These are troubled times. Hatred is on the rise and division seems to be the only constant in the news. Film – especially independent film – has a crucial part to play in this day and age. At the British Independent Film Awards, we honoured I, Daniel Blake, a film whose relevance and necessity is harrowing to contemplate and made with an ever-steady hand by our friend Ken Loach.
In light of the current climate, the BFI’s announcement of their investment plan for the next five years came as good news. The film business is undergoing such crucial changes that we’re now in the business of the moving image – or just images, really, and storytelling.
New funding opportunities is always good news for filmmakers, especially for independent filmmakers who are keen to tell profoundly new stories in breathtaking new ways. The fact that this is who BFI are targeting is terribly exciting.
Building the Future of British Independent Film
Expanding their funding opportunities towards diversity means that a screenwriter is already thinking about a screenplay that will highlight tomorrow’s main social issues, those that will be vital to today’s youth. Opening up funding for stories set in the UK and outside of London means that the country’s representation will be broadened in equal measure. Even more exciting is that those opportunities come not just for filmmakers, but for storytellers using images, and not just focusing on theatrical releases.
The BFI’s 2017-2022 strategy means that our story horizons will be broadened in the UK. That also means that storytellers wanting to create tomorrow’s hit content will have to work even harder to make it. The stories will have to be more gripping and challenging, the technique will have to be ceaselessly more innovative. The one certainty you can count on is that you’ll need to work harder and harder to find your audience.
Remember, there’s never been a better time to make a film, and the BFI have clearly taken that into account. You can make a film with your phone, and it could even revolutionise cinematography. Now whatever your funding and budget is, you’ll be dealing with the same question: what story are you going to tell?
What is this thing called Raindance?
raindance is all about storytelling. It’s easy to dream about being a filmmaker. But turning that dream into reality requires action. Here are some ways you can kick-start your career:
1.Why not Join Raindance?
Over a thousand videos, screenplays and tutorials. Plus you get discounts on each of our evening and weekend courses.
2. Raindance’s training courses
Let Raindance guide you through every stage of the process — idea, script, production, post-production, and distribution.
Ready to turn your film dream into reality?
Check out Raindance’s short courses here.
Check out the Raindance Degree Courses here
If you’ve been waiting for a sign to start your filmmaking journey, this is it. Enrol in a course, join a community, and watch your dream unfold, frame by frame.
Your future film career is waiting.
Photo Credit: Bertie Watson
I founded Raindance Film Festival in 1993 because the British film industry was closed, polite, and congratulating itself while shutting new filmmakers out.
I co-founded the British Independent Film Awards in 1998 because British indie film deserved more than a shrug, a pat on the head, and a Tuesday night screening.
Raindance didn’t start as a brand. It started as a rebellion: film training without gatekeepers, a festival without permission, and a community built by filmmakers who weren’t waiting to be invited in.
Later, we took it global: Toronto, Vancouver, New York, LA, Berlin, and Brussels, because independent film doesn’t belong to one city, one class, or one accent.
I’ve produced 700+ short films and seven features, including Deadly Virtues (2014) and ALICE, which won the SXSW Grand Jury Prize (2019) not because someone “discovered” us, but because the work earned its place.
I’ve written three books used by filmmakers worldwide because too many courses taught compliance instead of survival.
In 2009, I was awarded a PhD for services to film education, ironic, given that most of my career has been about tearing down the rules that education insisted you follow.
I don’t believe in waiting for permission.I believe in making work, building systems, and forcing the industry to catch up.
Specialties: Independent Film (the real kind) · Producing · Writing · Film Education · Festivals · Breaking Broken Systems
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