We have our first documentary PhD by practice! Amy Hardie (The Edge of Dreaming) and the rest of the SDI team celebrated yesterday with champagne and strawberries at ECA's last independent graduation ceremony. Edinburgh College of Art merges with Edinburgh University from 1 August.
But we have another ten PhD students with projects in the pipeline, so watch this space.
To find out about post-graduate opportunities, please go to our website.
My last evening on June 10, 2011 at Sheffield International Documentary Festival was a real treat when the noisy party was interrupted and brought to a whispering silence when Roger Graeff announced the arrival of the veteran documentary filmmaker Albert Maysles to receive the Lifetime Achievement Award.
Helped to the stage by festival director Heather Croall (someone should create an award for most energetic festival director), he walks shakily to the microphone in his crumpled black shirt, and wearing odd socks, one grey, one green, to a standing ovation by the crowd.Read more
Stem Cell Revolutions is an independent, feature length documentary exploring the history, development and ambitions of this fascinating field - from the first discovery of stem cells in the body to leading current clinical and scientific developments.
The result of a close creative collaboration between scientist Clare Blackburn (University of Edinburgh) and filmmaker Amy Hardie, Stem Cell Revolutions features eminent international figures in stem cell research – including Nobel Laureate Sir Martin Evans and Sir Ian Wilmut, creator of Dolly the sheep – as well as acclaimed novelist Margaret Atwood. Beautiful hand-drawn animations bring science to life on the big screen.Read more
Jane McAllister is a Glasgow-based filmmaker whose first film Sporran Makers was produced through Bridging the Gap and nominated for Best Scottish Short Doc award at EIFF in 2009. Her second film, Caretaker for the Lord, made as part of the Screen Academy Scotland Documentary Directing programme at Edinburgh College of Art, got her invited to Full Frame and Tribeca this spring. This is her account.
I forgot my glasses, had flammable shoe dye in my hand luggage by accident and didn't know the address of my hotel in America... but when they finally let me on that plane with an "involuntary upgrade to business class" things just got better and better.
North Carolina stole my heart first. It was warm and green. The hotel had a pool. And as I sauntered up to the festival after a swim, people said Hello Mam, as I passed by. I had sweet waffles and chicken and made friends with documentary film makers. It was the best place to be.Read more
We’re trying to get a handle on audiences (let’s not use “the market”). Let me rephrase that:
How can we interest individuals in what we do, the documentaries we make and the questions we – or YOU – raise with them? How do we get people involved online and in person, and perhaps affect change? And how does this translate into a more sustainable business for filmmaking as a whole? That is what we want to be working on for the next 18 months thanks to funding from Creative Scotland.
Our colleagues in North America have been doing it as a matter of necessity. They have nurtured relationships with donors, individual giving and sponsorship for a long time. It’s tempting to focus only on how much money this might “bring” to a film. What is much more interesting is how “getting to know YOU” (one by one) can be an enlightening part of the whole process, deepening our understanding of the film and its need to exist in the world. Or, in other words, how and where do you want to meet your filmmaker?Read more
With our Interdoc programme we have been running some clandestine whisky tasting soirees at different festivals wherever we are running sessions. A special guest list is invited but only get to know the time and the place via a text at the last minute. Such evenings are good fun and great way of networking.
Of course we also get a few gate crashers and this time, one of them was a woman who stepped straight out of a Vogue magazine, and when I enquired who she was, she replied “but I am Melissa, the star of Melissa’s film”.
Funny enough the following day, American filmmaker David Wilson (True/False Film Festival), was questioning at the Soap Box event what should be the best or correct way to refer to our documentary subjects?Read more
If we had an award for "best audience" it would go to the city of Toronto. Every single screening at Hot Docs was packed with a crowd, which gave themselves over to the story on screen and lived through the roller coaster of emotions, laughter and tears. It was palpable.
There was a ritual: Every screening started with a humoristic advert to celebrate and thank all the volunteers who make the festival happen. Everyone applauded.Read more
For the last two years Hot Docs has been experimenting with ad lib sessions and one of them is The Soap Box where you can rant, shout or just wonder aloud. This year was again hosted by filmmaker and blogger AJ Schnack, and I was selected with a few other speakers, including Peter Wintonick, to speak from the 'pulpit' of the documentary church.
Ban the word "about"
The 9th Berlinale Talent Campus (BTC) took place February 12-17 2011, in Berlin as part of the International Film Festival, now in its 61st year. The lucky group of 350 participants who gathered in Berlin, were selected from over 4000 applications and hailed from 88 different countries. The purpose of BTC is to bring together up-and-coming filmmakers and around 150 experts for a series of masterclasses, workshops and networking events over the course of six days.
I was one of the lucky ones, and together with two filmmaker friends from Edinburgh, I made my way to Berlin on 11 February. Not only did BTC cover the cost of our flight, they also put us up in a city-centre hostel. It was a nice place, but we didn’t have very much time to spend there as BTC is 6 days of intense attending and socializing. I don’t think I made it to bed before 2am every single night.Read more