Definition December 2020 - Web

BOOM AND REGENERAT ION | PRODUCTION

BIG SCREEN Wootton describes the current state of cinemas as “a terrible situation and the one black spot for me currently”, but it’s not all bad news. Recently, the BBC reported on independent filmmaker, Guy Davies, as he endeavoured to have his first feature, Philophobia , screened countrywide. Seeing a gap in the distribution market following the postponement of many big-budget films, Davies began contacting cinemas in his local area. At the time of reporting, 30 cinemas had taken his film on and counting. There certainly seems to be a lesson to be learned here, and perhaps it’s independent films and filmmakers with such ingenuity as Davies that will bring many struggling cinemas to their feet once again.

TOP World-renowned Pinewood Studios has been putting out enduring screen classics for close to a century, with the J Stage serving as just one of 14 stages operating at Pinewood Shepperton

time again recently, there just aren’t many industries in the UK that can say they’ve got back up and running to such an extent so quickly! Up to 87% of productions have restarted, with the rest in pre-planning.” So, what is it that sets film and high- end TV production apart from other industries across the UK? “I think it’s the quality of the workers in our industry,” Wootton enthuses. “A lot of them are highly skilled specialists who are used to dealing with the challenges movie and TV magic throws up. I’d say it’s the resourcefulness, the ingenuity, the commitment, the skills, the professionalism and the sheer talent of our industry. “The other brilliant thing for me is the seeing the industry speaking with

“There are certain caps,” Wootton continues, “because the largest hundred-million-pound productions can absorb these types of costs in their budgets. Where the support is absolutely critical is in independent film and domestic television.” When it comes to elements of the production itself, the pandemic is still having an impact, but teams are adapting, he explains. “They’re having to ask ‘are we doing that on location or can we shoot in the studio? Can we use more virtual production? Can we afford quite so many episodes? Is this scene feasible in the context of social distancing?’ I’m sure it’s creatively exciting, but undeniably it’s a challenge. Still, I’ve said this time and

I’m sure it’s creatively exciting, but undeniably it’s a challenge

DECEMBER 2020 | DEF I N I T ION 31

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