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Interview with filmmakers, Benjamin and Christopher Blaine

Thursday, August 19th, 2010

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    This month we’ve been chatting to brothers, Ben and Chris Blaine – two self-taught filmmakers who have learnt their craft by mistakes, flukes and a lot of hard work. They own the production company Charlie Productions and their impressive portfolio of films include the BAFTA shortlisted Russell Square and award-winning Hallo Panda. The pair is also heavily involved in Shooting People – the international networking organisation dedicated to the support and promotion of independent filmmaking. Here’s an insight into their story:

    So how did it all begin?

    Chris: “We first got into filmmaking when we in our late teens at school. We bought a mini-DV camera and created an animation about a parody of the bible. We made a little bit of money from it by putting it onto VHS and selling it to our classmates – something that got us into a lot of trouble with our teachers but made us think that filmmaking was really fun and easy.”

    Ben: “We then started to make short films together, we had no film education so learnt through trial and error. We set up Charlie Productions and submitted our most successful work to film festivals – our first break being at Edinburgh Film Festival in 1997, which screened our short film Crowd Scene For Existentialists. We were really pleased with the reception it received and it gave us the confidence to continue working in the field. We then bought a Canon XL1 and G4, and made Russell Square about an adventure on London’s Underground. It was shortlisted at the BAFTAs in 2000 under Best Short Film which was very exciting.”

    How have you developed your filmmaking since then?

    Chris: “We realised that our strengths lied with story telling and humour but that our films needed to appear more professional. We decided to take our time on each project, start using high definition, and work with more people – a producer and crew. One of our first films working to this ethic was Free Speech; working with the wonderful DoP, Oliver Russell and actors, Danny Dyer and Jacqueline Oceane.”

    Ben: “Since it was launched in the late 1990s, we’ve also been heavily involved in Shooting People which is a fantastic networking/information sharing tool for filmmakers. It wasn’t set up as merely as a means for filmmakers to showcase their films. Instead the primary aim was to enable filmmakers to talk to one another and it has been so useful for people like me and Chris to connect with industry people we wouldn’t otherwise have been able to have access to. For example, through it we met producer Barrington Paul Robinson who we started working with on Free Speech.”

    Ben you attended ECU earlier this year – what did you think of the festival?

    Ben: “I wasn’t too familiar with ECU before so I wasn’t too sure what to expect, but it really surprised me, it was a great festival. There was some fantastic talent there – I saw some top quality films and met filmmakers who I’m still in touch with now. G-Technology as platinum sponsors of ECU also surprised me. I wanted to be cynical but when the team started talking about the hard drives, I took a genuine interest. They spoke with such honesty – ‘yes, they are fundamentally just hard drives but look at how ours’ can really enhance your work’. They are so passionate about the products and supporting the filmmaking industry.”

    Are you noticing any other new developments in the tools filmmakers are using?

    Chris: “Some affordable, really effective tools that we love to use in our work include Mpeg Streamclip, which is a powerful free video converter for Mac and Windows. We also use Scrivener to write and develop our feature films – it’s very flexible and extraordinarily powerful for a program that only costs 25 quid.”

    How do you work together so successfully as a duo?

    Ben: “We write and direct together. To make that work, we have to do a ton of preparation. Because having properly shared and explored an idea between the pair of us, it is much easier to share it again with our cast and crew – and then with the audience. On set, we work in a loose, free, creative and enjoyable way, so that both cast and crew transfer the joy they experience each day onto the screen. Everyone owns these films, including the fans. Our films are films you share, not just watch.”

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    Click here to read Ben’s brilliant blog on Shooting People.

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    Paris: City of Lights…Camera, Action.

    Wednesday, August 18th, 2010

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      Paris is a wonderfully photogenic city- boasting some of the World’s most instantly recognisable landmarks, stunning architecture and a certain “je ne sais quoi” charm.  So it’s no wonder that thousands of films are shot here every year from big-budget, star-studded monoliths to zero-budget indie films.
      So, as an independent filmmaker, how do you get to shoot in Paris without a huge budget at your disposal?

