The Screenwriters' Festival is delighted to announce that Mike Leigh OBE
will give a masterclass at the Cheltenham International Screenwriters'
Festival held 1-3 July 2008 in the UK and whose sponsors include: South
West Screen, Cheltenham Council, Sky, UIP, BBC Films, UK Film Council,
Skillset, C4, LSC, Ealing Film Studios, BAFTA, Face Group, Arturi Films,
and Chateau De Sours . The Festival which is devoted to the art, craft,
education, and business of writing for the screen, exploring writing for
feature films, television and new media in all genres including comedy.
Mike Leigh will be among the guest speakers.
More info: http://www.screenwritersfestival.com/guest-speakers.php
Monday, 9 June 2008
I want £16m ‘Cashback’
By mark Chandler.
Elizabeth Obisanya has started a copywright infringement case against the makers of
Oscar-nominated film Cashback. The writer's screenplay, Cashback Paper or Plastic,
was released two years previously GC11059
A SCREENWRITER has started a £16m copyright infringement case against the makers of
a new film. Elizabeth Obisanya, 39, wrote the screenplay for a short film called Cashback Paper
or Plastic, set in a supermarket, in 2002.
Since then, writer/director Sean Ellis has released an award- winning short film
called Cashback, made in 2004.
A feature-length version starring Emilia Fox is due to be released in the UK on May 9.
Ellis's short film was nominated for an Oscar in the Best Short Film, Live Action
category, at the 2006 Academy Awards and has also won several other short film
prizes.
Now Ms Obisanya, who lives with her 10-year-old son Steven in Tawney Road,
Thamesmead, is suing Mr Ellis and company Cashback Films at the High Court, for
£16m. Ms Obisanya said: "£16m is really an estimate of what the work encompasses, the fact
the short was nominated for an Academy Award and a feature film has been made.
"When I do my own film, people will think it's just like Sean Ellis's."
The divorced mother-of-two claims the fact her film shares the same title as Mr
Ellis's, and both films are romantic comedies set in a supermarket, give her a good
case in law.
She said: "I was surfing the internet in 2005 when I put in a search for Cashback
and found there was a short film purported to have been written by Mr Ellis.
“I said to my son ‘Mummy doesn’t remember making her film yet.’”
source:http://www.newsshopper.co.uk/mostpopular.var.2215003.mostviewed.i_want_16m_cashback.php
Elizabeth Obisanya has started a copywright infringement case against the makers of
Oscar-nominated film Cashback. The writer's screenplay, Cashback Paper or Plastic,
was released two years previously GC11059
A SCREENWRITER has started a £16m copyright infringement case against the makers of
a new film. Elizabeth Obisanya, 39, wrote the screenplay for a short film called Cashback Paper
or Plastic, set in a supermarket, in 2002.
Since then, writer/director Sean Ellis has released an award- winning short film
called Cashback, made in 2004.
A feature-length version starring Emilia Fox is due to be released in the UK on May 9.
Ellis's short film was nominated for an Oscar in the Best Short Film, Live Action
category, at the 2006 Academy Awards and has also won several other short film
prizes.
Now Ms Obisanya, who lives with her 10-year-old son Steven in Tawney Road,
Thamesmead, is suing Mr Ellis and company Cashback Films at the High Court, for
£16m. Ms Obisanya said: "£16m is really an estimate of what the work encompasses, the fact
the short was nominated for an Academy Award and a feature film has been made.
"When I do my own film, people will think it's just like Sean Ellis's."
The divorced mother-of-two claims the fact her film shares the same title as Mr
Ellis's, and both films are romantic comedies set in a supermarket, give her a good
case in law.
She said: "I was surfing the internet in 2005 when I put in a search for Cashback
and found there was a short film purported to have been written by Mr Ellis.
“I said to my son ‘Mummy doesn’t remember making her film yet.’”
source:http://www.newsshopper.co.uk/mostpopular.var.2215003.mostviewed.i_want_16m_cashback.php
WIBBELL - A NEW NAME IN WEIRDNESS!
British Film company Wibbell Productions announces their new WEIRD WORLD OF WIBBELL
DVD label.
Independent British film distributor Wibbell Productions Ltd today announced the
launch of their new niche DVD label 'The Weird World of Wibbell'.
With a very clear identity right from the start, the new label is set to
specifically target cult, horror and science fiction feature films (or so called
B-movies), short film compilations and some 'very odd' special interest
documentaries.
more info: www.wibbell.co.uk
DVD label.
Independent British film distributor Wibbell Productions Ltd today announced the
launch of their new niche DVD label 'The Weird World of Wibbell'.
