Tag Archives: independent film

Independent film Third Contact Tours after making cinema history at BFI IMAX

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Third Contact is the debut feature film from Director Simon Horrocks and his company, BodyDouble Films. After a successful premiere at the renowned BFI IMAX, the independent film will make its way around the UK, Europe, America and Canada over the next four months. Screenings are being funded by Indiegogo and Tugg using a unique ‘cinema on demand’ approach.

Third-Contact-film

The story follows Dr David Wright, a depressed psychotherapist, who embarks on an obsessive investigation after a second patient takes their life in mysterious circumstances.

Shot using only a handheld camcorder, a microphone and a light, the overall budget for the film came to an astonishingly low £4000. The film has been praised for its exceptional camera work in addition to its seamless use of colours, themes and sounds throughout. The actors have been credited on numerous occasions for their performances whilst the script has been commended on its intelligence.

The writer and director, Simon Horrocks, who also took care of filming, casting, production and editing, had raised the money to put the film together by working in a cinema. Later down the line, Horrocks would be making cinema history for having a film short costing virtually nothing, screening in a theatre alongside films made for £200 million.

This milestone moment in Horrocks career came together by a Kickstarter campaign, which funded the premiere held at the BFI IMAX in London. The likes of MacUser Magazine and Raindance Film Festival got behind the project and made donations towards the campaign.

Once the premiere had taken place the film received rave reviews from the likes of Faust, Critics Associated, Frankenpost, Movie Sleuth and The London Film Review. Third Contact also made it to the prestigious HoF International Film Festival in Germany.

Third Contact will be screening in various locations in the UK, Europe, Canada and America over the forthcoming few months.

We will have an interview with the director, Simon, soon.

Sex Talk With Phoenix James – Love Freely But Pay For Sex – part 2

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What happens when the government opts to tax sex? ‘Love Freely But Pay For Sex’ follows a group of rogue filmmakers as they attempt to discover how the controversial legislation affects Londoners.

If you’re unaware of the government policy, watch ‘Love Freely But Pay For Sex’ at www.PayforSexPolicy.com, and if you haven’t already done so, read the first part of this article here Phoenix James in Frost before continuing.

For those who have, the credits reveal the government policy, the rogue film production company and the film itself is a concept created entirely by Hackney-based Phoenix James.

The multi-talented James is recognised as an actor, poet and spoken-word recording artist, but ‘Love Freely But Pay For Sex’ is his first foray behind the camera. Not someone to do things by halves, James wrote, cast, produced, directed, edited and sound-recorded the entire film.

“I had written down the concept in a series of bullet points back in 2007, and after having filed it away for some years, I came across it again in 2011,” says James.

“I began to see what I’d written as more of a visual concept and then started to develop those points into dialogue segments. This later became a film script and from that point on, I was driven to make the film.

“Shooting began in April 2012 and by the end of July, I had everything I needed. Working on some other film-related projects gave me some time away from ‘Love Freely’ and I was able to return for the post-production process with fresh eyes and fresh ears. It also helped me to focus it all in my mind and allowed me to remain true to what I initially intended the finished product to be.

“I chose the documentary angle for the film because I wanted to create and display a type of lingering realism that I felt would only come from shooting and presenting it as a real-life, documentary-style film. All of the actors I cast did an amazing job. They each took the dialogue and made it their own.

“I had a call from one local newspaper asking where my statistic quoting 89% of people in Great Britain pay for sex came from because they couldn’t find any information on it. That may be a reflection on the state of journalism in the UK, but I’d say it’s a good measure of how effective the documentary angle has been.

“The reception I’ve received so far has gone beyond anything that I anticipated or had hoped for. When you’re creating, you have an idea of how you feel that creation might be received or how you might want it to be received, but you never really know how it will be until it happens.

“When I set out, I initially hoped a lot of people would watch it and talk about it, but it’s gone beyond that. I knew what I was making was important and would have an effect, but I’m only just beginning to realise just how much.

“Making a film on such a major scale has been a huge learning curve. I was working from scratch for almost the entire filmmaking process. But I definitely felt energized and excited throughout. Any moments where I may have felt slightly overwhelmed just added to my determination to complete something I knew would not only be groundbreaking, but a great achievement for me as well as for everyone involved.

“I think what I’ve learned overall during the making of the film is that we can all truly do anything we put our minds towards achieving. I’m very excited about exploring different avenues, new ground and uncharted waters, discovering new ways of working and writing and filming – and expanding upon what I’ve already learned in creating this film.

“I’ve been infected with the joy of filmmaking,” smiles James. “Love Freely But Pay For Sex’ is the template by which I can judge my future film projects and growth. There’s certainly lots more to come.”

