QR codes for Postcards from East London films, try them out!
Devons Estate
Angel Alley
Devons Estate
Angel Alley
Whitechapel Market
Monday, July 23, 2012
Thursday, July 19, 2012
EASTERN EDGE FUND FILM WINS AWARD AT FILM LONDON BoBs AWARDS 2012
"Stop" directed by Paul Murphy, and produced by Mark Downes has won a Special Mention award at the Film London 2012 Best of Borough Awards. This builds on the success in 2011, when the Eastern Edge Film fund won the Jury Award, Audience Award and two Special Mentions. "Stop" was Executive Produced by Anton Califano.
More information here:
Sunday, July 15, 2012
Friday, July 13, 2012
Here is the first of my "Postcards from East London" films Devons Estate:
DEVONS ESTATE - CLICK HERE TO WATCH FILM
Please post this postcard film to your friends and family.....
In 2012, MobileDance and East London Dance came together to deliver Postcards from East London, with teams of artists based in east London and four different community groups from the area. Each community group worked with a different schedule - some meeting once a week for two months, others working intensively over three or four days. The teams had only three hours to shoot each film.
The result is nine contrasting short films revealing different viewpoints on this vibrant, diverse and rapidly changing part of east London.
The project was funded by High Street 2012, a programme to enhance and celebrate the ribbon of London life that connects the City at Aldgate to the Olympic Park at Stratford in the year of the London Olympics. Postcards from East London was part of Big Dance 2012 in the London 2012 festival, the culmination of the cultural Olympiad.
A typical estate in Bow. Less than a mile to the London Olympic site. It looks like many other old housing estates. Are they all just the same, or can they be unique?
DEVONS ESTATE - CLICK HERE TO WATCH FILM
Please post this postcard film to your friends and family.....
In 2012, MobileDance and East London Dance came together to deliver Postcards from East London, with teams of artists based in east London and four different community groups from the area. Each community group worked with a different schedule - some meeting once a week for two months, others working intensively over three or four days. The teams had only three hours to shoot each film.
The result is nine contrasting short films revealing different viewpoints on this vibrant, diverse and rapidly changing part of east London.
The project was funded by High Street 2012, a programme to enhance and celebrate the ribbon of London life that connects the City at Aldgate to the Olympic Park at Stratford in the year of the London Olympics. Postcards from East London was part of Big Dance 2012 in the London 2012 festival, the culmination of the cultural Olympiad.
Thursday, May 31, 2012
Walk Tall - director Kate Sullivan (Exec Prod: Anton Califano)
Great to see the BFI supporting this short animation doc, funded by the Eastern Edge Film Fund
Winner of Special Mention at the Best of Borough Awards 2011
Click on the link below to see the film:
http://thespace.org/items/e00004tg
Great to see the BFI supporting this short animation doc, funded by the Eastern Edge Film Fund
Winner of Special Mention at the Best of Borough Awards 2011
Click on the link below to see the film:
http://thespace.org/items/e00004tg
Tuesday, May 29, 2012
A film I edited called "The Middle Men", directed by the very talented Meghan Horvath is going to be on TV in Australia this Wed evening. If you have ever wondered what being middle-aged means to men these days, then give it a watch (providing you are in Australia!). If you are a middle-aged man and not yet ready to admit it, then see if you recognise yourself!!
Wednesday 30th May @ 10 pmThe Biography ChannelAustraliaHere is the link to the television listing: http://www.biographychannel.com.au/featureddetail.aspx?ID=1298And a link to the film's website: www.themiddlemenfilm.com
Thursday, May 24, 2012
Click below to watch my new "vignette" made for Manifesto NYC:
http://www.manifestonyc.com/vignettes/the-knowledge
http://www.manifestonyc.com/vignettes/the-knowledge
Great to see the BFI showcasing one of the Eastern Edge funded Films:
Watch Kate Sullivan's "Walk Tall" here if you haven't seen it yet. Share it!!
http://thespace.org/items/e00004tg#
Watch Kate Sullivan's "Walk Tall" here if you haven't seen it yet. Share it!!
http://thespace.org/items/e00004tg#
Wednesday, May 02, 2012
Monday 7th May 2012 @ 6pm Night @ Rich Mix, London , E2
NOMINATIONS ANNOUNCED
Eastern Edge Film Fund films have previously been nominated and won these awards!
