But it all went really smoothly – no illnesses, no problems. For me, this sudden shutdown brings up issues both around future earnings and money already earned but not yet paid. It was striking that Universal announced they were moving to stream new releases, having fought for years to keep that theatrical window open. That said, Covid has accelerated a process of personal disillusionment that started a long time ago. But the local supermarket won’t allow me to enter during the time slot dedicated to elderly and vulnerable people unless he comes too. I live in LA and I’m a treatment writer for films, TV shows and commercials. What was panic a few months ago is now relief as at least I have some money coming in and I’m not competing for the jobs that are out there. Then when the government advised people to socially isolate, our income dipped 90% day-on-day.

Finally: I’ve had ambitions of “making it” in film/TV for a long time. Please continue to respect all commenters and create constructive debates. Now all productions are on hold or cancelled. This film is crucial to our comprehension of what our future will look like.”, He added: “We are able to watch first hand how the landscape of our lives changes.”. My fear is this will be a devastating blow for a sector already under a lot of stress. I feel like I’m drunk all the time. We’ve already dodged lots of bullets and refocused.

These are extraordinary circumstances, and there’s a real role for film in cheering people up now, so I’m happy for any joy we can give. How he feels in October:After the documentary I had been working on before lockdown was called off, I started developing a bunch of projects at home with big production companies – though not about coronavirus this time.

Sixteen Films is only a small company, and we make one film a year, if we’re lucky. I was able to work at home in Bristol on this fantastic computer system, while the editor was in Surrey. Mad man or mad genius? It’s a frustrating time to be involved in a film that is designed and then sold as a theatrical proposition, territory by territory – with all of them following America. I have 14 weeks left until my due date. It’s an eight-day shoot starting at the beginning of November, and while Covid does make it even more difficult, I am delighted to be just working on something. Plus, it would be a devastating financial blow for the BFI, a charity. They could have still had very good numbers.

Or the more urgent political ideas reflecting, say, Black Lives Matter. There’s a lot of joy there, as well as a lot of darkness and misery and people suffering from Covid economically and physically. Tammy ‘TS’ Botkin, writer/director of Legacy of the Fighting Filipinos. It’s very seasonal work – and it seemed like the season that our work is the busiest also happened to be Covid season.

I didn’t expect revolution, but perhaps a kinder, more considered approach to work, to what we’re putting out into the world. I still think people want escapism; films that are feelgood. Our premiere was last Monday; between then and Friday, it was like a runaway train – one that ended with us colliding head-on with coronavirus. Lots of people were reluctant to travel there because few people have shot a film in the country before; it’s all desert with a tiny Bedouin population. Nothing has become any clearer. The existing Open Comments threads will continue to exist for those who do not subscribe to Independent Premium. Should it be a priority for society? It’s also been challenging for my producing partner, Amanda, who’s deaf. All rights reserved. If they have closed their offices and no one is at accounting, they aren’t writing cheques. We will need some of that to get us through until … well, who knows how long? Create a commenting name to join the debate, There are no Independent Premium comments yet - be the first to add your thoughts, There are no comments yet - be the first to add your thoughts. It has rattled me a lot but because I’ve suffered from clinical depression for 20 years I’m a bit more used to dealing with it. It was great to re-engage with our supporters and we had fantastic support on social media and lots of press, and the mayor of Birmingham came and donated. In August, we launched a crowdfunder for a month and we raised more than £12,000 to help towards reopening costs.

We are down to a skeleton staff yet we are still not breaking even. My mum is an 82-year-old former ballet dancer and she was livid at the Fatima ad: “They don’t know what hard training is! Advertising fell off a cliff during the initial lockdown but seems to be coming back – if not to levels of production in 2019, then certainly to a point where I’m marginally busy. Still, across the industry, those mental health issues have been really exacerbated by the lack of financial support from the government – and their lack of recognition of the arts.

You can also choose to be emailed when someone replies to your comment. I’m very lucky. I doubt if anyone will want to make things about a pandemic, we are living in it and it is too close. Luckily for me I went straight from Misbehaviour to The Third Day, which is on now.

Our usual audience number on a Sunday is 1,000 – last Sunday it was 178. We finished the finale of The Third Day two weeks ago. If our sector perishes, so will the seed bed of all those skills and the main source of homegrown talent and stories. But then the next day another Q&A was sold out – although the cinema had capped the number of people so that everyone could sit separately. The irony is, we can’t even be part of the production. As I am self-employed I have to have worked 26 weeks to qualify for statutory maternity pay; I am currently two weeks short for this. I hope the government comes up with some clear support for these people quickly to allay their fears. They are concerned that outsiders will bring the illness in. Over one hour, everything was cancelled. We’ve had all the recent Bonds on release and had a really good bread and butter income from them. Film about coronavirus pandemic developed by Oscar-winning director. Right now my aim is just to get through each day. But this is really serious.

