Monday, 24 June 2013

DOCFEST 2013 NETWORKING


I received a DOCFEST delegate pass from Sheffield Hallam University, it was such a pleasant experience, attended a few films with Q&A and the film festival after parties with networking.

Film networking

I’ve been talking to many film makers/ cinematographers at Shooters in the Pub and at Ed Cartledge’s Film Pool. I also attended all the DocFest film festival after parties which were really good for networking. The film industry emphasises the importance of networking and collaboration. Business cards are important because I was given them from a few people.

What I’ve learnt from the advice of film makers that I’ve met and spoken to at Docfest:
·         A common thing directors/ producers say:
“Corporate film work is where all the money is at, but it is soul stealing.”
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I briefly spoken to a film director called Giedre Zickyte from Lithuania,
Directed ‘How We Played The Revolution’ said: “Make films about things that touches you, my mother always told me: You can’t be a director, you’re a woman. It’s weird because she’s an artist.” She gave me a film ticket as well.
         




· Canadian Director Billie Mintz:
"Get out of the film industry while you can! There is no money in it.”
“I live for beauty. People will just talk to you if you are beautiful, people will just respond to you, you should start talking to people. This is how you do it.” His website: http://www.imagin8r.com/ 

·         Paul D from London, Director for music videos:
“Working in a film set with professionals must go both ways between members of the crew, especially the Director. Trust of other people’s ‘professional’ opinions/knowledge between crew members are vital, everyone knows what they are doing, specifically in their roles. Listening is important because Directors get to consider what needs doing correctly. An example would be: A gaffa working with lights, he would tell the director what can be improved, what sort of lighting options there is and how the overall film would look like. Then the director decides if it’s worth doing or not. Another example would be the runner, if he arrives on time, and does everything I tell him to and he does it, then he’s a trusted member of the crew. It also doesn’t matter if the person is not skilled enough; working with the same people in production develops a trust and bond between crew members. This is when things get better because everyone knows each other and knows each other’s capabilities.”

Disclaimer: The above quotes is what I remembered from memory.
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