Talentlab is seeking new Bame artists, writers, creative producers, and filmmakers
B3 Media's acclaimed creative development programme Talentlab is back for a fifth year and is seeking the best upcoming black and ethnic minority (Bame) artists, writers, creative producers, and filmmakers to support through the coming year. 20 candidates will see their ideas benefit from development labs starting in November, and six projects emerging from this process will be taken forward into production.
"At B3, our passion is finding, growing and showcasing creative talent with fresh stories that have yet to be told," said the organisation's director, Marc Boothe. "We focus on developing creative leaders from diverse communities who have something to say whether it's by way of short, feature, or transmedia art forms. It's exciting to find and ignite talented storytellers who will blaze the trail for years to come."
Bame people are significantly underrepresented in film and television,...
B3 Media's acclaimed creative development programme Talentlab is back for a fifth year and is seeking the best upcoming black and ethnic minority (Bame) artists, writers, creative producers, and filmmakers to support through the coming year. 20 candidates will see their ideas benefit from development labs starting in November, and six projects emerging from this process will be taken forward into production.
"At B3, our passion is finding, growing and showcasing creative talent with fresh stories that have yet to be told," said the organisation's director, Marc Boothe. "We focus on developing creative leaders from diverse communities who have something to say whether it's by way of short, feature, or transmedia art forms. It's exciting to find and ignite talented storytellers who will blaze the trail for years to come."
Bame people are significantly underrepresented in film and television,...
- 9/15/2017
- by Jennie Kermode
- eyeforfilm.co.uk
Here’s your daily dose of an indie film, web series, TV pilot, what-have-you in progress — at the end of the week, you’ll have the chance to vote for your favorite.
In the meantime: Is this a project you’d want to see? Tell us in the comments.
Kotchebi
Logline: “Kotchebi” is about a friendship between a mysterious young girl and a bereaved old man. On the surface they have nothing in common apart from inhabiting different sides of a semi-detached house on a very ordinary suburban street.
Elevator Pitch:
“Kotchebi” translates as “wandering swallow” – North Korean slang for the orphans who roam the streets searching for food.
The film follows an unlikely friendship between a mysterious young girl and a bereaved old man. On the surface, they have nothing in common, other than living on opposite sides of the same semi-detached house.
Mi Young is a North Korean refugee who doesn’t speak,...
In the meantime: Is this a project you’d want to see? Tell us in the comments.
Kotchebi
Logline: “Kotchebi” is about a friendship between a mysterious young girl and a bereaved old man. On the surface they have nothing in common apart from inhabiting different sides of a semi-detached house on a very ordinary suburban street.
Elevator Pitch:
“Kotchebi” translates as “wandering swallow” – North Korean slang for the orphans who roam the streets searching for food.
The film follows an unlikely friendship between a mysterious young girl and a bereaved old man. On the surface, they have nothing in common, other than living on opposite sides of the same semi-detached house.
Mi Young is a North Korean refugee who doesn’t speak,...
- 8/4/2016
- by Steve Greene
- Indiewire
Everyone’s going to Adelaide this week, to be at the country’s most risk-taking festival. Encore spoke with festival director Katrina Sedgwick and associate director Adele Hann about the secrets behind its success.
The first point of differenceis the festival’s Investment Fund, which has delivered some of Australia’s most acclaimed films of recent times, including 2009’s Samson & Delilah. The pressure to continue this high level of performance from its slate hasn’t seen the funded projects become safe, predictable choices. It’s been quite the opposite.
“The Investment Fund has meant that Australian cinema is put to the forefront. Over time the success of the slate has generated anticipation; it’s become the element of the program that people really look forward to, the one that sells out first and excites the industry. One of the great things festival director Katrina Sedgwick does with that money is...
The first point of differenceis the festival’s Investment Fund, which has delivered some of Australia’s most acclaimed films of recent times, including 2009’s Samson & Delilah. The pressure to continue this high level of performance from its slate hasn’t seen the funded projects become safe, predictable choices. It’s been quite the opposite.
“The Investment Fund has meant that Australian cinema is put to the forefront. Over time the success of the slate has generated anticipation; it’s become the element of the program that people really look forward to, the one that sells out first and excites the industry. One of the great things festival director Katrina Sedgwick does with that money is...
- 2/22/2011
- by Miguel Gonzalez
- Encore Magazine
- Lots of glossy business cards will be exchanged during the 4th edition of International Financing Forum (Iff) (which takes place during Tiff). In what I imagine is like a speed dating between producers looking for coin and those looking to finance the next hot film project. There are a slew of names/projects from established filmmakers (Hany Abu-Assad, Terrence Davies and Kevin Macdonald) and some first-time directors among the 43 listed below that have caught over attention. Hany Abu-Assad is taking on what I imagine would be a controversial biopic - attaching himself to Arafat with his Paradise Now producer, Roman Paul. Paul produced Waltz with Bashir, and the upcoming (we'll be talking about this one in 2010), Womb. I'd be surprised if Tony Grisoni took a day off in the past 24 months, he has penned a truck load of projects and would embark on his feature filmmaking debut with Kingsland.