Jesus Garces Lambert, Mexican director working in Rome, who made a video diary about the pandemic with other ex-pats, I was working on a documentary about the virus when I had to go into quarantine’. My plea to the government would be to put some proper support into the independent sector once this is over. It’s been great over the past month or so to have new products coming through, and things like the London film festival. I’m going to try to keep the business afloat, but not at the cost of safety. It depends on what the Scottish or UK government do: we might be in lockdown any minute. We’ve just been offered some smaller grant money from the BFI, which has given me some sort of hope that they care, and we’re now waiting on the decision for more major funding from the DCMS. At least production has opened up again and shooting is possible, if tricky. My parents started this cinema in 1964, when I was two years old. I’ve been back to the cinema a few times in the past few months and it was actually really nice because every screening was practically empty. Because it’s a French-British co-production, half our crew are French, and it’s been particularly difficult for them, what with the quarantine and that they are so far away from home. We’re a restaurant too, which is currently closed, but when we rang people who had booked for Mothering Sunday, most of them said they still wanted to come. The slowdown started on the weekend – our big film was Military Wives, which would usually have our demographic queueing out of the door.

Life is happening here and now, it is short, and this is the only one there is. We were loth to let people down. And I’m getting more pessimistic because it’s just gone on so long. Our team – events, industry, hospitality and guest coordinators and the programmers who spend half of the year putting together the 200+ screenings and events – were going to be gutted. I’ve had issues getting paid for a couple of jobs begun right after the restart in June, but if I emerge from this experience having gone unpaid but once or twice, I’ll consider it a remarkable escape. The rent is delayed but we still have to pay it – so we get more in debt each week. Your toes can fall off!”. I didn’t understand a word of Tenet, but there was something extra exciting about it because it was on the big screen. In May, we got some funding from the BFI, part of the resilience fund, which helped cover costs to bring me off furlough so I could look for other fundraising and keep some sort of communication strategy going. We were unable to film our last two planned shoots, one in the US and one in the Philippines. We’ve had people in tears on the phone, worried we might never reopen. Now I am sitting reading film scripts, thinking, how on earth will these get made? But who knows? The allowance takes me to March [2021]. I have no work and I’m owed payment on 12 jobs’. But everyone who loves cinema wants good news stories, and LFF really has been one. What’s interesting is that the BBC has kicked into becoming a backbone, with things like their exercise regimes for older people and home school resources. I lined up work to take us through until August and by last Friday I was down to the last £100 in my account. Just as things seemed to be getting back to normal, everything reversed. Yet this is where people learn their craft before they bugger off to the big boys.

My partner can’t risk going outside because of his health. It feels like a lifetime’s work is in danger of being lost. But I am confident – even though we don’t know when this is going to end. Our core business is our two screens, but we facilitate events like national conferences and vegan fairs, and host local health and wellbeing groups, including a singing group for lung health, a deaf group and a carers’ group. But as an industry we cannot work from home. The credit card companies have been good and put a freeze on everything, so our outgoings were not so bad, but the rent was inflexible.

Our journalists will try to respond by joining the threads when they can to create a true meeting of independent Premium. I’m in the Scottish highlands where we’re just about to go into production on a remake of a French thriller called My Son, which is being directed by Christian Carion. My head started spinning. We also lost touch with others we were hoping to speak to. I reckon we’ll be shut for three months at least. Still, we will not go quietly. But we’ve worked really hard: keeping everything clean, one-way systems, all that. Mr Almeda decided, for some reason, to show up as a disembodied head that was inverted on screen. We took a look at what we had and decided we owed it to our elderly veterans to finish telling this story as soon as possible. I am an optimist. If they’ve just seen future earnings dry up, I don’t imagine many of them will be keen to send me (and others) money, even though it is for work I’ve already done. But there’s enough content out there for us to be able to cobble a programme together. I think it was a real opportunity to get people to go back. Has A Clockwork Orange finally been rehabilitated? These last six months, a number of people in my work life have opened up about their deeper beliefs and ideals in a way that’s made me feel a part of a hopeful and positive discussion. It was amazing to reinvent how you work. Or is a new narrative beginning to emerge? Freelance film-makers cannot access the stopgap provided by unemployment benefits or the emergency funds provided by unions.

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