This summer Lesbian Bed Death was selected for the Film Independent Episodic Lab, a transformative five-week immersion into the world of TV development out in LA. It was an incredible experience, both for our pilot script and for our own professional development as writers. Film Independent gave it a fantastic write up HERE.
Breaking Through The Lens 2019 - Applications Open! /
Breaking Through The Lens is a pitching initiative helping connect female-identifying directors to top tier film investors. The program is focused on practical actions and is a direct response to what the organisers, themselves female filmmakers, have encountered as barriers to their progress - access to finance.
The programme launched in Cannes 2018, and we are now accepting entries for our 2019 series. The 10 successful applicants will get the chance to pitch with their team at our event at the Cannes Film Festival 2019 - a guestlist-only event where the audience is limited strictly to people in film finance who are looking to fund female-led projects. All participants will then be connected via e-mail to funders that have shown interest in their project, and every effort will be taken to help them close the deal.
Beyond that, participants will also become part of the Breaking Through The Lens network. Throughout 2019 we are hoping to grow this support, with quarterly events focused on aiding specific stages of pre-production. These will be decided after the final group has been selected, depending on their needs.
You can find out more about the programme and application on BREAKINGTHROUGHTHELENS.COM
This project is open to female-identifying directors with a feature film project in late-stage development.
There is no restriction in terms of genre, but the project must have:
1. A strong, finished script in the case of narrative (or detailed beat sheet in the case of documentaries).
2. A producer with feature film experience attached.
3. Strong visual treatment, which includes a Director’s Statement and artistic references.
4. A full budget and finance plan ready should you be selected.
We will consider favourable projects that have:
5. Key crew and/or cast attached.
6. Initial finance raised.
This is about finding films with strong artist merit, that are in a position to receive finance and go into production within the next 12 months. We invite films that have already participated in or applied to the programme to submit again at a later date, as long as their project has moved forward significantly.
Submission Deadline: 18th March, 2019
Shortlist Notification: 1st April, 2019
Final Notification: No later than 15th April, 2019
Unfortunately at this time we are not able to give feedback on individual applications.
We hope to see you in Cannes!
Lesbian Bed Death Nominated For New Voices Award /
My original pilot script, ‘Lesbian Bed Death’ has just been nominated for the Edinburgh International Television Festival New Voices Award.
Lesbian Bed Death is a 30 minute comedy pilot. In it Ella, a young lesbian, living in a rat infested flatshare with her queer flatmates, challenges her preconceptions about what a lesbian relationship can be, by exploring the outer limits of queer sex and dating. In the process her and her gang of misfits gain a deeper understanding of their identities and themselves.
The Edinburgh International Television Festival New Voices Award are a “recognition of undiscovered creatives and the companies who do the most to support them.” You can find out more HERE.
Lesbian Bed Death is a collaboration between myself and standup Leyah Titford, and was an absolute joy to write. It’s an unproduced project and I’m hoping recent developments will give us the chance to go on more adventures with these characters.
Full English Wins Best Screenplay At The Liftoff Season Awards /
Last week Full English won at the annual Lift Off Awards in Pinewood!
Liftoff has festivals in 11 countries, and the Season awards marks their annual recognition of the best films across them all, taking into account audience scoring and a panel of expert judges. The film was nominated in two categories, Caroline Wildi for Best Actress and myself for Best Screenplay. I was honoured by the nomination and even more delighted to win. The film was a labour of love, made on a very small budget, and it is wonderful to see it find such an enthusiastic audience.
You can find out more about Liftoff HERE.
And see the trailer for Full English below:
Seek Films Win Trinity Challenge /
We’re delighted to announce that Seek Films have won the Trinity Challenge with ‘Breakthrough’. Held by Director’s UK and Arri, the competition looks for short film concepts to be filmed in a single continuous take.
We submitted with a concept based on the classic feminist text The Yellow Wallpaper - with the action transposed to the modern entertainment industry. Karina Jakubowicz will write the screenplay, and I will be co-directing the film with my business partner Daphne Schmon - making by directorial debut!
Me and Daphne have experimented with long takes before, and have been developing an idea based on The Yellow Wallpaper for some time. When we heard about the competition we knew it was the perfect fit. The claustrophobia and unnerving psychology of the piece calls for long takes, forcing us into our protagonist’s unreliable perspective. The film will incorporate surreal time jumps, animation and practical special effects.
It’s an ambitious project and we’re delighted to have the support of Director’s UK and Arri, who will be providing equipment. The entire film will be shot on the Arri Trinity, a unique new steadycam rig that allows for an unprecedented range of motion.
Filming will take place on the 12th December, for a mid-January premiere.
Breaking Through The Lens - 2018 /
This week new pitching initiative ‘Breaking Through The Lens’ was born at the Cannes Film Festival, catching the attention of top film financiers and the worlds press.
In the last year there has been a seismic shift in the industry in terms of the treatment of women in front of and behind the camera. But talk is meaningless if it isn’t backed up by action. This year there are just three films by female directors in the festival. this is a pattern seen not just at Cannes, but one reflected in cinemas and festivals around the world. Despite what some would have you believe, this isn’t due to lack of female interest or talent – the almost gender parity coming out of film schools prove this. Women are not being connected with the opportunities to complete these prestigious features. It’s a widespread, often unconscious, process of exclusion at ever y level but it begins, most powerfully, with funding. Female filmmakers will never shine at these festivals if they aren’t given the funding to make their vision a reality - if they keep being judged as ‘high-risk’ financially simply because of their gender. This is a moment of change and it is our responsibility to harness the momentum and turn our words into real change.
The first event was a huge success, showing a real appetite for these kind of film projects in the industry. Breaking Through The Lens will be returning to the festival in 2019, with an even more ambitious scope.
READ ME: Why You Should Watch Eurovision In 2017 /
As a lover of all things camp, I finally fulfilled my journalistic destiny, adding my voice to the cannon of pieces on why Eurovision is great. Includes references to Policy Wonks, Electroswing and the Treaty of Versailles. Read it at LOVE Magazine HERE.
