helen Mirren returns to reign as Queen Elizabeth II in new play

It was a defining role that won Helen Mirren an Oscar in 2007 and now the 65-year old actor is returning to the handbag and hairstyle of Queen Elizabeth in a new play exploring six decades of the monarch's weekly meetings with British prime ministers. The Audience, written, like The Queen, by Peter Morgan, will be directed by Stephen Daldry and sets out to explore her confidential meetings with PMs from Winston Churchill to David Cameron. Her portrayal in The Queen of a meeting with Tony Blair, played by Martin Sheen, shortly after the death of Princess Diana was one of the most memorable scenes and this latest play is set to build on that but requires Mirren to portay a Queen from her twenties to her eighties. "Her voice has changed, and I can use that –she had a terribly posh voice when she was young," Mirren said. "But now even the Queen, while she isn't quite dropping the ends of her lines –though her grandsons do! – there's a tiny bit of estuary creeping in there. I can use all that to signify the age range, and we'll come up with other things." The drama aims to "chart the arc of the second Elizabethan Age", say the promoters and will be staged at the Geilgud Theatre in March. Mirren has said she was reluctant to get involved fearing she was becoming known as the actor who always plays the Queen.The full cast is to yet to be announced. Appearing on the US comedy show, Saturday Night Live she once said: "I'd like to say something for the record, although I played the Queen I am nothing like her. I may have been appointed Dame of the British Empire, but I am not all scones and teacups, I'm more biscuits and D-cups." Morgan's last play, Frost/Nixon, also focused on a series of verbal enounters between the broadcaster David Frost and US president Richard Nixon after he had been impeached following the Watergate scandal. It was adapted into an Academy Award-nominated film. Daldry, who spent the summer overseeing the opening and closing ceremonies for the Olympics and Paralympics, said the script was "funny and moving". "Peter being Peter, he has done an extraordinary amount of research and spoken to people who have tried to ascertain what was likely said in these conversations," he said. "It's fascinating and unique subject matter."