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Short films needmonetisation I’ve been involved inmaking films for over ten years and have always felt a little frustrated that there hasn’t been a straightforward way tomonetise short films. This seems crazy, bearing inmind the number of platforms out there and the need for content. I’mhappy to play a role in risking capital to create a sustainable model for short form filmmakers; invariably those starting out and who need the most financial support. Filmmaking is a commercial success Overall the film industry over the last few years has had an excellent time: it’s been one of the largest contributors to the UK’s GDP growth for three years running. However, there is little evidence of this success filtering through to new and young filmmakers. Funding for short filmprojects is notoriously hard to secure, partly because they are always positioned as philanthropy. On the flip side, however, there is usually a hugely impressive collaborative approach to getting these short films made. I don’t want to change any of that teamwork and sense of achievement in getting short films completed. I am, however, attempting to push everyone involved in the industry to thinkmore about sustainability. Barriers to entry are too high Outside of a commercial context it’s crystal clear that there is not the diversity that reflects our broad society today throughout the industry, nor is it prevalent in the storytelling that’s going on. However, the key criterion for me is still the need to produce quality compelling entertainment and not default into the tired format of patronising ‘infomercials’ about social injustice. I’m looking for filmmakers to have more of a commercial sense and for distributors to start to take some risks in getting these often terrific pieces of work out there. At the moment the barriers to entry to our industry are horrible and usually revolve around opportunity poverty. I don’t like that or the lack of social mobility it creates.
I’d lovemore comedy shorts! In terms of the films I would like to see, I have no preconceived ideas but I’mhoping that we’ll be able to propel the careers of the people involved forward. Essentially, if it’s a hobby to you or a soapbox then, respectfully, it’s not for us. Personally, I would love to see a fewmore comedy ideas come our way: they’re only about 0.5%of what we’re seeing now. The grants we’re offering are simple and they’re usually worth what’s being asked for. We’re not here, however, to dent the spirit of short filmmaking, put producers out of work or hold back the collaborative team effort. Instead we’re usually the final money that makes something possible. We’re looking to give support to those who have put a film together and are struggling to get over the line. That’s usually a function of themnot being ‘connected’ enough or invariably not living in London. It’s a social mobility issue and it’s great to play a role in helping people who have proven themselves to be determined to get over the line. entrepreneurial approaches – not to be mistaken with business building – to solve some challenging problems in some of the poorest andmost deprived parts of the world, and I hope we can make a positive contribution in terms of the sustainability of the short form film industry in the UK. Obviously we hate saying no and sometimes we say no and get truly humbling responses that reaffirmour belief inmankind: however, sometimes we get ranted at, and that’s another story… Changes are overdue There needs to be a more direct and better relationship between new filmmakers and distribution platforms. I don’t see sustainability being a hot topic around Government grants, Creative England Entry level filmmaking was broken I was attracted to supporting filmmakers because it was fun, but stayed with it because I felt it was broken at the entry level. I have successfully used
and the BFI monies. These organisations have not led to a stronger commercial education for recipients during their decades of spending, nor provided a solution to the challenges facing new and young filmmakers so prevalent today. Frankly, by not pushing a more commercial approach and by not adequately engaging the UK film industry and broader distribution platforms as a whole, they have harmed filmmakers while failing a significant and implicit part of their respective mandates. I really wonder what their role is moving forward. We’re off to a flying start I hope over the next few years we will be able to create a bridge between filmmakers and distributors and that whatever strategy we come up with is sustainable. It’s a big ask, but nothing will be done if interested parties just follow the same historic failed processes. I also hope we will help a really significant number of young and new filmmakers deliver their vision and drive their careers forward. Although we only announced our initiative a fewweeks ago we’ve already said yes to around twenty projects so far. We’ll measure the success and impact of our initiative over the next three years, and if it’s worthwhile we’ll do it again. ABOVE The poster for one of the award-winning films that Stefan has helped to fund, Flyspy. BELOW Jason Flemyng and Blake Ritson in another of Stefan’s films, Bricks. More information https://twitter.com/stefanmeansbiz Expressions of interest from filmmakers should be sent to Charles Kay with Professor Stefan Allesch-Taylor CBE in the subject line: charles@satprivateoffice.com
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SPRING 2018 PRO MOVIEMAKER
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