The nominations for this year's awards will also be announced on the night!
http://limelightawards.com/may7th.html
NOMINATIONS ANNOUNCED
Eastern Edge Film Fund films have previously been nominated and won these awards!
The nominations for this year's awards will also be announced on the night!
http://limelightawards.com/may7th.html
Monday, April 30, 2012
Tuesday, April 24, 2012
7 Mistakes to Avoid When Crowd-Funding your Next Film
Plan to crowd-fund your movie or documentary on Kickstarter or Indie-gogo, eh?
Well before you do, arm yourself with the difference between the two platforms: Kickstarter is what I call “Reno on steroids.” It’s an all-or-nothing crowdsourcing platform for artists, entrepreneurs, and filmmakers to raise a targeted sum of cash within a delineated period of time, usually a month to a month-and-a-half. If you don’t hit the mark, you don’t keep the cash and all your efforts – usually a month to 45 days – is for naught.
IndieGoGo? Similar to the ‘Kick, but more of a “consolation prize” (at least in the States) for crowdfunding, in that you can raise partial sums of pledged cash for a higher withholding amount (9% as opposed to 5% if you raise your target), but without the cachet of Kickstarter which is a serious proof of concept for filmmakers.
Here are 7 Mistakes to Avoid When Crowd-Funding your Next Film (on any platform under any circumstances!) if you plan on it all going off with nary a hitch, Mitch.
1. Don’t crowdfund for a ridiculously high sum if you’ve never done it before:
I see this happening way too often (at least three times since I’ve been PMDing)…first-time crowdfunders who peg Kickstarter targets at exorbitantly-high targets – somewhere in the neighborhood of $40,000-60,000 – when they’ve never proven their bona fides at crowdfunding before, believing their totally awesome project to be so amazingly popular and obvious to the universe that the target will be a breeze to nail. Unless you’ve been vetted by journalists or have a stack of alarmingly positive testimonials or reviews or have amazing A-List cast or talent attached – in which case you , wouldn’t be crowdfunding, would you? – then don’t be too big for your britches and think a several thousand ducat target is a foregone conclusion, bub, because you may be in for a chilling surprise.
I see this happening way too often (at least three times since I’ve been PMDing)…first-time crowdfunders who peg Kickstarter targets at exorbitantly-high targets – somewhere in the neighborhood of $40,000-60,000 – when they’ve never proven their bona fides at crowdfunding before, believing their totally awesome project to be so amazingly popular and obvious to the universe that the target will be a breeze to nail. Unless you’ve been vetted by journalists or have a stack of alarmingly positive testimonials or reviews or have amazing A-List cast or talent attached – in which case you , wouldn’t be crowdfunding, would you? – then don’t be too big for your britches and think a several thousand ducat target is a foregone conclusion, bub, because you may be in for a chilling surprise.
2. Don’t start crowdfunding before you’ve got your crack team assembled for the 30-45 day assault on Precinct 13:
Crowdfunding isn’t about one person, her/his keyboard, a few tweets on Twitter sprinkled with some Facebook Status Updates, friends. It isn’t about sitting back on your laurels and waiting for the pledges to come rolling in, either, just because your project is so alarmingly ab-fab. It isn’t about a few sign-ins per week, monitoring your campaign’s progress from the Admiralty, and hoping for the best. Make sure you’ve got a stalwart team of staff or interns – including yourself, if you’re the filmmaker, that is – that will man the machines throughout the duration of the entire push – especially towards the final stretch in the final week – so stay on top of those tweets by updating pledgers and prospects how close your target is within reach, and to thank everyone personally and uniquely for their contribution.
A good example I’ve used before is (within 140 characters):
SoMe | Tales From A Social Media Expert | http://thep.md/GJveTY | @loren1938 (Loren Feldman) | Yes, Loren’s #crowdfunding! or SoMe | Tales From A Social Media Expert | http://thep.md/GJveTY | 64 BACKERS | $4,812 RAISED | 12 DAYS LEFT.
SoMe | Tales From A Social Media Expert | http://thep.md/GJveTY | @loren1938 (Loren Feldman) | Yes, Loren’s #crowdfunding! or SoMe | Tales From A Social Media Expert | http://thep.md/GJveTY | 64 BACKERS | $4,812 RAISED | 12 DAYS LEFT.
