new funded features.

[gepetto]

There's a film in that methinks...like this one :

Chris Moll is Head of Funds for Northwest Vision + Media, which works on behalf of the region’s TV, film, radio and digital content industries. “We’ve followed Under the Mud’s journey right from the start, and it’s wonderful to see everyone connected with it enjoying well deserved praise and acclaim. It’s a fantastic film!” says Chris, who also appears in the Granada documentary.

Of course you did. With the benefit and support of a great and well-executed exposure and promotion strategy presided over by "industry professionals", it was a long and exhaustive commercial journey that started out as above but swiftly ended at the bottom of Netto's bargain bin.

In all fairness to Netto, it didn't even get there.

 

[johnmoordon]

Sorry is it Chris Moll and not Mole? Apologies for my earlier posts using Mole. It must have been some sort of Freudian slip from him having an extremely brown nose....

 

[johnmoordon]

Gepetto,

That was a pitch... no a moan...no a pitch...or was it a moan? Same thing anyway aren't they?

j.

 

[gepetto]

John

To some....apparently they are.

 

[gepetto]

I just wanted to say...

I think all of the posts here on this topic have been really informed and invigorating. I really hope some of the other posters think so too...

And I'd just like to say why as a bit of a cap if that's cool.

There could be fear about people's future's and how they'll be viewed when trying again couldn't there? Well there shouldn't be. That should never be taken for granted.

By some of the attitudes and opinions expressed by Chris Moll, anyone could be forgiven in thinking that if you'd ever said anything that had a contrary view, the black "x" would be against you for ever more. Look at how he described Jon Williams.

It's people who think like him who are the ones who should always be in fear of the artists. Without them, people like him would have to go and peddle their ersatz wares in other arenas and mediums - away from the creative zones - and probably much more akin to his natural survivalist instincts...like a bank, insurance or accountancy. Thats the difference.

Do you think Leonardo da Vinci would have put a beret on the Mona Lisa if Chris suggested it? If Damian Hirst was being funded by NWV and Chris executively produced his "shark in formaldy" he'd have used a mouse instead becuase Chris advised it?

You know the answer. When something feels natural and suggestions are logical then they are gratefully accepted. Sometimes the wood for the trees et al is never truer.

But these situations - if we are honest - are rare in terms of artistic statements are they not? Chris and his ilk may say the opposite, but never forget that they are driven by other forces, and the very very weakest one that is powered by no more than an LED battery..is art.

Everyone will find ways to preserve their work and I'm sure the people who contribute to this forum will see it done at some juncture where it remains still valid to them - not left muddied, altered and fumbling like some cumbersome Shelley creation just to indulge the whims and Starbucks sippings of the Fred Goodwins of the so-called film production fraternity.

When people like Chris can make the people he serves - and let's not forget that - feel like they have done everything and their utmost to support what they are given to develop in the most stand-up way without the bullshit, then opinions on forums like this one will look and feel different.

So please keep them coming and never let the fires burn out. The place they come from isn't something you can pluck from a manual, seminar or pointless report about film production KPI's

They come from the heart.

 

[Chase]

To tell you the truth, Gents

I'm tired of talking about Chris Moll. He has left the building. And the more energy we place upon him, the more he becomes the wizard behind the curtain. his time here was short and uneventful. But we are keeping his name alive for 3 pages of hated curiosity and to tell you the truth, that was one of the reasons of the death of NWPD.

We spent too much time complaining about what we didnl;t have or didn't get and little time on what we need to support one another even if it was a pat on the back.

So lets start a new thread ok. I'm gonna start 3 others about what is happening and not about what should have happened.

CHRIS MOLL RIP in Edinburgh

CHase

 

[gepetto]

Chase

Well said and absolutely.

 

[curtinparloe]

I agree with that final point. Whether the views on this thread are righteous indignation or simple abuse, surely everyone's time would be better served working together to make the best product possible?

I have this script here...

 

[johnmoordon]

I have to disagree. I only think or talk about CM and NWV on this thread, outside of it i spend all my time working on other things. This thread after all is about the recent features. Why post Chase if you have had enough? Or even read. It has had over 800 views in a week and many posts even from the man himself. If no-one is interested then no-one would read. Its almost like saying i'm sick of talking about film, lets talk about tench fishing. Or allowing a terrible crime to pass without learning anything..'yeah he killed that poor women, but i'm sick of talking about it, just leave it'. No it will end organically when it is meant to and when people stop reading and posting. Didn't you join this forum to post Chase? Organisations that cause problems depend on people being sick of rocking the boat or debating anything, that is how they get away with things.

As for the NWPD, if forum debate meant the closure of an organisation, then it must have been a weak one to begin with.

Looking to the future is a great thing and can be done in conjunction with debating the past.