With a very clear identity right from the start, the new label is set to
specifically target cult, horror and science fiction feature films (or so called
B-movies), short film compilations and some 'very odd' special interest
documentaries.
more info: www.wibbell.co.uk
Sweet Movie:
The Gentle Side of “Destructive Art”
by Dušan Makavejev
Dušan Makavejev is a Yugoslav born filmmaker who resides in Paris and Belgrave and whose extensive and distinguished career includes such titles as Innocence Unprotected, The Tragedy of a Switchboard Operator and Manifesto.
How did I get Otto Muehl (1) and the AA Kommune (Actions-Analytic Kommune) into Sweet Movie? The shooting of Sweet Movie was planned for October 1974. In the earlier version of the script, the leading female character ends up catatonic in a mental hospital. She comes back to life by being treated with the highly perceptive non-action of a nonverbal doctor whom I imagined as my variation of Ronnie Laing. (2) I had never met Laing, but he fascinated me with his intelligence, risk-taking, playfulness, radical insight and genuine respect for life. He was a healer by just being around.
Full article: http://www.sensesofcinema.com/contents/08/47/sweet-movie-makavejev.html
by Dušan Makavejev
Dušan Makavejev is a Yugoslav born filmmaker who resides in Paris and Belgrave and whose extensive and distinguished career includes such titles as Innocence Unprotected, The Tragedy of a Switchboard Operator and Manifesto.
How did I get Otto Muehl (1) and the AA Kommune (Actions-Analytic Kommune) into Sweet Movie? The shooting of Sweet Movie was planned for October 1974. In the earlier version of the script, the leading female character ends up catatonic in a mental hospital. She comes back to life by being treated with the highly perceptive non-action of a nonverbal doctor whom I imagined as my variation of Ronnie Laing. (2) I had never met Laing, but he fascinated me with his intelligence, risk-taking, playfulness, radical insight and genuine respect for life. He was a healer by just being around.
Full article: http://www.sensesofcinema.com/contents/08/47/sweet-movie-makavejev.html
ETHICAL CALCULUS:
The cross-cultural dilemmas and moral burdens of Fatih Akin’s The Edge of Heaven by Thomas Elsaesser
Fatih Akin is a German-Turkish filmmaker from Hamburg. Or rather, he is a German filmmaker with a Turkish name and Turkish parents. His dislike of the hyphenated identity label is such that he was reported as saying, at the time of his first success, Short Sharp Shock (98): “If I can’t be Fatih Akin, I’d prefer to be known as the German Martin Scorsese.”
full article: http://www.filmlinc.com/fcm/mj08/heaven.htm
Fatih Akin is a German-Turkish filmmaker from Hamburg. Or rather, he is a German filmmaker with a Turkish name and Turkish parents. His dislike of the hyphenated identity label is such that he was reported as saying, at the time of his first success, Short Sharp Shock (98): “If I can’t be Fatih Akin, I’d prefer to be known as the German Martin Scorsese.”
full article: http://www.filmlinc.com/fcm/mj08/heaven.htm
HUNGER/STRIKES GOLD IN CANNES
Here is another poke in the eye for people who argue that you need an obviously dramatic story to make a great film. One trouble-making IRA prisoner slowly starves himself to death. Who would want to see a movie like that?
exposures – new talent in moving image call for entries
exposures – the UK's leading competitive festival for student film and moving image – is looking for the talent of the future. Call for entries is now open for the 2008 edition to be held in November at Cornerhouse and Urbis, Manchester's two leading contemporary arts venues, co-hosts of exposures for the first time this year. The deadline for entries is 31 July.
The 2008 exposures festival is, like its predecessors, looking to find new and exciting filmmaking talent amongst today's students. However, this year's competition widens the criteria for entries to include not only film but all aspects of the moving image ie video, mobile 'phone work, animation or visual art installations. The competition is open to students who have created their work whilst studying on any UK course between August 2007 and July 2008. Work does not have to have been made as part of the course. Pieces should be under 30 minutes long.
To download an entry form and enter for free, go to www.exposuresfestival.co.uk
festival dates 23-27 November, 2008
The 2008 exposures festival is, like its predecessors, looking to find new and exciting filmmaking talent amongst today's students. However, this year's competition widens the criteria for entries to include not only film but all aspects of the moving image ie video, mobile 'phone work, animation or visual art installations. The competition is open to students who have created their work whilst studying on any UK course between August 2007 and July 2008. Work does not have to have been made as part of the course. Pieces should be under 30 minutes long.
