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Newsletter / Autumn 2019
NEWSLETTER / AUTUMN 2019 Welcome from our Chairman Adam O'Neill Welcome to the Autumn newsletter... Busy times at BFDG HQ with the management team, supported by the committee, working flat out on bringing you the new the bigger and better BFDG Awards 2019. Lots of work is going on behind the scenes, and members will be able to take part in the first vote from all the entries at the beginning of November. Although the BFDG Awards are an important event with the opportunity to promote and celebrate our members and their work The Guild is much more than just the Awards. There is a steady flow of new members joining us all the time, we have established links with the BECTU Art Department committee (of which I am a member) to discuss the rate card and the IR35/Schedule D liability issue, which will impact us all from April 2020, we continue to run regular events which are open to all members, there will be another Q&A coming up in November, and we are consulting with other Guilds regarding the future direction of the Joint Guild Screenings. Further afield, we are a member of ARTSCENICO and are keeping in touch regarding their recent discussions on sustainability and furthering links to the other European Guilds. Regarding the BFDG committee:- Anyone can become a member of the committee, it is open to all grades, all ages, genders, shade of hair colour, shoe size, etc. A recent point I made regarding this may have been misunderstood, so I would like to clarify: The younger committee members are the future, and are therefore very important, but I don’t want more senior members to feel they are not welcome to contribute, that would be wrong as well. -
Art Department Rate Card 2020
A r t D e p a r t m e n t Art Department Rate Card 2020 This structure is proposed as a guideline and will vary on the number of hours / days working per week, the amount of experience / time held at that position, the size of the project and where it is based. The rates do not include any allowances; the table below indicates which can apply to which grade, in regard to what is required to complete that particular job. When interviewed discuss and negotiate allowancesR one by one, and request your deal memo to be sent before you start the job. Guideline rates shown in GPB and based on a 5 day week in greater london area and include holiday pay. Ratesa have an annual increase of 2.5% from 1 st January. p i u t e Major Motion Picture / Medium Feature / q Small Feature / TV drama Type and size of production n Major International TV Medium International TV e o t r h s e e p i et r l u e a a l i i p Film Budget w 30M + 8.5M to 30M < 8.5M c b t m f e r C o o a o p TV Band c m c s s BAND 3 BAND 2 BAND 1 a From To (+) From To (+) From To (+) Supervising Art Director r £ 2,750 £ 3,500 £ 2,400 £ 2,800 £ 1,700 £ 2,200 Senior Art Director d £ 2,450 £ 2,800 £ 1,950 £ 2,600 £ 1,450 £ 1,900 Art Director 2 £ 2,000 £ 2,500 £ 1,800 £ 2,400 £ 1,200 £ 1,600 Stand-by Art Director 0 £ 1,800 £ 2,300 £ 1,600 £ 2,100 £ 1,100 £ 1,450 Assistant Art Director 2 £ 1,500 £ 2,000 £ 1,400 £ 1,900 £ 950 £ 1,200 Senior Draughtsperson / Set Designer 0 £ 1,450 £ 1,900 £ 1,250 £ 1,650 £ 1,100 £ 1,300 Draughtsperson / Set Designer £ 1,200 £ 1,600 £ 1,100 £ 1,350 £ 875 £ 1,200 -
South Africa's Official Selection for the Foreign Film Oscars 2006
Production Notes The UK Film & TV Production Company plc The Industrial Development Corporation of South Africa The National Film & Video Foundation of South Africa in association with Moviworld present A UK/South African Co-production TSOTSI Starring Presley Chweneyagae, Terry Pheto, Kenneth Nkosi, Mothusi Magano, Zenzo Ngqobe and ZOLA Written and Directed by Gavin Hood Based on the novel by Athol Fugard Co-produced by Paul Raleigh Produced by Peter Fudakowski WINNER – EDINBURGH FILM FESTIVAL 2005 THE STANDARD LIFE AUDIENCE AWARD THE MICHAEL POWELL AWARD FOR BEST BRITISH FILM South Africa’s official