As many hands-on-deck as you can bring aboard early on is best. Paying these people can be as simple as offering them a percentage of what’s raised provided the target is reached (if we’re talking about Kickstarter). You can incentivize the team in other ways too, like offering them meaningful film “producorial” credit.
3. Don’t expect people to pledge just because you hang a darned shingle over at Kickstarter or IndieGoGo:
With the number of projects crowdsourcing today (egs. asking for feedback/ideas/design opinions and advice, let alone crowdfunding), the space has become astonishingly competitive! Potential donors are becoming inured to the constant appeals for cash and filmmakers (or other artists and business owners crowdsourcing) are being compelled to up the ol’ ante in terms of what they’re offering in return. Also, in certain European jurisdictions, there’s a huge disconnect between, say, filmmakers asking for cash from the public and the expectation of the public has about how it’s the government’s responsibility to pay for things like marketing and distribution or providing a film’s post-production budget. Crowdfunding has made significant inroads in the US/Canada/UK/Australia, but in other jurisdictions there’s still a huge gulf which needs crossing.
With the number of projects crowdsourcing today (egs. asking for feedback/ideas/design opinions and advice, let alone crowdfunding), the space has become astonishingly competitive! Potential donors are becoming inured to the constant appeals for cash and filmmakers (or other artists and business owners crowdsourcing) are being compelled to up the ol’ ante in terms of what they’re offering in return. Also, in certain European jurisdictions, there’s a huge disconnect between, say, filmmakers asking for cash from the public and the expectation of the public has about how it’s the government’s responsibility to pay for things like marketing and distribution or providing a film’s post-production budget. Crowdfunding has made significant inroads in the US/Canada/UK/Australia, but in other jurisdictions there’s still a huge gulf which needs crossing.
4. Don’t ignore your audience for weeks on end after inception:
Here’s another thing I see too often: filmmakers set up a campaign, go through the meticulous schmoo of crafting devilishly excellent pledge rewards or premiums, devoting two full days to pump the stuffing out of the campaign’s existence on Twitter, Facebook, Google Plus and elsewhere, then proceed tocompletely ignore their audience for weeks afterwards, expecting their campaign to pretty much run on its own stones from that point onward. Doesn’t work that way! Consider crowdfunding akin to the relationships you cultivate in your life: if you don’t nurture them and give them the requisite attention they deserve, they atrophy and die. Check in several times a day with your audience (especially those who have already pledged) and be thankful as all get-out that you’re even able to raise, say, $5,000 of extra funds you never would have had in the first place…
Here’s another thing I see too often: filmmakers set up a campaign, go through the meticulous schmoo of crafting devilishly excellent pledge rewards or premiums, devoting two full days to pump the stuffing out of the campaign’s existence on Twitter, Facebook, Google Plus and elsewhere, then proceed tocompletely ignore their audience for weeks afterwards, expecting their campaign to pretty much run on its own stones from that point onward. Doesn’t work that way! Consider crowdfunding akin to the relationships you cultivate in your life: if you don’t nurture them and give them the requisite attention they deserve, they atrophy and die. Check in several times a day with your audience (especially those who have already pledged) and be thankful as all get-out that you’re even able to raise, say, $5,000 of extra funds you never would have had in the first place…
5. Don’t forget to include a revolving slew of engaging extra-diagetic materials to keep your audience engaged throughout the month+:
Filmmakers who have played the extra-diagetic game well (stuff related to your film but not your film itself, egs. interviews, behind-the-scenes, location reccies, etc.): Gregory Bayne and Loren Feldmanwith their campaigns for JENS PULVER | DRIVEN, BLOODSWORTH: An Innocent Man, or SoMe | Tales From A Social Media Expert. In Bayne’s case, he generally likes to run his campaigns tight and risky at a maximum of 30 days, but somehow always pulls through in the clutch because his publikumloves him. Loren’s in the midst of one now, but can boast of an equally magnetized audience.
Filmmakers who have played the extra-diagetic game well (stuff related to your film but not your film itself, egs. interviews, behind-the-scenes, location reccies, etc.): Gregory Bayne and Loren Feldmanwith their campaigns for JENS PULVER | DRIVEN, BLOODSWORTH: An Innocent Man, or SoMe | Tales From A Social Media Expert. In Bayne’s case, he generally likes to run his campaigns tight and risky at a maximum of 30 days, but somehow always pulls through in the clutch because his publikumloves him. Loren’s in the midst of one now, but can boast of an equally magnetized audience.