Government: “Love Freely But Pay For Sex” – part 1

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Fifty years ago, almost to the day, a series of events began that eventually helped to topple the Harold Macmillan Conservative government.

In what became known as the Profumo Affair, the then Secretary of State for War, John Profumo, stepped down after deceiving Parliament about his relationship with Christine Keeler.

The affair with 19-year-old Keeler, who was also in a relationship with Yevgeny Ivanov, a naval attaché at the Soviet Embassy, strained the government to its limits at the height of the Cold War.

Half a century later, another potential sex scandal is poised to prove another headache for today’s Tory leaders as Hackney-based filmmaker, Phoenix James, focuses on the government’s pending and divisive Pay for Sex policy.Love freely but PAY for SEX - IMDb

Produced by James, ‘Love Freely But Pay For Sex’ follows the efforts of a handful of untrained – but enthusiastic and vocal – amateur journalists and presenters as they roam across London canvassing public opinion, and pursuing media personalities and members of authority.

By pulling together the efforts of the rogue independent film and TV production group, James has found himself at the forefront of a lively and controversial debate.

In its simplest terms, the Pay for Sex policy will make paying for sex a legal requirement for unmarried men and women, one that requires couples to register.

Despite previous coalition climbdowns on pasty, caravan and charity taxes – in a world where sex is already a global money-making industry, the government see it as a natural progression, and a practical tax in line with those already on pleasures such as smoking and drinking.

And as well as a much-needed boost to the British economy, by encouraging couples to marry – and so become exempt – ministers hope to see a return to traditional conservative, family values.

Understandably, the battle lines in ‘Love Freely But Pay For Sex’ are frequently drawn on social and age lines. Two young men are resentful and challenging, older couples are philosophical, but worried about making ends meet, while others see it as a logical step forward.

“The planet runs on sex and money,” says writer and performance poet, Phenzwaan. “It’s the perfect match.”

Whether the policy is enforceable is debatable, but the government is clearly hoping the majority of people will register for the Pay for Sex policy to avoid possible prosecution – and as a safeguard.

While the production company failed to get to the bottom of what happens if a lover is unsatisfied and refuses to pay, a registered person is likely to have some legal grounds for complaint, while unregistered lovers could find themselves in court.

The talking heads and interviewees in ‘Love Freely But Pay For Sex’ are wide-ranging and frequently producing support in unlikely places. Surprisingly, James’ film reveals escort agencies are welcoming the policy, believing that business will boom as men and women opt to pay for a regulated and expert lover.

Gay men and women also see it as a triumph. As the team catch up with street celebrations following the legalisation of gay marriage, becoming both liable for, and exempt from, Pay for Sex is seen as equality for the gay community with heterosexual couples.

Given the far-reaching consequences of the subject matter, it’s perhaps unsurprising that the hour-long production only scratches the surface. The production team admit that their collective aim in making and showcasing the film is to create awareness among those unaware and stimulate further dialogue among those who are. Their work to uncover, document and highlight more information about the Pay for Sex Policy is, they say, ongoing.

To find out more about the government’s Pay for Sex Policy and to see ‘Love Freely But Pay for Sex’ go to www.PayforSexPolicy.com

 

Look out for part 2 of this article soon! – Phoenix James on ‘Love Freely But Pay For Sex’.

 

New Film From The Makers of Prose & Con

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Filmmakers Catherine Balavage and Steve McAleavy.

The filmmakers behind Prose & Cons, a black comedy about poetry, alcoholism and plagiarism, have started an ambitious new project: The Descending of Fate.

The script is written by Catherine Balavage who also co-wrote Prose & Cons. It will be produced, directed and edited by Catherine and filmmaking partner Steve McAleavy.

The film is about a 10-year-old boy who kills his best friend. Was it an accident? Can people be rehabilitated? Can forgiveness every be given, to yourself and others? And is it right that someone should be blamed for the worst thing they have done for the rest of their life?

A dark drama about criminal responsibility and healing. Will life ever be the same again?

[disclaimer: Catherine Balavage writes for this magazine]

The five things filmmakers can learn from Kickstarter by Andrew Harmer

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The five things filmmakers can learn from Kickstarter (and visa-versa The five things Kickstarter creators can learn from filmmakers). By a filmmaker in the middle of a campaign!

 

Hello, I’m Andrew Harmer, the writer-director of the Fitzroy. Right up front I want to say we are currently slap bang in the thick end of a Kickstarter campaign.

 

Here’s the elevator pitch for the film.

 

The Fitzroy is a live action black comedy set in an alternative post-apocalyptic 1950’s. The world is covered in a poisons gas and the last place for a traditional seaside holiday is The Fitzroy hotel an abandoned submarine just of Margate.

