To the alphanin the beautiful world
- 主题发起人 Benjamin
- 开始时间
produce a docuentary movie
You can make a documentary movie to record the real life of Chinese here: the good, the bad, the happiness, the pain, the expectation,the concern what so ever, the point is to be authentic, which means to depict the real living status of Chinese here. This is a very meaningful thing. I think you have the ability to do this.Very few people have such a good equipment at home. The product, if you can make it, may bring you fortune too.
You can make a documentary movie to record the real life of Chinese here: the good, the bad, the happiness, the pain, the expectation,the concern what so ever, the point is to be authentic, which means to depict the real living status of Chinese here. This is a very meaningful thing. I think you have the ability to do this.Very few people have such a good equipment at home. The product, if you can make it, may bring you fortune too.
What you need to do is:
1. Draft a project plan to outline the process, identify key activities, resource needs and budget estimate.
2. get 1 or 2 volenteers to brainstorm some ideas in writing a draft play based on your thoughts
3. Communicating and Marketing your project on-line to get awareness and promote recognition and involvement
4. Select a list of interview candidates.
5. Work out work plan once the list is completed and finalized with the interviewees.
6. Before each interview, discuss and prepare a play
7. Complete Interview: video the interviewee for 2 to 3 days where necessary
8. Edit the raw films
9. start a new interview process....
10. overall editing....
11. .....
8
1. Draft a project plan to outline the process, identify key activities, resource needs and budget estimate.
2. get 1 or 2 volenteers to brainstorm some ideas in writing a draft play based on your thoughts
3. Communicating and Marketing your project on-line to get awareness and promote recognition and involvement
4. Select a list of interview candidates.
5. Work out work plan once the list is completed and finalized with the interviewees.
6. Before each interview, discuss and prepare a play
7. Complete Interview: video the interviewee for 2 to 3 days where necessary
8. Edit the raw films
9. start a new interview process....
10. overall editing....
11. .....
8
oread
新手上路
- 注册
- 2002-01-24
- 消息
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美孤: 加拿大不少机构可以为INDEPENDENT FILM-MAKER提供资助. 这里有一篇文章, 也许有些帮助.
SOURCE: http://www.pch.gc.ca/culture/cult_ind/filmpol/pubs/sub16.htm
Message - From: Bryn Chamberlain <StillREEL@king.igs.net> on 03/06/98 04:56 PM GMT
To: Film Review/HullOttawa/PCH/CA
cc:
Subject: Observations on the Canadian Independent Film Industry
Observations on the Canadian Independent Film Industry
March 98
Executive Summary
Independent filmmaking is a vital source for new film talent in Canada.
Improving the business environment for independent filmmakers will
significantly strengthen the Canadian Film industry.
These filmmakers must be allowed to create their unique representations
of the Canadian experience with support from government agencies,
private individuals and the established film industry. Programs and
agencies must adapt to allow film ideas to move from inception to the
screen in an unobstructed manner. The creative elements, such as the
visions, the landscapes and the stories already exist in Canada, but the
financial situation is stifling. The governmental changes that will
strengthen the film industry are fourfold:
- a tax break for investors from the private sector;
- a branch of the CBC; NFB et al that may provide technical support for
independent producers;
- improved distribution routes and marketing;
- substantial financial support with reduced bureaucracy from agencies
supporting new, independent filmmakers.
Unless more avenues are opened to support new filmmakers, the Canadian
film industry will continue to falter.
--------------------------------------------------------------------------------
Observations of the Canadian Independent Film Industry: An essay.
I am an independent filmmaker working out of Kingston, Ontario. I co-own and operate StillREEL FILMS, an award winning film production company making dramatic Canadian films for theatrical release.
Last October, our short film "In Mary Jane's Room" won an award in Belgium for its innovative approach in contemporary filmmaking. It is a film about artistic integrity, a critical topic in my discussion and a starting point for my position.
As film audiences continue to demand a greater value for their entertainment dollar, films must now be clever, intelligent and compelling while also maintaining a commercial viability. I believe, and I think Atom Egoyan might agree, that successful films contain unique filmic voices deriving from a directorial control of a creative vision: it is an individual's treatment of a topic that will make a film intriguing and artistically successful. The relatively new and very vital independent filmmaking industry has evolved from this ideology.
The importance of independent filmmaking must be recognized. Independent filmmakers with a project and a vision should be able to take their idea from inception to the screen through an unfettered process, bypassing the boardrooms and juries, to present their vision of the Canadian experience to a worldwide audience. This should be possible with the support and encouragement of government agencies, private individuals and the established film industry. It is vital for a successful film industry to create these increasingly important and popular films and subsequently market them internationally to a wide demographic spectrum.