6. Don’t offer been-there-done-that conventional has-been pledge rewards:
I see this happening way too often also…filmmakers don’t invest the requisite time to think up really cutting-edge pledge perqs. Remember, it’s the great films which get distribution, not merely the “good” ones. Instead of the usual $10, 20, 50, 100, 200, 500, 1,000, 5,000 reward tranches, offering up silly premiums like “associate producer” (which is basically a monkey credit in this business), try a limited edition hardcover copy of the film script in limited quantity (say, 20), bound, embossed, and signed personally by the director, cast, and crew which has a shop value of $100. There are dozens more examples where that came from. But the idea is that you should do your research first by seeing what’s already out there, then crank it up several notches. Take another couple of weeks – a month even – to cook up excellent rewards before you release a half-baked campaign to your public, because you won’t get a second chance to make a first impression. You’ll have already shot yourself in the foot. And don’t believe me? I’ve seen it happen three times before where people thought they knew better than the market…
I see this happening way too often also…filmmakers don’t invest the requisite time to think up really cutting-edge pledge perqs. Remember, it’s the great films which get distribution, not merely the “good” ones. Instead of the usual $10, 20, 50, 100, 200, 500, 1,000, 5,000 reward tranches, offering up silly premiums like “associate producer” (which is basically a monkey credit in this business), try a limited edition hardcover copy of the film script in limited quantity (say, 20), bound, embossed, and signed personally by the director, cast, and crew which has a shop value of $100. There are dozens more examples where that came from. But the idea is that you should do your research first by seeing what’s already out there, then crank it up several notches. Take another couple of weeks – a month even – to cook up excellent rewards before you release a half-baked campaign to your public, because you won’t get a second chance to make a first impression. You’ll have already shot yourself in the foot. And don’t believe me? I’ve seen it happen three times before where people thought they knew better than the market…
7. Don’t leave comments ignored for too long:
If someone pledges and then takes the time to leave behind some kind remarks (again, Kickstarter), respond to them immediately and directly. Attempt to do more than simply “thanks for your support, Jack!” type reply. Up the ante and personalize it, okay? It will leave a superb impression and shows you’re on top of things instead of throwing your weight around, sense of entitlement-style.
If someone pledges and then takes the time to leave behind some kind remarks (again, Kickstarter), respond to them immediately and directly. Attempt to do more than simply “thanks for your support, Jack!” type reply. Up the ante and personalize it, okay? It will leave a superb impression and shows you’re on top of things instead of throwing your weight around, sense of entitlement-style.
If a crowdfunding campaign is imminent but you haven’t launched yet, why don’t you take the weekend to rethink those pledge rewards and test them out on a few people in your local community before releasing them to the world. Don’t deep-six the effort before it even begins!
Sunday, April 22, 2012
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TalentLab is back for 2012! This year, we are partnered with the Creative Skillset Film Skills Fund, University of Nottingham’s Horizon/ Mixed Reality Lab, and the Binger Filmlab. We are looking for Black, Asian and minority ethnic artists and filmmakers based in the UK, with short or long form film, digital art, or transmedia projects, to take part in a series of development labs. If you get through to the final stage, you'll get substantial development support, a development bursary, and the chance to pitch to a room-ful of invited industry experts and potential funders at BAFTA before the end of the year.
Join us at www.b3media.net/talentlab for our live online launch event, Thursday 10th May from 7-8pm. We'll tell you about the scheme during our live video, give you some more detailed insights, and interview some past B3-funded filmmakers and artists live. We will also take your questions and answer them on the spot. If you still have questions about your individual project after the session, you'll have the opportunity to touch base with us afterwards to talk one-on-one, ahead of your application. Click here for more information, to read the guidelines, FAQs, and to apply online. If you've still got questions after reading these, drop us a line at studio@b3media.net. |
Tuesday, March 20, 2012
Thursday, September 22, 2011
Moments and Jimmy Will Play Win BoBs 2011, Special Mention for Walk Tall
This is a posting from the Film London website:
Moments and Jimmy Will Play Win BoBs 2011
Moments, produced in the London Borough of Barking and Dagenham, and Jimmy Will Play, from Redbridge, have been crowned the winners of the Jury and Audience Awards respectively at this year's Best of Boroughs Film Awards.