 

This list isn’t necessarily the five things we have done, but it is the five things we would do (or be prepared for) if we started over again! Kickstarter, like film making is a constant learning curve and this list might well change by the end of the campaign.

 

  1. Tell the most interesting story.

You only really get one shot at a Kickstarter campaign or making a film. Sure you might do another one or another dozen but then a bus might also hit you! So you better make this one count and make it the best it can be.

 

And that means telling the best story you can.

 

A film has to be the very best ‘version’ of that story you can possibly tell. The most interesting, dramatic and honed story possible.  Nobody want’s the B plots to be more interesting than your focus so make sure you are telling the most interesting story.

 

The same goes for a Kickstarter campaign. You need to hook people into your campaign and to do that you need a great story (as well as a great product). And I don’t just mean the story you are selling, I mean the story behind the project. YOUR story. Your struggles, the adventure you have been on to get to this point. Is your idea based on a life altering brush with death? Did you witness a moment of kindness between an old man and his wife on the buss while riding the bus to work? It doesn’t matter what it is, just make sure it’s interesting and told the best way possible.

 

2) Be yourself.

Let your personality shine. I like films where I can ‘see’ the personalities of the filmmakers. I don’t always like those personalities, but I would much prefer to see an idiosyncratic film than a pixel pushing blockbuster with no heart. I truly believe a soul of a film comes from the people who make it. While it is being made it absorbs the personality and characteristics of the director (if they want it to). And I want to see that. Film is a personnel experience a conversation between the viewer and the director.

 

Same goes for Kickstarter, but to an even larger degree. The old adage ‘people invest in people’ is true. You have to put yourself out there. It’s scary but you have to share your passion, fears and hopes. Sure you might end up looking like a fool but if you don’t put yourself out there people will just turn off. But word of warning – don’t try to be something you’re not. If you’re funny be funny but if you are not don’t even try. Cool and hip? That’s fine but if you aren’t don’t force it. People can smell it, and it stinks. No bullshit. Just be yourself and people will engage with you.

 

3) Do it quick.

Okay this is straightforward. Kickstarter is on the web so you don’t have long to tell your story. Minutes, if you are lucky but seconds in reality. So you better make your page accessible, clear and your pitch video SHORT and to the point.

 

Same goes for the film (unless you’re Terrence Malick) edit, edit, edit. Cut the fat and edit that script so it’s tighter than a drum. All through the film and into post production, if it doesn’t move the story on then it goes. Don’t waste people’s time.

 

Word of warning though don’t jump the gun and rush head first in to it. With both Kickstarter and films make sure you are ready, that everything is prepared. And even if you think it is –  it probably isn’t. Do it quick but make sure you are prepared.

 

  1. Know your audience and engage with them.

Kickstarter is social, very social. It is a direct link between creators and their audience and in my humble opinion a very powerful tool. But before you start a campaign you must identify the audience you are targeting. This could be fairly obvious, your family and friends, people with ipods, hardcore gamers, Teddy Ruxpin fans. Whatever your audience you need to identify them, find them and engage with them.

 

Film-makers need to do the same thing. There’s not a one size fits all film. Everyone has different tastes and yes you can try to create a film that appeals to as many people as possible and the mass market. But I prefer films that are aimed at… well… me and my tastes. There is a distinct risk when trying to appeal to everyone that you can water down a story. Be specific and know your audience.

 

  1. Take it seriously and have respect.

Both Kickstarter and filmmaking are, at the end of the day, businesses and you are asking for people’s time and money. That is not to be taken lightly. Sure you are hopefully giving back to them in the form of entertainment or in the case of Kickstarter some sort of reward. When people give you their hard earned money you have a responsibility, a contract to deliver on your promises and work your boney ass off to make sure you do.

 

If I can tell someone has put their heart and soul in to a project or a film it means a lot to me as an audience member and it pays dividends.

 

  1. Be flexible and learn to adapt.

Just like this list! It was meant to be five and we end up with six? It’s not a problem just not what I was expecting when I started writing. It took me by surprise. Your Kickstarter project is an organic beast, it is going to change and develop as the campaign progresses. It is going to throw you some curve balls, stuff you planed will fail and other avenues and opportunities will suddenly appear. You can’t let the setbacks knock you, you just have to keep moving forward and be open to any new possibilities.

 

I can’t think off anything that is more applicable than that to film making! Be flexible and make it work.

 

 

So that’s it, that’s what I have learnt so far, and who knows what is around the corner. Hopefully we can reach our target and make an awesome film. If I heed my own advice, we just might!

 

If you would like to see how we are doing on our campaign please check it out. www.thefitzroy.com/ks any advice or support in spreading the word would be warmly welcomed.