      Depending on the type of filming you are doing, and where, you may need a permit to shoot from the City of Paris via the Paris Film Office and/or The Paris Police. The permit itself is issued free of charge but you will probably need to pay a fee for use of the location.  Private land, municipal properties, cemeteries, well known landmarks will require a permit to shoot.  If you are planning to stick to ‘public’ areas and streets though, it’s a different matter.
      In fact, if you are shooting on the streets of Paris with a crew of less than 10 people you don’t need a permit to shoot from the City authorities. You may need one from the Police though.  Unofficially, if you’re not causing too much disruption, without a huge cast, crew, equipment and trailing leads blocking walkways you should be fine. Be super organised so you can be in, shoot and out without the gendarmerie or security guards even noticing you.

      Certain high-profile spots like The Louvre Courtyard, Champs de Mars, or Jardin de Luxembourg are likely to get you into hot water with the authorities if you don’t have a permit.  Myself and some friends attempted a short shoot around the Louvre last year, only to be moved on within seconds.  That said, the long summer evenings provide extended daylight hours for shooting, without the heavy security presence.  Similarly early mornings are very quiet in Paris, so you should be undisturbed, as well as providing beautiful light and long shadows.

      If you are going to go entirely by the book check out the Paris Film Office regulations and guidelines.  Apply for your permit from Paris Film and The Prefecture de Police long before your intended shooting dates. They say 2-3 weeks, but there’s no harm sending off a month or so in advance. Include in your email or letter: a synopsis of the scene to be shot, a copy of your screenplay, estimated shooting dates & times, locations, crew numbers, equipment to be used,  and proof of insurance.  They will then process your application, sending it to the correct municipal department who will calculate a charge for your shoot.  You will be invoiced with the location shooting charges, and once paid you will be issued with your permit.

      Mission Cinéma- Paris Film
      4 rue François Miron 75004 Paris
      Tél. 33 (0) 1 44 54 19 60
      Fax 33 (0) 1 44 54 19 57
      mail : tournages@paris.fr
      www.parisfilm.fr

      Préfecture de Police de Paris
      Service des Prises de Vues (Filming Department)
      9 boulevard du Palais, 75004 Paris
      Tel: 33 (0)1 53 71 42 45
      Fax: 33 (0)1 53 71 67 37

      Also check out www.iledefrance-film.com, the wider Paris region Film Commission for funding, production assistance, talent and location searching facilities.

      Comprehensive information on many aspects of shooting in France, and Paris in Film France’s downloadable PDF Guide.

      Coming Soon…
      Going Underground. New ÉCU Series to look at shooting on the Metro, Tube and Subway systems around the World.

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      Interview with independent Film Producer Preston Clay Reed

      Thursday, July 29th, 2010

      Preston on set

      As part of G-Technology’s ongoing support for the ECU community, we’ll be bringing you regular exclusive interviews from filmmakers and producers in the field, sharing top hints and tips.

      Let’s kick off with Preston Clay Reed – an independent film producer and member of the bi-coastal, American based production company, Fretboard Pictures LLC. His film The Magician was shortlisted at the European Independent Film Festival (ECU). He’s a G-Technology ambassador, using the drives as an affordable and reliable external storage solution when shooting on RED cameras and during post-production. Here he gives us an exclusive insight into his latest film – Vinyl - which he is working on with the producer of Shrek:

      Tell us about your latest exciting project, Vinyl:

      “The film is based on the true punk rock hoax. In the summer of 2004, Mike and his band mates hired a young punk band to mime their new pop punk single after his record label told him he was too old rock n roll. To sell the sexy, young image, he put together a music video with the faux band and had them perform the song. The track went straight into the top twenty before they busted the scandal. The film is loosely based on their escapades. We’ll be shooting on location in Rhyl, North Wales at the start of August – the hometown of our real life character and the Sundance award-winning writer/director, Sara Sugarman – and be taking a grassroots approach to the production. In order to create an intimate atmosphere for the actors, we’ll be using minimal crew and minimal equipment. We’ll be moving fast and light with a documentary feel to the film.”

      And you have some high profile names working on the film?

      “Indeed! We have some amazing partners involved with fantastic films under their belt – Sara Sugarman produced the award-winning feature, Very Annie Mary, along with the Disney feature, Confessions of a Teenage Drama Queen. And John H Williams, the producer of Shrek - the number one franchise in cinema history – is our Executive Producer. He’s very passionate about the project and it’s fantastic to have him on board.”

      Will you be using any new filming techniques in the field?

      “We’ll be building upon a traditional approach to develop new and inventive ways of telling the story. I find that the ‘tried and tested’ methods tend to be the most effective way to communicate with the audience. However, we’re always looking to push the boundaries of tradition in order to establish new standard.”