I would suggest trying to get at least 100 people to commit £50 to a collective, i will be the first. That collective can then put that money into something useful, like a short scheme or even a feature. In my experience the most important thing on a set if feeding people properly if nothing else, and that fund would provide that and maybe expenses. Maybe there would be more than 100 making a commitment, who knows? I would suggest that each member could have a vote on where the money goes eg three shorts or one feature etc. If it was too complicated then 10 people could each represent 10 others and be the key voters in any decisions. Those 10 could be nominated. I think that is positive in conjunction with trying to make changes that can be made, and of course accepting things that can't.

What do people think. I for one am prepared to put my money where my mouth is, and commit any available time and energy.

 

[gepetto]

John

I think that's a noble and grand idea - I too would put in money and time for a cause such as that. It would have the spirit of a true collective and with those involved being those in control, it would go a long way in helping to validate original scripts and ideas without facilitating idiots.

As far as the previous, I stand by all I have said. Producers and their kin never used to stand in the way of the film-makers. This has really only taken a front seat since a "career" in the field of media became something really commonplace. Now any Montgolfier thinks they've got what it takes because they've a degree in some flimsy bureaucratic arm of the arts. IT's exactly the same as "X-Factor" and other reality show farces.

The only difference is that everyone gets a fair chance to laugh at the losers right the way round the third rate food chains without reprisal.

However, at least the people here got to see the soft white underbelly themselves before the flounder righted itself back in the gravel...

And boy was it white and smooth...........and so very silky soft and weak

 

[Chase]

There is a seminar for directors coming up next week at the Liverpool screen school on edge lane. I mention it because NFN and LIverpool Digital is trying to offer something different besides another Phil Parker seminar.

I think we need another Guerilla Filmmakers Tour like we had at Kino Fest about 4 years ago. Local filmmakers discussing their trials and tribulations. A Q&A Seminar with workshops and lectures that get right down to what we need for filmmaking.

If a collective fund comes out of that, I'm all for it.

Proactivity that would not should not involve how NWV has not worked or helped us. Because I think that talk wastes time. I rather hear how people like Aneel made his films even Asif Kapadia is worth listening to over someone who has only made one short.

chase

 

[Jon Williams]

The key problem is exhibition. If your film was neither produced, nor acquired by one of the US majors (or Pathe) it will not be on general release. If your film is acquired by one of the 50+ small UK distributors, typically for 'no advance' they will get it on for one to two weeks in one or two of the London independent cinemas with a small amount of advertising. This is so that it's 'one of this weeks new releases' and so it gets reviewed in the nationals. Whether the reviews are good or not doesn't matter; the multiplex bookers won't take it without eveidence of a seven-figure marketing plan. Your distributor has already spent quite a few thousand in order to 'buy reviews'. And they see you, the filmmaker, as owing them for this service, so you might end up seeing some money after it's sold 15,000 DVD's. This is how the 'old model' works.

There are alternatives though. Some by choice have decided to follow the DIY route, others have done so by necessity. The US magazine 'Filmmaker' has covered a number of films not shot in either LA or New York which distributors refused to touch, but which their makers toured round their home state playing to packed audiences and netting far more money that they would ever have made through the old model.

The same thing is being done right now over here with the film "Morris, A Life with Bells On", which despite having a name cast and being likened to both the Full Monty and Billy Elliot, was turned down by all distributors. But it's playing to packed out village halls in the West Country (I just wonder if the producers are charging the local W.I. for the tea stall concession....). Check it out for yourself through Google.

What we really need up here is 'The never-ending North West film festival tour' - it's to take a leaf out of the fringe theatre/bands/stand-up comedy book with the aim of playing in as many non-multiplex/centrally programmed (like the Corner House which is programmed from London by the ICO) venues as possible with attractive bills of fare: North West feature film + some NW shorts + Q&A + a bit of live performance - you name it. And all backed up with DVD sales. All we have to do is learn to be and act like promoters!

And there's a further argument for all of this. Hollywood is switching to 3D. The re-equipping of screens is very expensive and already American interests have benefitted from about £13 million of lottery money spent largely on the multiplexes that they cooked up with the Film Council. But this means that all cinemas which aren't multiplexes (or the Cornerhouse) will only be equipped to screen blockbusters in 2, rather than 3D. They're going to go to the wall. General release film-going is going to become very expensive and only readily avaiable to city and large town-dwellers. Local venues will only survive if they diversify - not just film but music, events etc; and if they put the accent on the local/regional - (combine a screenings of 'Grow Your Own' with farmer's markets...)

A number of us had hoped that North West Vision might put a bit of backing into such a venture, but they couldn't be bothered to reply - after all they're not just stuck in 'old model' ways of thinking, they, along with the Film Council are actually part of the 'old model'.

But we don't need them. Right now I'm working on developing the 'Diary of a Bad Lad' North-West tour, and that this will begin to open up a regular circuit that will benefit 'Looking For Lucky', Baldwin Li's rather good some of arthouse-noir "25gs", "Bar Stewards" when it's completed and so on.

Come to think of it, maybe this is something which should have a thread of its own....

 

[johnmoordon]

Start it then Jon, come on....I take it that is only one taker for the commiting of funds? No worries...