selection for the Foreign Film Oscars 2006 For all press inquiries please contact: Donna Daniels Public Relations 1375 Broadway, Suite 403, New York, NY 10018 Ph: 212-869-7233 Email: [email protected] and [email protected] IN TORONTO: contact Melissa or Donna c/o The Sutton Place Hotel, Hospitality Suite 606, 955 Bay Street, Toronto, on M5S 2A2 main #: 416.924.9221 fax: 416.324.5617 FOR ALL PRESS MATERIALS/INFO : www.tsotsi.com A message from the playwright and author of the novel TSOTSI ATHOL FUGARD 2 CONTENTS: LETTER FROM AUTHOR OF 'TSOTSI' THE NOVEL 2 UK AND TRADE PRESS QUOTE BANK 4 SHORT SYNOPSIS 6 LONGER SYNOPSIS 6 MAKING “TSOTSI” - BACKGROUND NOTES and QUOTES 8 THE TERM “TSOTSI” - ORIGINS AND MEANINGS 13 KWAITO MUSIC - ORIGINS 15 BIOGRAPHIES: ATHOL FUGARD - AUTHOR OF THE NOVEL “TSOTSI” 17 GAVIN HOOD - SCREENWRITER / DIRECTOR 18 PETER FUDAKOWSKI - PRODUCER 19 PAUL RALEIGH - CO-PRODUCER 20 PRESLEY CHWENEYAGAE - TSOTSI 21 ZOLA – FELA 21 TERRY PHETO - MIRIAM 21 KENNETH NKOSI - AAP 21 MOTHUSI MAGANO - BOSTON 22 ZENZO NGQOBE - BUTCHER 22 CAST, CREW AND MUSIC CREDITS 23-31 CONTACT INFO 32 3 TSOTSI “Tsotsi” literally means “thug” or “gangster” in the street language of South Africa’s townships and ghettos. -
Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television
International Specialised Skills Institute Inc Techniques and Practical Skills in Scenery, Set Dressing and Decorating for Live-Action Film and Television Julie Belle Skills Victoria/ISS Institute TAFE Fellowship Fellowship funded by Skills Victoria, Department of Innovation, Industry and Regional Development, Victorian Government ISS Institute Inc. APRIL 2010 © International Specialised Skills Institute ISS Institute Suite 101 685 Burke Road Camberwell Vic AUSTRALIA 3124 Telephone 03 9882 0055 Facsimile 03 9882 9866 Email [email protected] Web www.issinstitute.org.au Published by International Specialised Skills Institute, Melbourne. ISS Institute 101/685 Burke Road Camberwell 3124 AUSTRALIA April 2010 Also extract published on www.issinstitute.org.au © Copyright ISS Institute 2010 This publication is copyright. No part may be reproduced by any process except in accordance with the provisions of the Copyright Act 1968. Whilst this report has been accepted by ISS Institute, ISS Institute cannot provide expert peer review of the report, and except as may be required by law no responsibility can be accepted by ISS Institute for the content of the report, or omissions, typographical, print or photographic errors, or inaccuracies that may occur after publication or otherwise. ISS Institute do not accept responsibility for the consequences of any action taken or omitted to be taken by any person as a consequence of anything contained in, or omitted from, this report. Executive Summary In film and television production, the art department operates, under the leadership of the production designer or art director, to create and manipulate the overall ‘look, feel and mood’ of the production. The appearance of sets and locations transports audiences into the world of the story, and is an essential element in making a production convincing and evocative. -
Production Designer Jack Fisk to Be the Focus of a Fifteen-Film ‘See It Big!’ Retrospective
FOR IMMEDIATE RELEASE PRODUCTION DESIGNER JACK FISK TO BE THE FOCUS OF A FIFTEEN-FILM ‘SEE IT BIG!’ RETROSPECTIVE Series will include Fisk’s collaborations with Terrence Malick, Brian De Palma, Paul Thomas Anderson, and more March 11–April 1, 2016 at Museum of the Moving Image Astoria, Queens, New York, March 1, 2016—Since the early 1970s, Jack Fisk has been a secret weapon for some of America’s most celebrated auteurs, having served as production designer (and earlier, as art director) on all of Terrence Malick’s films, and with memorable collaborations with David Lynch, Paul Thomas Anderson, and Brian De Palma. Nominated for a second Academy Award for The Revenant, and with the release of Malick’s new film Knight of Cups, Museum of the Moving Image will