To download an entry form and enter for free, go to www.exposuresfestival.co.uk
festival dates 23-27 November, 2008
Marianelli and Badalamenti guests of honor 8th World Soundtrack Awards
The World Soundtrack Academy has just announced that world-class composers Angelo
Badalamenti and Dario Marianelli will attend the 8th annual World Soundtrack Awards,
the closing event for the 35th edition of the Ghent Film Festival (7-18 October
2008).
The 8th edition of the World Soundtrack Awards is once again promising to be the
highlight of the year for soundtrack music fans. After the prestigious awards
ceremony, the international elite of film music composers will be on hand to present
a live performance of their music by the Flemish Radio Orchestra, conducted by Dirk
Brossé. For this year’s edition, the World Soundtrack Academy, an initiative of the
Ghent Film Festival, managed to bring Angelo Badalamenti and Dario Marianelli on
board as its guests of honour.
Angelo Badalamenti is best known for his soundtrack work for American film director
David Lynch. He has scored a number of Lynch projects including Blue Velvet (1986),
Twin Peaks (1990), Wild at Heart (1990), Lost Highway (1997), The Straight Story
(1999) and Mulholland Drive (2001). He also composed the music for La Cité des
Enfants Perdus by Marc Caro and Jean-Pierre Jeunet (1995), Wait Until Spring Bandini
(1989) by Dominique Deruddere, and Jeunet’s Un Long Dimanche de Fiançailles (2004),
which earned him the WSA’s Composer of the Year award in 2005.
Badalamenti also collaborates with world-class entertainers including David Bowie,
Michael Jackson, Paul McCartney, Julee Cruise and Marianne Faithfull. This year,
Badalamenti will be bringing two special guests along to the concert in Ghent:
Siouxsie Sioux from Siouxsie & The Banshees, and Beth Rowley, who will be
performing songs from The Edge of Love, a biopic on Dylan Thomas starring Keira
Knightley and Sienna Miller (autumn 2008 release).
More Info: www.worldsoundtrackacademy.com
Badalamenti and Dario Marianelli will attend the 8th annual World Soundtrack Awards,
the closing event for the 35th edition of the Ghent Film Festival (7-18 October
2008).
The 8th edition of the World Soundtrack Awards is once again promising to be the
highlight of the year for soundtrack music fans. After the prestigious awards
ceremony, the international elite of film music composers will be on hand to present
a live performance of their music by the Flemish Radio Orchestra, conducted by Dirk
Brossé. For this year’s edition, the World Soundtrack Academy, an initiative of the
Ghent Film Festival, managed to bring Angelo Badalamenti and Dario Marianelli on
board as its guests of honour.
Angelo Badalamenti is best known for his soundtrack work for American film director
David Lynch. He has scored a number of Lynch projects including Blue Velvet (1986),
Twin Peaks (1990), Wild at Heart (1990), Lost Highway (1997), The Straight Story
(1999) and Mulholland Drive (2001). He also composed the music for La Cité des
Enfants Perdus by Marc Caro and Jean-Pierre Jeunet (1995), Wait Until Spring Bandini
(1989) by Dominique Deruddere, and Jeunet’s Un Long Dimanche de Fiançailles (2004),
which earned him the WSA’s Composer of the Year award in 2005.
Badalamenti also collaborates with world-class entertainers including David Bowie,
Michael Jackson, Paul McCartney, Julee Cruise and Marianne Faithfull. This year,
Badalamenti will be bringing two special guests along to the concert in Ghent:
Siouxsie Sioux from Siouxsie & The Banshees, and Beth Rowley, who will be
performing songs from The Edge of Love, a biopic on Dylan Thomas starring Keira
Knightley and Sienna Miller (autumn 2008 release).
More Info: www.worldsoundtrackacademy.com
Tuesday, 3 June 2008
New copyright laws proposed in US
“The Orphan Works Act of 2008”, (H.R. 5889) and the “Shawn Bentley Orphan Works Act of 2008” (S.2913), were released to the House of Representatives and the Senate recently. While at first glance the law seems to be a ‘last resort’ for a search for the owner of any photograph, artwork or sculpture, the devil, as they say, is in the details.
If you don’t register every photo and work of art in government certified private databases, you are about to give the legal right for anyone to infringe on your copyright.
An “orphan”, as it relates to this legislation, is an original creative work which is still protected by its term of copyright, but the copyright holder can’t be found. Well...can't be found where the orphan hunters are looking, that is. The bill requires that "copyright registry databases" are set up (private ones), in which all copyrighted works must be registered.