      “We’ll most definitely be experimenting with movement through the use of steady cam to create a strong sense of depth within the frame. We want the audience to move with the characters through the journey as opposed to observe it from a 3rd person perspective.”

      Did your shortlisted film at ECU help to raise your profile as a film producer?

      “ECU was a blessing to me, there was a great deal of expose that came from being associated with the festival and with G-Technology’s presence too which is well respected and reputable. We’re continuing to use G-Tech in this new project, they’ve always served us well – we stick with what works.”

      Would you encourage other filmmakers to enter such festivals?

      “I would most certainly urge them to apply and screen their film at the festivals, especially ECU. Without the festival circuit, the indie scene will be lost. It’s where artists congregate and gain inspiration from their colleges. If we don’t support and involve ourselves with festivals, the underground independent movement will fade away and the industry as a whole will become stagnant. Festivals are as valuable to the independent community as light is to an emulsion. We cannot have a clear understanding of the big picture without either.”

      Click here to see learn more about Preston Reed’s career and tech set-up.

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      ÉCU’s Secret Tip #4: If you’ve got it, flaunt it!

      Monday, July 26th, 2010

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      By Claire Leonard

      Once your script is written or even your film made, the party over, and the hangover cleared you need to set about the task of getting your film seen and, hopefully, loved.  Yes, there is Cannes, but there is so much more to the French film festival scene than those 10 days in May.

      Get involved in festivals and events that allow you to promote your work.  Competitions and festivals worth a look include www.scenarioaulongcourt.com and their annual Festival International des Scenaristes, held in Bourges.  Scriptwriters competition, workshops, debates and melting pot for indie creatives and filmophiles. Film festival competitions like  www.ecufilmfestival.com (obviously!), www.clermont-filmfest.com,  www.fidmarseille.org .

      Visit Film France website for further information and links to film festivals. The directory at www.bellefaye.com provides an inventory of 30000 contacts in the industry and lists festivals throughout France.

      Enter your script or film into competitions through www.withoutabox.com.  Sign up for free filmmaker accounts, with details of over 5000 festivals worldwide.  Secure upload and submissions of films, scripts and clips to festivals and competitions (paid service).  Find an audience through the IMDb (Internet Movie Database) and even self-distribute.  For comprehensive information on film festivals, competitions and events worldwide visit www.filmfestivals.com.

      So what are you waiting for? Get your film out there.

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      Life in a Day. One World, 24 Hours, 6 Billion Perspectives.

      Friday, July 23rd, 2010

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      An Historic Cinematic Experiment

      On Saturday 24th July, filmmakers all over the World are invited to capture a glimpse of the World through their eyes.  The most “compelling and distinctive” footage will be edited together into an experimental documentary film directed by Ridley Scott and Kevin MacDonald. The project is called “Life in a Day” and aims to create a record of one day in the life of the planet’s population.

      What’s more, if your contribution is chosen and appears in the final cut, you will be credited as co-director alongside Scott and MacDonald. The film will premiere at Sundance in January 2011 and it will be available to view on YouTube.

      You can film anything you like, in any style you want.  Nothing should be considered too mundane or too profound as subject matter.  It’s not every day you get the chance to be part of history and co-direct a film with a Hollywood giant.  So, what are you waiting for?

      Check out the website for full guidelines and submission details.

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      G-Technology by Hitachi launches Driven Creativity Awards

      Wednesday, June 30th, 2010

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      Aspiring and professional filmmakers can have their unique work recognised and rewarded by entering G-Technology’s Driven Creativity competition

      With a grand prize of €5,000 up for grabs, online entry is available through the G-Technology website. The competition celebrates creativity across not only the film sector but in music and photography too.

      Entrants will be rewarded not just for the aesthetic qualities of their work, but for the dedication, invention and drive that has gone into creating it.

      Entrants’ work will be part-judged by G-Technology’s ambassadors, including ECU’s very own President and Founder, Scott Hillier and ECU 2010 shortlisted Film Director, Charles Haine. Click here to see Charles revealing what he’ll be looking for in competition entrants.

      ‘Jury members will contribute their expert advice and feedback throughout the entire entry and judging stages, with exclusive video and blog content on G-Technology’s Facebook, Twitter, YouTube and Flickr channels.’

      As well as awarding successful entrants with innovative G-Technology drives and the overall winner with €5,000, the best entrants will be showcased at a week-long exhibition in London’s famous Brick Lane Gallery on November 16-22.

      Good luck!

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