- 9/2/2009
- IONCINEMA.com
London -- Turner Prize-winning British artist-filmmaker Steve McQueen and award-winning director of HBO's "Life Support" Nelson George are among the names backing the return on the B3 Feature Lab.
The funding program, which debuted last year, is backed by Film4, Holland's Binger Film Lab and the Skillset Film Skills Fund and aims to provide a shot in the arm to movie projects from black and ethnic minority filmmakers here.
Sixteen participants will get the opportunity to be equipped with the best practical tools to develop a full-length film project capable of attracting production finance.
The participants will develop a treatment and extended story outline under the watchful eye of B3 Media and Film4 executives.
At the conclusion of the program, four projects will be given the chance to pitch for further development towards production as part of the indie production banner B3 Media and Film4, the film arm for U.
The funding program, which debuted last year, is backed by Film4, Holland's Binger Film Lab and the Skillset Film Skills Fund and aims to provide a shot in the arm to movie projects from black and ethnic minority filmmakers here.
Sixteen participants will get the opportunity to be equipped with the best practical tools to develop a full-length film project capable of attracting production finance.
The participants will develop a treatment and extended story outline under the watchful eye of B3 Media and Film4 executives.
At the conclusion of the program, four projects will be given the chance to pitch for further development towards production as part of the indie production banner B3 Media and Film4, the film arm for U.
- 12/9/2008
- by By Stuart Kemp
- The Hollywood Reporter - Movie News
LONDON -- Diversify or die is the message facing U.K. movie producers looking to build a career in film here and abroad.
That stark reality came through loud and clear as the inaugural Film London Production Finance Market opened Monday morning in the British capital.
A heavyweight panel of U.K. producers painted a future of content provision across all platforms as the way forward for the industry to grow.
"We need to diversify to support the folly of film production," said Robert Jones, an indie producer who runs Material Entertainment, a production label jointly owned by New Line Cinema and Entertainment Film Distributors. "We (as producers) have to look at alliances and structures for the business that can be developed to bring money in alongside the movies we make."
Paul Webster, the former FilmFour chief who now runs Kudos Film and Television and recently produced David Cronenberg's "Eastern Promises", said he told his employers to expect to "break even at best for the first three years" after moving into film.
"Finding a sustainable business model for movie making is better than trying to find a hit," Webster said. "Our business model (at Kudos) was to make fees and make films and build on that success," he said.
New-media expert Marc Boothe, founder of multimedia player B3 Media, recently struck a development deal with U.K. broadcaster Channel 4 and is looking to develop a talent pool among black filmmakers.
"What is more interesting is looking at the issue of screen convergence -- from the cinema screen ... to the television screen, to handheld devices," Boothe said. "You simply can't ignore the numbers (of users) coming from Facebook and MySpace, and it's that bit I find interesting."
For his part, Andrew Eaton, producing partner of filmmaker Michael Winterbottom, has operated successfully by setting up projects in all sorts of ways, be it via presales and bankrolling equity himself or co-financing with a partner before selling the finished movie.
That stark reality came through loud and clear as the inaugural Film London Production Finance Market opened Monday morning in the British capital.
A heavyweight panel of U.K. producers painted a future of content provision across all platforms as the way forward for the industry to grow.
"We need to diversify to support the folly of film production," said Robert Jones, an indie producer who runs Material Entertainment, a production label jointly owned by New Line Cinema and Entertainment Film Distributors. "We (as producers) have to look at alliances and structures for the business that can be developed to bring money in alongside the movies we make."
Paul Webster, the former FilmFour chief who now runs Kudos Film and Television and recently produced David Cronenberg's "Eastern Promises", said he told his employers to expect to "break even at best for the first three years" after moving into film.
"Finding a sustainable business model for movie making is better than trying to find a hit," Webster said. "Our business model (at Kudos) was to make fees and make films and build on that success," he said.
New-media expert Marc Boothe, founder of multimedia player B3 Media, recently struck a development deal with U.K. broadcaster Channel 4 and is looking to develop a talent pool among black filmmakers.
"What is more interesting is looking at the issue of screen convergence -- from the cinema screen ... to the television screen, to handheld devices," Boothe said. "You simply can't ignore the numbers (of users) coming from Facebook and MySpace, and it's that bit I find interesting."
For his part, Andrew Eaton, producing partner of filmmaker Michael Winterbottom, has operated successfully by setting up projects in all sorts of ways, be it via presales and bankrolling equity himself or co-financing with a partner before selling the finished movie.
- 10/23/2007
- The Hollywood Reporter - Movie News
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