People who want to use your work for free now only have to perform a search for you using these registries, which will be ineffective at best, to qualify your work of art as orphaned, giving them FREE use of your art or photo. The private registries will likely be easy and quick, just not very complete.
All someone has to do is search a couple of these registries and if your work doesn’t show as a match (and remember these software aren’t perfect, so you may have registered your work and still not have it show up in the results) it may be considered orphaned and they can use it for free.
Having online registries to search for copyright owners is great. Using these registries as a basis for legally orphaning a work is TERRIBLE.
In the new legislation, artists won't have the ability to sue for statutory damages. The new law will “limit remedies”, thereby removing the expensive penalty for stealing your work. Sure, you will still be able to sue, but you will be limited to the amount. This only empowers those who want to steal our creative works!
This means the most an infringer would have to pay IS WHAT THE INFRINGER FEELS HE SHOULD HAVE PAID IN THE FIRST PLACE! The artist will no longer be entitled to any monetary recovery from the infringement damage, costs or attorney fees, which would often be more than what they could collect. Any betting man wanting to use your art would take these odds and steal your work.
===
This is a condensed and slightly edited version of an article found at:
http://www.sellyourtvconceptnow.com/orphan.html
If you don’t register every photo and work of art in government certified private databases, you are about to give the legal right for anyone to infringe on your copyright.
An “orphan”, as it relates to this legislation, is an original creative work which is still protected by its term of copyright, but the copyright holder can’t be found. Well...can't be found where the orphan hunters are looking, that is. The bill requires that "copyright registry databases" are set up (private ones), in which all copyrighted works must be registered.
People who want to use your work for free now only have to perform a search for you using these registries, which will be ineffective at best, to qualify your work of art as orphaned, giving them FREE use of your art or photo. The private registries will likely be easy and quick, just not very complete.
All someone has to do is search a couple of these registries and if your work doesn’t show as a match (and remember these software aren’t perfect, so you may have registered your work and still not have it show up in the results) it may be considered orphaned and they can use it for free.
Having online registries to search for copyright owners is great. Using these registries as a basis for legally orphaning a work is TERRIBLE.
In the new legislation, artists won't have the ability to sue for statutory damages. The new law will “limit remedies”, thereby removing the expensive penalty for stealing your work. Sure, you will still be able to sue, but you will be limited to the amount. This only empowers those who want to steal our creative works!
This means the most an infringer would have to pay IS WHAT THE INFRINGER FEELS HE SHOULD HAVE PAID IN THE FIRST PLACE! The artist will no longer be entitled to any monetary recovery from the infringement damage, costs or attorney fees, which would often be more than what they could collect. Any betting man wanting to use your art would take these odds and steal your work.
===
This is a condensed and slightly edited version of an article found at:
http://www.sellyourtvconceptnow.com/orphan.html
New era for independent film distribution
The retreat of Warner Bros and Co. marks a new era for Independent Film
Bob Alexander, President of IndiePix, the Internet-based distributor of independent films, reveals how the shift in the independent film industry is not a cause for concern but an opportunity to embrace new technologies.
Over the last ten weeks, the independent film “industry” has been restructured before our eyes. Let’s take a look:
1. ThinkFilm, in a financial crisis having overpaid for films that it can’t make money on in distribution, sells its catalogue to a Canadian investor/speculator.
2. New Line Cinema, respected for its having pioneered “edgy” films into the mass market, is closed by Warner Bros; 450 jobs in NY and LA lost.
3. Picturehouse, run by top indie film distributor Bob Berney, is closed by Warner Bros and titles folded into the studio.
4. Warner Independent, the so-called “independent” arm of Warner Bros managed by a former studio exec, Polly Cohen, is closed and folded into the studio.
5. Cablevision, owner of the IFC channel, successfully bids an estimated $500 million for the Sundance Channel, now controls all cable presentation of independent film.
6. Discovery Networks, after purchasing rights to and then declining to show “Taxi to the Dark Side”, is rumoured to be closing its independent film activity and some fear for its support of the respected Silver Docs film festival.
IndiePix has been convinced that the traditional models of distribution, which barely work for the major studios, do not work — at all — in some scaled down version for independent film. The economics of distributing films in theatres — with the extraordinary costs of theatre rental, newspaper advertising and related distribution expenses — simply make theatres outmoded. Digital distribution of high quality images to theatres doesn't solve the problem: it's a drop in the financial bucket that will barely be noticed if at all.
