When it comes to the movies it’s all up there on the screen to see. Right? No, wrong. What that glitzy product doesn’t reflect is the hard work that goes on in the background. Sit through the credits and you start to realise this is a massive team effort, with an enormous number of people involved at every level. And not only do the cast, crew, producers, directors and writers all have to gel, but generally there’s mega-money on the line. With such huge machinery and big budgets, how on earth is anyone able to get themselves through the door? The answer is it’s not easy, but it’s not impossible.
Film director Martha Fiennes says, “It’s a tough film market.” And with her latest film, Chromophobia, released here this year starring Penelope Cruz, Ralph Fiennes and Kristin Scott Thomas, she’s seen enough of the business to comment. Fiennes says, “I have always approached everything consistently and professionally, never stopping. There’s never any inertia. If it’s not happening I make a contact.” She believes, “if you have passion, you deserve everything you can get from it.” And her tops tips would be “to be pragmatic, learn, be open, be persistent, but not to the point of being ridiculous, and never stop applying yourself.” For Fiennes “you will make it if you look under every stone and have more than one plate spinning, but not too many.”
Networking and peer support
These are two very important elements to getting on the ladder. It’s worth considering joining women focussed organisations such as Birds Eye View and Women in Film and Television ( WFTV ). Rachel Millward, Birds Eye View’s director, comments, “It’s extremely difficult for anyone to get a film made. You have to have bags of determination and a clear vision. You need extreme tenacity – it takes on average seven years to get a feature film made, and giving up is one way of ensuring it doesn’t happen. The really difficult bit? Believing you can do it. Far too many women who do have the potential to make films don’t get there because they never quite feel entitled to taking up that space on the big screen.” She recommends “going for it” and “if it doesn’t turn out to be Oscar-winning, just make another and enjoy the madness.” And Birds Eye View can help by providing a showcase for women filmmakers combined with training schemes and innovative multi-media and cross art events.
Get your work judged
Another organisation worth checking out is Filmaka . Not even a year old it’s generating a lot of excitement and is rapidly expanding. What Filmaka offers is a chance to have your work judged by leading professionals. They run themed monthly competitions where anyone can upload a one to three minute film after paying $5 to sign-up and $10 to enter. Prize money is on offer to the winner each month, whose work is judged by a jury including names such as Colin Firth, Werner Herzog, Bill Pullman and Neil LaBute. And the Filmaka of the Year gets to make a feature film.
Laura MacDonald, creative director of Filmaka, says, “There’s never been a better time to get into the industry. There are a large amount of opportunities online and you can be from any background and any age.” She comments, “The acceleration of digital media has a wonderful effect on emerging filmmakers, especially women.” MacDonald says, “First of all it’s important to have a creative voice and vision. You must want to tell a story and have confidence in yourself to explore that.” For her the crucial things are, “perseverance, a willingness to take criticism, being open to collaborations and pushing yourself.” And at Filmaka, being part of a network where everyone votes on each other’s films can be very encouraging.
How about scriptwriting?
Maybe directing isn’t your thing. It all begins with a good script, but where do aspiring screenwriters start? The first thing would be to learn your craft. Because, as Ellin Stein, who operates her own script consultancy, Solid Scripts , says, “The product needs to be as good as it can be before taking it to market.” She’s surprised that people start writing scripts when they have never read one. Stein comments, “You would never write a book without reading one. You need to approach it as a business.” She suggests joining organisations such as the Script Factory or consider using the services of a script consultant.
Where to learn
Anyone wanting to write for films might consider developing their skill through the wide range of courses now available. A number of Universities run MA’s devoted to dramatic writing and screenwriting and there are a wealth of adult education classes. Competitions are also a good way of developing the craft. And try www.triggerstreet.com where you can also upload your scripts and have them peer reviewed, or www.inktip.com , which is visited by industry professionals such as Metro-Goldwyn-Meyer Studios, Hallmark Channel and Walt Disney Company, all looking for screenplays.
Finally don’t forget that seeing films is crucial to the learning process and if you want to nurture any young aspiring filmmakers in your family, why not start them young. November 17 is the opening of The London Children’s Film Festival (LCFF). The Barbican and ten other cinemas will run a programme featuring films and workshops for all the family. On until the November 25, it’s a great opportunity to get the kids hooked and maybe raise a future Oscar winner.
Other organisations worth checking out include:
Skill Set
The New Producers Alliance
The Knowledge Online for listings of over 19,000 contacts working within the UK film, TV, video and commercials production industries
By Michele Nevard
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