This is not to say that a singular authority during the filmmaking process is the only way to make successful films. Far from it: participation and collaboration are critical, and part of the beauty of filmmaking is the collaborative and evolutionary elements at play. But personal representations have a unique integrity and can be successful in mainstream cinema.
The major barriers that will present themselves to the independent filmmaker are fourfold and listed below:
First, one must recognize that funds are limited in Canada and that the days of 'man with a camera' are gone. Tough choices have to be made by those with financial resources and the common lament is that there is not enough to go around.
1. There is little or no incentive for private investors in film. Investing in film is speculative at best. At present, private sector investment for an independent, first feature film is strictly charity and rarely occurs. Serious private sector investment funds require a distributor or major studio backing (see below). If the government were to offer a tax break to investors as a secondary benefit (tertiary if the film is financially successful), producers would be far more likely to attract private sector investors.
2. Lack of distribution routes and marketing. It is a commonly heard complaint but a very valid one. What is the point of having great product with nowhere to sell it? It is also almost impossible to get financial partners without a distributor in place. Unfortunately, it is equally as difficult to get a distributor to look at a script without support from an agent or reputable producer. Here we have a vicious circle; distributors require agents, agents require known producers to support the new writer/producer and a known producer will seek established writers.
3. Technical support for the independent filmmaker. The cost of the filmmaking process, cameras, lights and laboratory fees, is daunting and will cause good writers to option their scripts to larger film companies. Where does one turn without selling their creative property outright? Involving large film companies can rob the project of its uniqueness and vision. Trying to sell a script while maintaining creative control does not seem to be a viable option, particularly for first time writer/directors. And so, a line production support system for independents would be immensely helpful.
4. Government agencies. Ever the optimist, I have, at one time, approached every government agency for advice, assistance or financial support. A trend quickly emerged: none could help. Below is a list of the agencies that could not assist StillREEL FILMS in the past along with their rationale for rejection:
Agency
Program
Reason for refusal
NFB
Completion Grant
Not enough money, project unsuitable(jury)
NSI
First Features
Applicant from Ontario(after a $50 fee)
Canada Council
Completion Grant
Travel allowance
Development
Not enough money, project unsuitable(jury)
Not enough money,
Pending for 7 months
Telefilm
Development
Inexperienced producer/distributor required
OFDC
Training
Inexperienced producer
CAVCO
Tax credit
Distributor required/ bureaucratic nightmare
Greenburg Fund
Development
No professional experience
CAVCO's contribution is in the form of a 25% tax rebate of labour expenditures but this amounts to little when the majority of small-scale production teams rely on volunteers. Considering the complexity and bulk of Telefilms application form, the likelihood of success from this avenue appears fraught with pitfalls. Through no fault of their own, all of these agencies take a minimum of four months to review applications. Both CAVCO and Telefilm also stipulate that the Film Company must be already established. For first time feature Film Companies, incorporation occurs once an indication of funding appears. It is no small investment to incorporate a film company.
Another concern regarding the NFB, Canada Council and other such agencies is that they employ a jury forum. While recognizing the jury members as peers in the industry, they are not the bellwethers of taste. Furthermore, juries are conservative by design. Again it comes to artistic integrity and personal vision. Filmmakers must be allowed to explore their ideas in order to clarify their voice and establish their cinematic style. (On the other hand, obviously, juries are democratic. Thus any jury decision is problematic for both agencies and filmmakers.)
Apparently the OFDC is drowned in requests from filmmakers and is furthermore under funded. I had applied repeatedly to their mentorship programs for emerging producers but I was ineligible because apparently I had not emerged enough. The requirement for past experience makes these programs redundant. Once one has a successfully produced feature film, the chances are your need for the OFDC, Canada Council or the Greenburg Fund is reduced. Perhaps the reason of "inexperienced producer" as given by many agencies lies in the fact that there are not enough positions for all legitimate applicants (I was, and still am, if nothing else an emerging producer). The problem here is getting a foot in the door or name on the desk.
After awhile one sees the futility in approaching these agencies and thus seeks alternative financing. This is fine and hopefully lucrative but will inevitably have an American or European influence.
The above listed issues can be alleviated through governmental policy: A tax break for private investors; a branch of the CBC; NFB et al that may provide technical support for independent producers; improved distribution routes; and substantial financial support with less bureaucracy from the government agencies that support new, independent filmmakers. As much of the capital is already in place, these could be relatively inexpensive measures that would assist filmmakers to make great films here in Canada. Alternatively the independent will continue to struggle in obscurity, often finding only the art film market.
