Reports from the production of this year's Bridging the Gap short documentaries, part 1
Chinese takeaway is one of the most popular carry-out foods in the UK. However, working as a takeaway driver might not be the most delightful job. Through the eyes of a takeaway driver, we are not only able to look at the world beyond the takeaway counter, a mysterious catering community that provides our familiar late-night snacks, but also at the city we thought we knew everything about.
Here are some pictures from the shoot for this film:
DoP David Lee (left) and director Yu-Hsueh Lin (right) enjoying a dinner break at the takeaway, the driver Jerry watching telly and not hungry at all.Read more
It’s a bar in Ramallah called Beit Aneesh. Apparently named after an old lady that lived there. A laid-back place with posters from the history of the struggle of the Palestinian people. We had just completed a documentary workshop in Ramallah, and Tue Steen Müller, who has helped so many emerging filmmakers from all over the world, suggested anyone who likes joins us for a beer or coffee at eight.
Few have come. Most have long, unpredictable journeys through the occupied territories where they will undoubtedly be stopped several times.
Khaled Jarrar has turned up though – just arrived from France where his work as a radical conceptual artist has become celebrated. We’re so pleased to see him – a filmmaker of huge promise as well as an artist. Tue has just seen the rough cut of his first film which is about the wall. He shows us a scene with him with a tiny chisel, chipping little bits of the wall off. Tue suggests he end his new film like this. It’s a futile act of defiance, made funny by its impotence.Read more
"We can grow a professional cyclist from stem cells," claim scientists – backed up by filmmakers.
Scientists in Edinburgh today announced that they would theoretically be able to grow professional athletes from induced pluripotent stem cells (iPS) in the lab. They are now urging the Scottish Government to grant them permission to go ahead with this experiment, the first of its kind in the world.Read more
Our arrival in Tripoli was an anti-climax, all the clocks had stopped. There was no life at the airport, even the duty-free shop was closed, the shelves empty. A driver from the British Council had patiently been waiting for our delayed flight. We would soon learn that time is of no consequence in Libya... But this whole workshop was going to be a race against time: delivering basic film skills, engaging our 13 participants with creative documentary, showing them clips of doc gems so they open up to a new form of storytelling – beyond their Aljazeera experience – and produce a short film suitable for international festivals. Yes, I agree, we were asking for the impossible – but hey, we are filmmakers!Read more
As part of our Virtuous Circle initiative, we've partnered with Moving Targets, a Scottish-based knowledge exchange project exploring new media audiences. We recently tested Visual Engagement, a tool for developing innovative approaches and strategies for audience engagement. The tool has been developed by Angela Fernandez Orviz.
So what's this tool good for?
Visual Engagement is a brainstorming and planning tool to be used at the beginning of a project. Supported by the visual representation of a variety of engagement forms, it helps creators to map out their audience engagement strategy while keeping the big picture in mind and aiding formulation of an action plan.
With the aid of the visual cards we brainstormed how different groups of audiences could be involved at various stages in the creative and production process.Read more
12th Feb 2012
No point in describing the dance of Victor Kossakovsky across the stage – the camera did its best to catch him and missed. No, ok, I missed from my static seating position. A little lesson here in how to interact with a film-maker with the fanciest footwork I've ever seen. Either his feet dance with his thoughts, or vice versa. Anyway, unable to move with him and get the photograph I wanted I shifted and cursed in my front row seat for the first 10 minutes, watching the official photographer move around him with inconsolable jealousy.
Editor's note: 'The Nightshift' in this article refers to Carol Cooke's interactive documentary series The Nightshift, not to be confused with the Bridging the Gap short documentary Night Shift.
Arriving at Crossover Lab 2 in Antwerp, I felt like a definite contender for Channel 4's hit series Faking It. Targeted at “creative professionals with a unique crossmedial concept” and billed as “the answer to all your questions”, it seemed like the perfect course for me and my latest project. The Nightshift originally began life as a photo documentary on prostitution which I had developed for the BBC's Why Poverty pitch. However, having spent the summer on ESo Doc learning all about the wonders of multi-platforming from the likes of IDFA's Caspar Sonnen and Katerina Cizek from the National Film Board of Canada, I was beginning to get a wee bitty overexcited about The Nightshift's cross-media potential and had a lot of questions that needed answering. So Crossover couldn't have come at a better time and I was delighted when I found out I'd been accepted.
What I'd failed to realise however was that by the end of this five day workshop, I would be doing a live pitch at the 2011 European Games Summit in front of a panel of award winning 'Games Masters' and some of the biggest names in the industry. It was at this point total panic set in and my Faking It journey began because, what I'd failed to mention in my application, was that I hadn't actually played a computer game since I was 12 so my last experience of gaming was as a skateboarding Bart Simpson on my big brother's Amiga. And now, 16 years on I had just 5 days to develop my very own game and convince some of the biggest players in the industry that it could be a hit. Cue Faking It titles and an utterly exhausting but totally inspiring following five days...Read more
11th Feb 2012
I'm writing this for those of you who might want, someday, to take part in the Berlinale Talent Campus. As one young film maker said, "There is life before the Talent Campus and there is life after the Talent Campus." And, looking back on it, he did have a point. It is a game-changer.
Tom Allan is a multmedia journalist into environment, social issues, and community. He has worked for the BBC, the Guardian, FSRN, PRI, and Leith FM. This is his account of the masterclass with Michel Wenzer at the Scottish Documentary Institute, originally published on the Radio Doc Blog.
On Friday I attended a sound design masterclass with Swedish film maker and composer Michel Wenzer. Earlier in the week I’d seen Wenzer’s film At Night I Fly at the GFT in Glasgow, as part of the Glasgow Film Festival. Ten years in the making, it depicted life in New Fulsom jail, a super-max prison in California. The film had a particular focus upon a group of prisoners participating in an "Arts in Correction" program.
Michel’s route into filmmaking was unconventional – he has been a truck driver in Bosnia where he began to develop an interest in still photography, taking images of soldiers. Returning to Sweden, he wanted to get more involved in the arts, and he would have gone to art college in New York, but he wasn’t able to afford it. Ultimately he trained as a composer, and sound and music are still central to how he constructs his films, particularly his early shorts about the prisoners, and for this reason I’m going to focus on these in this blog post.Read more
The EDN’s Twelve for the Future is a project-driven co-production workshop for Nordic documentary producers and directors, so it was a great honour to be included as the first-ever Scottish project, supported by Creative Scotland's 'Creative Futures' programme.
Putting aside any Scottish claims of Nordic DNA from visiting longboats in the distant past, the film I was taking to the workshops is set in the Faroe Islands and so is very Nordic. The programme was spread across two workshop sessions, the first in Denmark in September 2011, and the final part in Finland in late January 2012.
Part One: Copenhagen
The first session was held outside Copenhagen in the seaside resort of Marlielyst. I only know how to say ‘carrot’ in Danish, and ‘tea towel’ and ‘biscuit’ in Finnish, which is very limiting. Thankfully, the workshops were held in English.Read more