celebrate the artistry of Jack Fisk, master of the immersive 360-degree set, with a fifteen-film retrospective. The screening series See It Big! Jack Fisk runs March 11 through April 1, 2016, and includes all of Fisk’s films with the directors mentioned above: all of Malick’s features, Lynch’s Mulholland Drive and The Straight Story, De Palma’s Carrie and Phantom of the Paradise, and Anderson’s There Will Be Blood. The Museum will also show early B- movie fantasias Messiah of Evil and Darktown Strutters, Stanley Donen’s arch- affectionate retro musical Movie Movie, and Fisk’s directorial debut, Raggedy Man (starring Sissy Spacek, Fisk’s partner since they met on the set of Badlands in 1973). Most titles will be shown in 35mm. See below for schedule and descriptions. -
Wmc Investigation: 10-Year Analysis of Gender & Oscar
WMC INVESTIGATION: 10-YEAR ANALYSIS OF GENDER & OSCAR NOMINATIONS womensmediacenter.com @womensmediacntr WOMEN’S MEDIA CENTER ABOUT THE WOMEN’S MEDIA CENTER In 2005, Jane Fonda, Robin Morgan, and Gloria Steinem founded the Women’s Media Center (WMC), a progressive, nonpartisan, nonproft organization endeav- oring to raise the visibility, viability, and decision-making power of women and girls in media and thereby ensuring that their stories get told and their voices are heard. To reach those necessary goals, we strategically use an array of interconnected channels and platforms to transform not only the media landscape but also a cul- ture in which women’s and girls’ voices, stories, experiences, and images are nei- ther suffciently amplifed nor placed on par with the voices, stories, experiences, and images of men and boys. Our strategic tools include monitoring the media; commissioning and conducting research; and undertaking other special initiatives to spotlight gender and racial bias in news coverage, entertainment flm and television, social media, and other key sectors. Our publications include the book “Unspinning the Spin: The Women’s Media Center Guide to Fair and Accurate Language”; “The Women’s Media Center’s Media Guide to Gender Neutral Coverage of Women Candidates + Politicians”; “The Women’s Media Center Media Guide to Covering Reproductive Issues”; “WMC Media Watch: The Gender Gap in Coverage of Reproductive Issues”; “Writing Rape: How U.S. Media Cover Campus Rape and Sexual Assault”; “WMC Investigation: 10-Year Review of Gender & Emmy Nominations”; and the Women’s Media Center’s annual WMC Status of Women in the U.S. -
The Production of Tv Commercials and Stills Photography in Cape Town
THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN An overview of the impacts and constraints of the commercial production sector on the Cape Town economy. Martin Cuff, August 4th 2011 Commercial Producers Association SAASP P O Box 413005 PO Box 51649 Craighall Waterfront 2024 8002 Tel: 27 11 673 6809 Tel: 27 21 447 1075 Cell: 27 82 683 0575 Cel: 27 82 403 3661 Fax: 27 86 674 8321 Fax: 27 86 656 9656 E‐mail: [email protected] E‐mail: [email protected] Web: www.Cpasa.tv Web: www.saasp.Co.za DisClaimer: This doCument was assembled from various publiCations and websites between 2005 and 2011. It is intended for general researCh purposes only. Whilst every effort was made to ensure the information herein was CorreCt at time of Compilation, we make no warranties of any kind regarding the Completeness, aCCuraCy, reliability or suitability of the information. Any relianCe you plaCe on suCh is at your own risk, and we will not be liable for any loss or damage whatsoever arising out of, or in ConneCtion with the use of this information. The following doCuments were used as referenCe materials for this doCument: • DACST Cultural Industries Growth Strategy (1998) • Department of Trade & Industry SeCtor Development Strategy for Film and Television (June 2005); • Western Cape ProvinCial Government MiCro EConomiC Development Strategy (MEDS) Report for the Film SeCtor (April 2005) • CommerCial ProduCers AssoCiation Industry Survey (2005 ‐ 2011) • South AfriCan AssoCiation of Stills ProduCers Annual Survey (2005/6, 2009‐11) • Cape Film Commission StrategiC EConomiC Analysis (2006) • Gauteng Film Commission EConomiC review (2007) • The Durban & KZN Film Industry Review (2008) • Eastern Cape Development Corporation Film SeCtor Review (2009) THE PRODUCTION OF TV COMMERCIALS AND STILLS PHOTOGRAPHY IN CAPE TOWN SUMMARY: • Stills and TV Commercials make up 57.7% of the the turnover of production in the Western Cape • The combined value of Stills & TV Commercial Production in the province is R1.53 billion. -