So if theatres are not part of the distribution of independent film, the indie labels (like Think Film, Magnolia, and others) — not to mention the so-called “independent” divisions of the studios (like Fox Searchlight, Universal’s Focus Features, and Paramount Vantage) — don’t have any good ideas about what to do next. What do they think about how to match the vision and artistry of non-studio filmmakers with the audiences that demonstrably exist? It’s not that there is no demand for independent film. It’s that those who are entrusted with “distributing” don’t know how to reach that audience because their corporate organisations and structures are locked in to the physical structures and fixed economics of the last century.
The new technologies of the Internet era offer great new possibilities for the community of film fans. The flexible technologies of the 21st century make it possible for even larger audiences to enjoy more instances of the highest quality programming in the highest quality settings from the best filmmakers. The Internet era of the 21st Century will not mimic the bygone studio era and deliver the occasional "Gone With The Wind", but will enable many talented filmmakers with many visions to be seen and heard in many parts of the world.
Filmmakers and film-lovers alike should be excited about the evolution of our industry. The frenzy surrounding social networking sites suggests what can happen to distribution and sponsorship without geographical and demographic boundaries. That kind of energy has rolled over well-established businesses in other sectors – newspapers, music, even some parts of the health industry – so it should not be surprising when those same forces combine to restructure the film business.
There will be a new era in independent filmmaking — an era in which the best films with the most amazing cinematography, seamless in their editing and storytelling, thrilling in their visions of the human experience, unlimited by geographical or cultural or language boundaries will find their audiences in every corner of the world. The changing economics of theatrical exhibition have contrived to bring down the structures intended to hold films up for view. But the economics of the new technologies will — and are — creating new opportunities for new voices to reach new audiences.
It will be an extraordinary moment and IndiePix is committed to help make it happen.
Bob Alexander, President of IndiePix, the Internet-based distributor of independent films, reveals how the shift in the independent film industry is not a cause for concern but an opportunity to embrace new technologies.
Over the last ten weeks, the independent film “industry” has been restructured before our eyes. Let’s take a look:
1. ThinkFilm, in a financial crisis having overpaid for films that it can’t make money on in distribution, sells its catalogue to a Canadian investor/speculator.
2. New Line Cinema, respected for its having pioneered “edgy” films into the mass market, is closed by Warner Bros; 450 jobs in NY and LA lost.
3. Picturehouse, run by top indie film distributor Bob Berney, is closed by Warner Bros and titles folded into the studio.
4. Warner Independent, the so-called “independent” arm of Warner Bros managed by a former studio exec, Polly Cohen, is closed and folded into the studio.
5. Cablevision, owner of the IFC channel, successfully bids an estimated $500 million for the Sundance Channel, now controls all cable presentation of independent film.
6. Discovery Networks, after purchasing rights to and then declining to show “Taxi to the Dark Side”, is rumoured to be closing its independent film activity and some fear for its support of the respected Silver Docs film festival.
IndiePix has been convinced that the traditional models of distribution, which barely work for the major studios, do not work — at all — in some scaled down version for independent film. The economics of distributing films in theatres — with the extraordinary costs of theatre rental, newspaper advertising and related distribution expenses — simply make theatres outmoded. Digital distribution of high quality images to theatres doesn't solve the problem: it's a drop in the financial bucket that will barely be noticed if at all.
So if theatres are not part of the distribution of independent film, the indie labels (like Think Film, Magnolia, and others) — not to mention the so-called “independent” divisions of the studios (like Fox Searchlight, Universal’s Focus Features, and Paramount Vantage) — don’t have any good ideas about what to do next. What do they think about how to match the vision and artistry of non-studio filmmakers with the audiences that demonstrably exist? It’s not that there is no demand for independent film. It’s that those who are entrusted with “distributing” don’t know how to reach that audience because their corporate organisations and structures are locked in to the physical structures and fixed economics of the last century.
The new technologies of the Internet era offer great new possibilities for the community of film fans. The flexible technologies of the 21st century make it possible for even larger audiences to enjoy more instances of the highest quality programming in the highest quality settings from the best filmmakers. The Internet era of the 21st Century will not mimic the bygone studio era and deliver the occasional "Gone With The Wind", but will enable many talented filmmakers with many visions to be seen and heard in many parts of the world.
Filmmakers and film-lovers alike should be excited about the evolution of our industry. The frenzy surrounding social networking sites suggests what can happen to distribution and sponsorship without geographical and demographic boundaries. That kind of energy has rolled over well-established businesses in other sectors – newspapers, music, even some parts of the health industry – so it should not be surprising when those same forces combine to restructure the film business.
There will be a new era in independent filmmaking — an era in which the best films with the most amazing cinematography, seamless in their editing and storytelling, thrilling in their visions of the human experience, unlimited by geographical or cultural or language boundaries will find their audiences in every corner of the world. The changing economics of theatrical exhibition have contrived to bring down the structures intended to hold films up for view. But the economics of the new technologies will — and are — creating new opportunities for new voices to reach new audiences.
