EACH OF THE EIGHT PANELS DID A MORNING AND AFTERNOON SESSION
Chair: Des Murphy, secretary of Association for Media Education in Scotland, editor of the ‘Media Education Journal’
Helen Fairlie, Development Officer in Literacy at Education Scotland
Clive Gillman, DCA, Scottish Film Consortium
Rick Instrell, Association for Media Education in Scotland, Deep Learning
Graham Fitzpatrick, Creative Manager, Screen Education Edinburgh
Morning: how can we cooperate to ensure film education gives Scottish citizens their right to appreciate the cultural, creative and critical aspects of film?
Afternoon: Given the relative failure of previous film education initiatives and given the financial constraints, how do we best co-ordinate human, financial, institutional and digital resources to realise the goal of film education for all in Scotland?
Chair: Andrea Gibb
Morning: Given that a good script is the most important factor in making a film, how do we best support our screenwriters? How do we give screenwriters the best possible opportunities to develop and improve their work?
Afternoon: Only a very few screenwriters will get paid for writing at the development stage of a feature project. If we want the best scripts possible coming out of Scotland we cannot rely on people who are prepared to write a script for nothing. How can we incorporate reasonable development fees into the business models for producers in Scotland so that it becomes the norm rather than the exception to pay writers at this crucial stage?
Chair: Andrew Ormston, director of Drew Wylie
Allison Gardner, GFF and GFT
Ben Kempas, Marketing and Distribution, SDI
Robin MacPherson, Screen Academy
Victoria MacKenzie, Distrify
Rob Arthur, Thurso Cinemas, ex-Apollo and Curzon Groups
Morning: How do we engage Scottish audiences with films that are culturally relevant to Scotland? Is it important to clearly define ‘Scottish Film’ and support it preferentially?
Afternoon: Is it the responsibility of the Scottish exhibition sector to support the Scottish Film Industry?
Chairs – Eric Coulter/Don Coutts
A view of the industry from a freelancer’s point of view: rates of pay, ups and downs of freelance work:
1. An agreement that the world of the freelance technician is now the only option. The days of Staff crewing in almost every grade is gone. This includes Directors and Producers. Rates and conditions for every grade have been squeezed and squeezed and squeezed again. Many of us earning the same, or less for more than thirty years.
2. Real poverty amongst some grades. Particularly sound technicians. Older technicians often facing almost zero employment. Agreed what a great job most of us had, but the vulnerability of not working often makes older technicians leave the industry, before they reach the peak of their profession.
3. Many camera people and or Directors having to drive, direct, shoot and then hand over material to Edit Producers so often not even the satisfaction of seeing a Production through from beginning to end.
Chair: Eddie Dick
Morning panel: Gillian Berrie (Sigma), Arabella Page-Croft (Black Camel), Mike Kelly, Leslie Hills (Skyline)
Afternoon panel: John Archer (Hopscotch), Annie Griffin (Pirate Productions), Karen Smyth (La Belle Allee)
Morning and afternoon: How can Scotland build a more robust film industry and what can be learned from other countries. Hear from a group of producers who have experience of co-productions with other countries, and what Scotland can learn from them, post-referendum.
Chair - Belinda Love - Masques Casting Agency
Steve Giudici - Panalux / Black Island Studios
Tiernan Kelly - Film City Glasgow
Joanna Dewar Gibb - Artem Scotland
Morning: main discussion points
· Art vs Industry: As a business owner, do you believe that film is a cultural product?
· Scottish Film Identity: Is there a stereotypical look and feel for Scottish projects?
· Supporting New Talent: Does your company offer support for new talent and do you see this as an important method for developing the culture of film/television in Scotland?
Afternoon: main discussion points
· Buoyancy: Specifically regarding the facilities and services sector - is there enough work generated in Scotland to maintain a healthy business?
· Competition: What is competition like when pitching for incoming productions?
· Experience: Does Scotland have enough quality and experience in their facilities & services to compete in the national and international market place?
Chair: Rosie Ellison, Film Edinburgh
Panellists: Anna Rathband (National Trust for Scotland)
Gillian Urquhart (Historic Scotland)
Jenni Steele (VisitScotland)
Julie Craik (TayScreen)
Hamish Walker (Glasgow Film Office)
Morning: The added cultural value of filming on location: the bonus of developing film tourism from location filming, and the tie-in with Scottish culture and history: how can we improve what we do? How do we develop better industry links with tourism and cultural/historic organisations?
Afternoon: The value of location spend: the one true economic measure of film production is the value of spending on production. What is the economic impact of production to Scotland, how are figures collated, and how does this compare to the rest of the UK?