Complain as they may about lack of support, there is also a problem with filmmakers who rely on government backing. It is the responsibility of the serious producer to make their projects happen by any and all means available. At the moment, for example, I am involved in a great feature film project that will most likely make a lot of money. It is further remarkable in that it fits Sheila Copps' mandate of 'Canadian stories told by a Canadian voice' perfectly. It is a dynamic Canadian historical fiction written locally and, through perseverance and faith, will be produced by a Canadian film company. It is far too unproductive to wait while agencies ponder the script and decide whether or not it is a project worth funding. It is. I know it is. Enough navel gazing and get on with it.
I love this industry, I love this art and I love Canada. But it is often frustrating and difficult to maintain optimism while creating the next breakthrough. Independent filmmaking is the primary source for new film talent in Canada, and unless more avenues are opened to recognize the value of these filmmakers, the Canadian film industry will continue to falter.
Thanks for your time,
Bryn Chamberlain
Producer/Director StillREEL FILMS
SOURCE: http://www.pch.gc.ca/culture/cult_ind/filmpol/pubs/sub16.htm
Message - From: Bryn Chamberlain <StillREEL@king.igs.net> on 03/06/98 04:56 PM GMT
To: Film Review/HullOttawa/PCH/CA
cc:
Subject: Observations on the Canadian Independent Film Industry
Observations on the Canadian Independent Film Industry
March 98
Executive Summary
Independent filmmaking is a vital source for new film talent in Canada.
Improving the business environment for independent filmmakers will
significantly strengthen the Canadian Film industry.
These filmmakers must be allowed to create their unique representations
of the Canadian experience with support from government agencies,
private individuals and the established film industry. Programs and
agencies must adapt to allow film ideas to move from inception to the
screen in an unobstructed manner. The creative elements, such as the
visions, the landscapes and the stories already exist in Canada, but the
financial situation is stifling. The governmental changes that will
strengthen the film industry are fourfold:
- a tax break for investors from the private sector;
- a branch of the CBC; NFB et al that may provide technical support for
independent producers;
- improved distribution routes and marketing;
- substantial financial support with reduced bureaucracy from agencies
supporting new, independent filmmakers.
Unless more avenues are opened to support new filmmakers, the Canadian
film industry will continue to falter.
--------------------------------------------------------------------------------
Observations of the Canadian Independent Film Industry: An essay.
I am an independent filmmaker working out of Kingston, Ontario. I co-own and operate StillREEL FILMS, an award winning film production company making dramatic Canadian films for theatrical release.
Last October, our short film "In Mary Jane's Room" won an award in Belgium for its innovative approach in contemporary filmmaking. It is a film about artistic integrity, a critical topic in my discussion and a starting point for my position.
As film audiences continue to demand a greater value for their entertainment dollar, films must now be clever, intelligent and compelling while also maintaining a commercial viability. I believe, and I think Atom Egoyan might agree, that successful films contain unique filmic voices deriving from a directorial control of a creative vision: it is an individual's treatment of a topic that will make a film intriguing and artistically successful. The relatively new and very vital independent filmmaking industry has evolved from this ideology.
The importance of independent filmmaking must be recognized. Independent filmmakers with a project and a vision should be able to take their idea from inception to the screen through an unfettered process, bypassing the boardrooms and juries, to present their vision of the Canadian experience to a worldwide audience. This should be possible with the support and encouragement of government agencies, private individuals and the established film industry. It is vital for a successful film industry to create these increasingly important and popular films and subsequently market them internationally to a wide demographic spectrum.
This is not to say that a singular authority during the filmmaking process is the only way to make successful films. Far from it: participation and collaboration are critical, and part of the beauty of filmmaking is the collaborative and evolutionary elements at play. But personal representations have a unique integrity and can be successful in mainstream cinema.
The major barriers that will present themselves to the independent filmmaker are fourfold and listed below:
First, one must recognize that funds are limited in Canada and that the days of 'man with a camera' are gone. Tough choices have to be made by those with financial resources and the common lament is that there is not enough to go around.
1. There is little or no incentive for private investors in film. Investing in film is speculative at best. At present, private sector investment for an independent, first feature film is strictly charity and rarely occurs. Serious private sector investment funds require a distributor or major studio backing (see below). If the government were to offer a tax break to investors as a secondary benefit (tertiary if the film is financially successful), producers would be far more likely to attract private sector investors.