It will be an extraordinary moment and IndiePix is committed to help make it happen.
Thursday, 8 May 2008
Intel Virtual Film Festival
As part of its 40th anniversary celebrations Intel is looking to uncover the secret Coppola of the 21st century, the hidden Hitchcock of the noughties.
Since Gordon Moore and Robert Noyce founded Intel back in 1968, technology, and in particular processors, have become integral to everyday life.
Intel® Centrino® processor technology based notebook PCs incorporate the leading-edge technology to help you create, edit and publish advanced multimedia content on-the-go. Intel can help democratise filmmaking by giving aspiring and recreational filmmakers the power to create a virtual set, work in “the cutting room” and create professional-looking films.
The Intel Virtual Film Festival looks to offer entrants a chance to unleash their creativity and to give Hollywood a run for its money!
The competition:
Entrants need to create an artful parody of their favourite film or shoot their own movie in less than three minutes. Entries should be either in English or – if in another language - include English subtitles.
To participate all entrants need to do is upload their film on to the Intel Virtual Film Festival channel on YouTube. Only eligible* entries will be posted on the site.
Judging and Prizes
Entrants will be competing with their peers across Europe, Middle East and Africa to win high performance Intel® Centrino® 2 processor technology-based laptops loaded with Adobe® Creative Suite® 3 Production Premium*.
Sixteen winners will be selected by a handpicked judging panel, which will be looking for creative flair and technical competency.
The winner of the European Grand Prize – a 3 night trip for two to Venice during the Film Festival - will be chosen by the general public: the most views on YouTube will make you a winner!
The competition opens on April 28th. All entries must be received by 17:00 CET June 17th 2008. Winners will be announced by the end of June.
For further information contact:
IntelVirtualFilmFestival@catalysis.co.uk or view the official YouTube channel, from April 28th 2008.
Entries open exclusively to the following countries: Czech, Denmark, Egypt, Finland, France, Germany, Hungary, Poland, Romania, Russia, South Africa, Spain, Sweden, Turkey, UK and United Arab Emirates. For Terms and Conditions please refer to the competition site.
Intel, the world leader in silicon innovation, develops technologies, products and initiatives to continually advance how people work and live. Addition information about Intel is available at www.intel.com/pressroom and http://blogs.intel.com
Since Gordon Moore and Robert Noyce founded Intel back in 1968, technology, and in particular processors, have become integral to everyday life.
Intel® Centrino® processor technology based notebook PCs incorporate the leading-edge technology to help you create, edit and publish advanced multimedia content on-the-go. Intel can help democratise filmmaking by giving aspiring and recreational filmmakers the power to create a virtual set, work in “the cutting room” and create professional-looking films.
The Intel Virtual Film Festival looks to offer entrants a chance to unleash their creativity and to give Hollywood a run for its money!
The competition:
Entrants need to create an artful parody of their favourite film or shoot their own movie in less than three minutes. Entries should be either in English or – if in another language - include English subtitles.
To participate all entrants need to do is upload their film on to the Intel Virtual Film Festival channel on YouTube. Only eligible* entries will be posted on the site.
Judging and Prizes
Entrants will be competing with their peers across Europe, Middle East and Africa to win high performance Intel® Centrino® 2 processor technology-based laptops loaded with Adobe® Creative Suite® 3 Production Premium*.
Sixteen winners will be selected by a handpicked judging panel, which will be looking for creative flair and technical competency.
The winner of the European Grand Prize – a 3 night trip for two to Venice during the Film Festival - will be chosen by the general public: the most views on YouTube will make you a winner!
The competition opens on April 28th. All entries must be received by 17:00 CET June 17th 2008. Winners will be announced by the end of June.
For further information contact:
IntelVirtualFilmFestival@catalysis.co.uk or view the official YouTube channel, from April 28th 2008.
Entries open exclusively to the following countries: Czech, Denmark, Egypt, Finland, France, Germany, Hungary, Poland, Romania, Russia, South Africa, Spain, Sweden, Turkey, UK and United Arab Emirates. For Terms and Conditions please refer to the competition site.