Both film-making teams were presented with their accolades by special guest and London Borough Film Fund Challenge patron Gurinder Chadha (Bend it Like Bekham) during a ceremony held at BAFTA on Wednesday.
The efforts of film-maker Ida Akesson captured the imagination of this year's BoBs jury, formed by BAFTA-winner producer Stephen Woolley, Chris Collins from the BFI's Film Fund, film critic Fionnuala Halligan and producer of the latest Microwave feature Borrowed Time Olivier Kaempfer.
Akesson received a cash price of £2,000 for Moments, described by the jury as "a simple yet resonant concept, evocatively told and lyrically shot."
Meanwhile, Mawaan Rizwan's sweet comedy Jimmy Will Play beat the other nominees to the Audience Award, after receiving a third of the total votes. The votes were cast online by members of the public, who could watch the shortlist and vote for their favourite on the Film London website. This year, more people than ever logged on to the website to watch the nominated films, with viewing figures nearing the 13,500 mark.
Special mentions were also awarded by the Jury to Walk Tall, directed by Kate Sullivan from Waltham Forest, and to Audience Award winner Jimmy Will Play.
Also announced on the night was the overall winner of Film London in 90 Seconds, a competition that challenges film-makers to tell a story in just 90 seconds shot in their boroughs. This year, the award went to The Birdcage, directed by Jamie Jones and presented by the London Borough of Hackney.
All the nominated films were produced through Film London's London Borough Film Fund Challenge. The LBFFC is a short film-making scheme which aims to discover the next generation of film-makers in the capital, and is open to all residents of the participating boroughs. Working in partnership with local authorities, the aim of the LBFFC is to discover grassroots talent, stimulate local film-making and develop new skills, with 22 boroughs involved in the 2010/2011 round.
Read more details on the press release.
http://filmlondon.org.uk/news/2011/september/moments_and_jimmy_will_play_win_bobs_2011
Thursday, September 08, 2011
Eastern Edge Film Fund scoops up all awards at the BoBs Awards, at BAFTA last night
Film London's Best of Borough Awards 2011
"Moments" directed by Ida Akesson, winner of the Jury Prize
"Jimmy Will Play" directed by Mawaan Rizwan winner of the Audience Award & Special Mention by the Jury
"Walk Tall" directed by Kate Sullivan, winner of a Special Mention by the Jury
All the above films were Executive Produced by me - Anton Califano - and were funded by Film London's Eastern Edge Film Fund.
Congratulations to all the filmmakers and the cast and crew of each film! Thanks too to everyone who voted online in the audience award.
Sunday, July 31, 2011
Vote in the BoBs!!
Three films I have Executive Produced have been shortlisted for the BoBs (or Best of Borough) Awards 2011....
I have to say they are three great short films and all worth a watch. Please vote for one of these Eastern Edge Film Fund films to support new and emerging talent from East London. Help one of them win a £2000 prize at BAFTA in September!!
Jimmy Will Play - Redbridge
A Pakistani mother living a new life in London needs to raise money to buy her football-fanatic son, Jimmy, a pair of football boots.
Walk Tall - Waltham Forest
No sponsorship, one kidney, tuberculosis, a broken back...all set for the London Olympics...1948
Moments - Barking and Dagenham
One of those moments that may stay with you for the rest of your life
WATCH AND VOTE NOW!!! CLICK THE LINK BELOW:
http://filmlondon.org.uk/best_of_boroughs
I have to say they are three great short films and all worth a watch. Please vote for one of these Eastern Edge Film Fund films to support new and emerging talent from East London. Help one of them win a £2000 prize at BAFTA in September!!
Jimmy Will Play - Redbridge
A Pakistani mother living a new life in London needs to raise money to buy her football-fanatic son, Jimmy, a pair of football boots.
Walk Tall - Waltham Forest
No sponsorship, one kidney, tuberculosis, a broken back...all set for the London Olympics...1948
Moments - Barking and Dagenham
One of those moments that may stay with you for the rest of your life
WATCH AND VOTE NOW!!! CLICK THE LINK BELOW:
http://filmlondon.org.uk/best_of_boroughs
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