As for a Guerilla Filmmakers Tour there is enough places to discuss any number of things, and we can always fill screenings with friends and families so i don't personally see the point. If the product is no good, there's no point in making it.

I do admire Jon for taking CM's digs like a gent, i don't think i would have been so kind.

Aneel is always worth listening to although he has made more than one short. Or are you refering to someone else Chase?

 

[Jon Williams]

Just have (started new thread that is). Thanks too for saying I'm a gent. As a child I was taught the phrase, "Good manners cost nothing" - and that's a really important thing to remember when you're making films on good will. Our films have taken years to make, but everyone's stuck with them because they've been made with love and without compromise.

 

[Chase]

There is a seminar for directors coming up next week at the Liverpool screen school on edge lane. I mention it because NFN and LIverpool Digital is trying to offer something different besides another Phil Parker seminar.
Proactivity that would not should not involve how NWV has not worked or helped us. Because I think that talk wastes time. I rather hear how people like Aneel made his films even Asif Kapadia is worth listening to over someone who has only made one short.

chase

My reference was to Phil Parker, JOhn. He has made one short, "My cousin Tom or something" and does NWV seminars for the past couple of years. I know Aneel has made many a film which is why I said he should be invited to do a talk.

Jon actually was on to me about doing this North West Tour at Organic Cherry and I said its worth talking about.

Chase

 

[johnmoordon]

Jon

That is the essense of art comrade and why you have and receive respect. You don't shout or dictate, i should take a leaf out of your book although sometimes i can't help myself. Maybe that is also down to not relying on anything or anyone or needing to. The idea that someone who has made say 5 shorts and a "feature"has a better idea than anyone else is just wrong, especially if all the work is below par to say the least. A good idea is a good idea(a bit brent that, i admit). As for Phil Parker, a nice guy but i never understood what all that was about. My art is not for sale by the metre....

Anyway i'm off to check your thread!

 

[Booth]

As for a Guerilla Filmmakers Tour there is enough places to discuss any number of things, and we can always fill screenings with friends and families so i don't personally see the point. If the product is no good, there's no point in making it.

I think Chase was proposing that the brief tour was helpful for both speakers and the audience and another one would be just as beneficial. It inspired a few people, and for me on a personal level I met people/collaborators who I still work with to this day. Some of them with years of industry experience working for top production facilities.

Would never have had access to certain resources without speaking at that event at the Kino festival back in 2005. I'm sure I can't be the only one.

 

[johnmoordon]

Okay Michael, so in 2005 you met lots of people and made plenty of good connections some who work for top production facilities etc. Well what has been achieved in the four years since?

 

[Booth]

I made a feature which was finished off at Sumners and collaborated with several people on another feature project whom otherwise I wouldn't have known. There are a few other things but those are the most notable ones.

I think for the few hours I spent in Manchester it was well worth it John. Certainly more worth it than the number of NWV or going further back North West Arts networking events.

I almost forgot. Being a speaker at that event meant that John Wojowski ended up seeing our film. He immediately organized a festival showing of the film at the AMC cinema in Manchester. The screening was marvellous, certainly the best or at least on par with the last screening at Filmstock Film fest in Luton. In the years gone by John has supported the film wherever possible including arranging two more screenings of the film.

Edit: I forgot all this but... As a knock on effect because a few people reviewed the film on IMDB, Bruno Coppola and a few others were writing stuff on the net about Bad Lad - and Citylife did an article. It prompted Ben Blaine to watch a screener we sent to him at Shootingpeople.org. He then arranged a screening of the film in London. The screening was technically terrible thanks to the theatre being burgled the night before. However a distributor who couldn't make it asked for a copy, then later offered us a contract which we signed getting us into a possible 220 cinema screens in the UK (we were told it would at least go in 160). So there was a bit of a knock on effect from being involved in the GFT.

Okay so the film getting into all those arthouses and multiplexes didn't happen thanks to our rather corrupt film distribution practices in this country despite our film being on an official list drawn up the the UKFC itself!

Though I could argue what's any of that got to do with it? I continue to make stuff and practice and most importantly do what I love to do. Having extra contacts and resources can only help that. Our Sumners connection has been invaluable and was worth the GFT alone. How did we get them on-board? Jamie Parry from Sumners was in the audience scouting for filmmakers in the region.

 

[gepetto]

Jon..

I think that's a bravura idea - I also think it would honestly work.

As for the rest of the McDonalds stuff - Hollywood and the rest of the blah - well it's a whatever isn't it? Who knows and I don't think it even matters when an idea like you have suggested has more heart and substance than who's got a Blackberry and at the Generation Game Industry brekkie poncefest.

THe people that are interested in them apples are deluded and don't know their arse from their elbow...but as long as they're at Cannes, they're Hollywood.

Save us a croissant at Cannes eh...actually on second thoughts, I'll settle for me Cornie Bouef n' Branston...

At least any wee on it will be mine and not Tim Bevan's