Intel, the world leader in silicon innovation, develops technologies, products and initiatives to continually advance how people work and live. Addition information about Intel is available at www.intel.com/pressroom and http://blogs.intel.com
Tuesday, 6 May 2008
Renderyard
Renderyard is pleased to announce we are now accepting films for the 4th
Renderyard Short Film Festival *running from the 1st - 5th October
2008.Submit your film to this years festival to be in with a chance of
winning a cash prize of 1000€ including a Renderyard Award and getting your
film placed our web site and Free Membership for a year.The full list for
Categories submissions this year include:
- Short Films
- Animations
- Music Videos
- Documentaries
- Machinimania
- Film Scores
- Scripts
To submit a film please click here www.renderyard.com
The deadline for entry's is the 21st August.
Renderyard Short Film Festival *running from the 1st - 5th October
2008.Submit your film to this years festival to be in with a chance of
winning a cash prize of 1000€ including a Renderyard Award and getting your
film placed our web site and Free Membership for a year.The full list for
Categories submissions this year include:
- Short Films
- Animations
- Music Videos
- Documentaries
- Machinimania
- Film Scores
- Scripts
To submit a film please click here www.renderyard.com
The deadline for entry's is the 21st August.
Wednesday, 30 April 2008
The European Spiritual Film Festival prizes announced
The European Spiritual Film Festival prizes announced during the Closing Ceremony by
the members of the Jury on Saturday, April, 26th at the "Divan du Monde" in Paris.
BEST SPIRITUAL DOCUMENTARY
Beyond Fear - Michael Perlman - United States, 2007
BEST SPIRITUAL ANIMATION FILM
Das Floss - Jan Thüring - Germany, 2005
BEST SPIRITUAL FILM
Der Lachende Hund - Shohreh Jandaghian - Germany, 2007
BEST EUROPEAN SPIRITUAL FILM
L'homme entre Science et Religion - Caroline Puig-Grenetier - France, 2007
PEOPLE' S CHOICE AWARD
The Miracle - Jeffrey Jon Smith - United States, 2007
http://www.festival-esff.com
the members of the Jury on Saturday, April, 26th at the "Divan du Monde" in Paris.
BEST SPIRITUAL DOCUMENTARY
Beyond Fear - Michael Perlman - United States, 2007
BEST SPIRITUAL ANIMATION FILM
Das Floss - Jan Thüring - Germany, 2005
BEST SPIRITUAL FILM
Der Lachende Hund - Shohreh Jandaghian - Germany, 2007
BEST EUROPEAN SPIRITUAL FILM
L'homme entre Science et Religion - Caroline Puig-Grenetier - France, 2007
PEOPLE' S CHOICE AWARD
The Miracle - Jeffrey Jon Smith - United States, 2007
http://www.festival-esff.com
Monday, 28 April 2008
London Festival of Architecture 2008
Screening the City _(20 June – 20 July)
A major film season _Screening the City_ will come to the capitalthis summer. It will showcase a dynamic range of internationalarchitecture-themed films in inspiring indoor and outdoor venues,launch a public competition to find innovative new ways of filmingarchitecture and look in detail at today’s most excitingdigitally-produced architectural moving images. One of the headline events of the London Festival of Architecture2008, _Screening the City_ is curated by The Faculty of Excellenceand Louis Savy, with other film screenings taking place during the Festival at major venues such as the Barbican, BFI Southbank and Renoir Cinema.
Further information: www.screeningthecity.co.uk
A major film season _Screening the City_ will come to the capitalthis summer. It will showcase a dynamic range of internationalarchitecture-themed films in inspiring indoor and outdoor venues,launch a public competition to find innovative new ways of filmingarchitecture and look in detail at today’s most excitingdigitally-produced architectural moving images. One of the headline events of the London Festival of Architecture2008, _Screening the City_ is curated by The Faculty of Excellenceand Louis Savy, with other film screenings taking place during the Festival at major venues such as the Barbican, BFI Southbank and Renoir Cinema.
Further information: www.screeningthecity.co.uk
BENDFILM
BENDFILM: Where Filmmakers Are Gods. Set against the backdrop of thestunning Cascade Mountains in Bend, Central Oregon. Now in its 5thyear, BendFilm creates a memorable festival every October with morethan $30,000 in cash awards including a $10,000 Best of Show Award.Additional cash awards are presented for Best Feature ($2,500), BestDoc ($2,500), Best Short ($2,500), Best Student Film ($3,000), BestConservation Award ($2,500) and Excellence in Filmmaking By A FemaleDirector ($4,000). Add that to the Audience Award, which takes home apercentage of ticket sales and you have a festival that filmmakerslove. Deadline: June 30, 2008. Visit http://www.bendfilm.org. Executive Director: Sandy Henderson. Contact: info@bendfilm.org
15th Annual AUSTIN FILM FESTIVAL
The 15th Annual AUSTIN FILM FESTIVAL runs October 16 – 23, 2008 inAustin, Texas. Film categories: Narrative Feature, Short, StudentShort, Documentary Feature, Short and Animated Short.