2. Lack of distribution routes and marketing. It is a commonly heard complaint but a very valid one. What is the point of having great product with nowhere to sell it? It is also almost impossible to get financial partners without a distributor in place. Unfortunately, it is equally as difficult to get a distributor to look at a script without support from an agent or reputable producer. Here we have a vicious circle; distributors require agents, agents require known producers to support the new writer/producer and a known producer will seek established writers.
3. Technical support for the independent filmmaker. The cost of the filmmaking process, cameras, lights and laboratory fees, is daunting and will cause good writers to option their scripts to larger film companies. Where does one turn without selling their creative property outright? Involving large film companies can rob the project of its uniqueness and vision. Trying to sell a script while maintaining creative control does not seem to be a viable option, particularly for first time writer/directors. And so, a line production support system for independents would be immensely helpful.
4. Government agencies. Ever the optimist, I have, at one time, approached every government agency for advice, assistance or financial support. A trend quickly emerged: none could help. Below is a list of the agencies that could not assist StillREEL FILMS in the past along with their rationale for rejection:
Agency
Program
Reason for refusal
NFB
Completion Grant
Not enough money, project unsuitable(jury)
NSI
First Features
Applicant from Ontario(after a $50 fee)
Canada Council
Completion Grant
Travel allowance
Development
Not enough money, project unsuitable(jury)
Not enough money,
Pending for 7 months
Telefilm
Development
Inexperienced producer/distributor required
OFDC
Training
Inexperienced producer
CAVCO
Tax credit
Distributor required/ bureaucratic nightmare
Greenburg Fund
Development
No professional experience
CAVCO's contribution is in the form of a 25% tax rebate of labour expenditures but this amounts to little when the majority of small-scale production teams rely on volunteers. Considering the complexity and bulk of Telefilms application form, the likelihood of success from this avenue appears fraught with pitfalls. Through no fault of their own, all of these agencies take a minimum of four months to review applications. Both CAVCO and Telefilm also stipulate that the Film Company must be already established. For first time feature Film Companies, incorporation occurs once an indication of funding appears. It is no small investment to incorporate a film company.
Another concern regarding the NFB, Canada Council and other such agencies is that they employ a jury forum. While recognizing the jury members as peers in the industry, they are not the bellwethers of taste. Furthermore, juries are conservative by design. Again it comes to artistic integrity and personal vision. Filmmakers must be allowed to explore their ideas in order to clarify their voice and establish their cinematic style. (On the other hand, obviously, juries are democratic. Thus any jury decision is problematic for both agencies and filmmakers.)
Apparently the OFDC is drowned in requests from filmmakers and is furthermore under funded. I had applied repeatedly to their mentorship programs for emerging producers but I was ineligible because apparently I had not emerged enough. The requirement for past experience makes these programs redundant. Once one has a successfully produced feature film, the chances are your need for the OFDC, Canada Council or the Greenburg Fund is reduced. Perhaps the reason of "inexperienced producer" as given by many agencies lies in the fact that there are not enough positions for all legitimate applicants (I was, and still am, if nothing else an emerging producer). The problem here is getting a foot in the door or name on the desk.
After awhile one sees the futility in approaching these agencies and thus seeks alternative financing. This is fine and hopefully lucrative but will inevitably have an American or European influence.
The above listed issues can be alleviated through governmental policy: A tax break for private investors; a branch of the CBC; NFB et al that may provide technical support for independent producers; improved distribution routes; and substantial financial support with less bureaucracy from the government agencies that support new, independent filmmakers. As much of the capital is already in place, these could be relatively inexpensive measures that would assist filmmakers to make great films here in Canada. Alternatively the independent will continue to struggle in obscurity, often finding only the art film market.
Complain as they may about lack of support, there is also a problem with filmmakers who rely on government backing. It is the responsibility of the serious producer to make their projects happen by any and all means available. At the moment, for example, I am involved in a great feature film project that will most likely make a lot of money. It is further remarkable in that it fits Sheila Copps' mandate of 'Canadian stories told by a Canadian voice' perfectly. It is a dynamic Canadian historical fiction written locally and, through perseverance and faith, will be produced by a Canadian film company. It is far too unproductive to wait while agencies ponder the script and decide whether or not it is a project worth funding. It is. I know it is. Enough navel gazing and get on with it.
I love this industry, I love this art and I love Canada. But it is often frustrating and difficult to maintain optimism while creating the next breakthrough. Independent filmmaking is the primary source for new film talent in Canada, and unless more avenues are opened to recognize the value of these filmmakers, the Canadian film industry will continue to falter.
Thanks for your time,
Bryn Chamberlain
Producer/Director StillREEL FILMS
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