Early Deadline:June 5, 2008, Late Deadline: July 5, 2008.
Do not forget about their screenwriting competition! Screenplay Competition deadline: May 15(early), June 1 (late). Teleplay Competition deadline: June 1. Get $5off your film entry fee with a copy of this e-mail. For an entry formand more information, visit: http://www.austinfilmfestival.com
Early Deadline:June 5, 2008, Late Deadline: July 5, 2008.
Do not forget about their screenwriting competition! Screenplay Competition deadline: May 15(early), June 1 (late). Teleplay Competition deadline: June 1. Get $5off your film entry fee with a copy of this e-mail. For an entry formand more information, visit: http://www.austinfilmfestival.com
YAMAGATA Documentary Film Library Friday Theater
Screenings at the Yamagata Documentary Film Library present documentary films and other masterpieces rarely shown on television or in theaters, including works from the Film Library vaults.
More information : http://www.yidff.jp/home-e.html
More information : http://www.yidff.jp/home-e.html
Striplite: call for submissions for new night of films and performances
Striplite is a new monthly night of short film, burlesque and alternative
performers, solo musicians and DJs in London. The organisers are looking for
submissions of short film to be shown at the night, and longer material to
be shown during DJ sets.
The organisers are looking for films on an ongoing basis, so film makersshould keep the night in mind for material they are currently working on, orplan to make.
Shorts should be up to 10 minutes long, material to play during DJ sets canbe any length, and both should be sent on DVD to:
Nick Mann
Flat 7, The Milner Building
53a Carysfort Road
N16 9AD
UK
For more information on the night, please visit www.myspace.com/striplite
For any questions about submissions, please mail striplites@gmail.com
Deadline: 1 June 08
performers, solo musicians and DJs in London. The organisers are looking for
submissions of short film to be shown at the night, and longer material to
be shown during DJ sets.
The organisers are looking for films on an ongoing basis, so film makersshould keep the night in mind for material they are currently working on, orplan to make.
Shorts should be up to 10 minutes long, material to play during DJ sets canbe any length, and both should be sent on DVD to:
Nick Mann
Flat 7, The Milner Building
53a Carysfort Road
N16 9AD
UK
For more information on the night, please visit www.myspace.com/striplite
For any questions about submissions, please mail striplites@gmail.com
Deadline: 1 June 08
BRITDOC'S "DRAGON'S DEN" IS OFFICIALLY OPEN FOR BUSINESS
BIG PITCH OPENS FOR APPLICATIONSThe Big Pitch at BRITDOC is the UK's only international pitching forum - a golden opportunity for 12 filmmakers to pitch their documentary projects to an exceptional panel of commissioning editors and film funders from the US, Europe and the Far East.
Last year our panel included HBO, IFC, ARTE, Sundance Institute, ITVS, NHK Japan, Netflix, Discovery Films and SBS Australia and over two thirds of the projects received funding as a direct result of pitching.
All projects entered join the Online Pitching Forum searched by all our funders before, during and after festival.
For full details and to apply: http://www.britdoc.org/festival/ApplyFor/Pitchingforums
Deadline: Friday 13 June.
Last year our panel included HBO, IFC, ARTE, Sundance Institute, ITVS, NHK Japan, Netflix, Discovery Films and SBS Australia and over two thirds of the projects received funding as a direct result of pitching.
All projects entered join the Online Pitching Forum searched by all our funders before, during and after festival.
For full details and to apply: http://www.britdoc.org/festival/ApplyFor/Pitchingforums
Deadline: Friday 13 June.
Thursday, 24 April 2008
First Light Movies Enjoys Double Distinction At The Webbys
First Light Movies www.firstlightmovies.com is thrilled to announce that it has been short listed for a prestigious Webby Award. The site, which was designed and built by Birmingham-based company 3Form www.3form.net has been nominated in the Student category of the 12th Annual Webby Awards in the online film and video section.
First Light Movies, a national organisation also based in Birmingham that puts young people at the heart of the creative film making process is the only site in this category to feature films made by children as young as five.
To view the site via the Webby’s Nominees page go to http://webbyawards.com/webbys/current.phpmedia_id=97&season=12#film_student
First Light Movies, a national organisation also based in Birmingham that puts young people at the heart of the creative film making process is the only site in this category to feature films made by children as young as five.
To view the site via the Webby’s Nominees page go to http://webbyawards.com/webbys/current.phpmedia_id=97&season=12#film_student
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