Erin Boyd's Resume
aka Erin Gould 5259 Tendilla Ave Erin Boyd Woodland Hills, Ca. 91364 Set Decorator (818) 231-4838 Cell Employment Position Dept. Head Date "Raising The Bar" Set Decorator Production Designer: Bruce Hill 2008 & 2009 TV. Show Producer: Jesse Bocho Season 1 & 2 "Angels and Demons" Buyer Production Designer: Alan Cameron 2008 Feature Film Set Decorator: Robert Gould "Samantha Who" Set Decorator Production Designer: Jaymes Hinkle 2007 Pilot/ First season Creator: Don Todd "Shoot 'Em up" Set Decorator Production Designer: Jaymes Hinkle 2007 Feature Film add. photography Director: Michael Davis "Beer Fest" Set Decorator Production Designer : Jaymes Hinkle 2006 Feature Film Re-shoots Director : Jay Chandrasekhar " Snakes on a Plane" Set Decorator Production Designer : Jaymes Hinkle 2006 Feature Film add. photography Director : David Ellis "Big Day" Set Decorator Production Designer : Jaymes Hinkle 2006 Pilot Director : Josh Goldsmith "Fred Claus" Set Decorator Production Designer: Bruce Hill 2006 Feature Film Add. Photography Director: David Dobkin " What Love Is" Set Decorator Production Designer : James Hinkle 2005 Feature Film Director: Mars Callahan " In the Land of Women" Set Decorator Production Designer : Bruce Hill 2005 Feature Film re-shoots Director : Jon Kasden " Bar Stars " Set Decorator Production Designer : Bruce Hill 2005 Feature Film Director : Michael Pietrzak "Poseidon" Lead Buyer Set Decorator : Robert Gould 2005 Feature Film Production Designer : William Sandell " Rebound " Lead Buyer Set Decorator : Robert Gould 2004 Feature Film Production Designer : Jaymes Hinkle "Sky High" Lead Buyer Set Decorator : Robert Gould 2004 Feature Film Production Designer : Bruce Hill " The O.C. " Lead buyer Set Decorator : Robert Gould 2003 Pilot Production Designer : Jaymes Hinkle "Cellular" Lead Buyer Set Decorator : Robert Gould 2003 Feature Film Production Designer : Jaymes Hinkle "Master and Commander" Lead Buyer Set Decorator : Robert Gould 2002 Feature Film Production Designer: William Sandell "Dr. -
Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß. -
Booklet Eraserhead
La Station Service presents Eraserhead Live soundtrack by Cercueil Eraserhead is the first David Lynch’s movie. Amazing direction of an « oniric nightmare », this cult movie is magnified by Cercueil’s hypnotic electronic music, involving drones, ambiant sound waves and labyrinthic pop. A contemplative, organic, singular and striking live soundtrack. “The words through the music, the music through the picture, Cercueil’s dreamlike orchestration reinterprets Lynch’s nightmare in a dizzying weightlessness.” Mymetro december 2012 A film by David Lynch (USA - 1977 – 89 min) Nico Devos > guitar, electronic, synthesizers Pénélope Michel > cello, sound effects, synthesizers Created in october 2012 for « Fantastic 2012 – Lille3000 ». Since 2012 the live soundtrack by Cercueil on Eraserhead movie keeps going on France and Europe in theater, music clubs and festivals like Fimé (Hyères, Fr), le Printemps des ciné-concerts (Bordeaux, Fr), Natala Festival (Colmar, Fr), Lowlands (Nl), Espoo International Film Festival (Helsinki, Fl), St Vith (Be), Wiltz (Lu), Beursschouwburg (Brussel, Be), Vip (St Nasaire, Fr)… BOOKING > Benoit Gaucher [email protected] I (33) 06 46 34 20 78 DATES AND VIDEOS > http://www.lastationservice.org http://pucemoment.org • http://www.facebook.com/eraserheadbycercueil Cercueil *CERCUEIL : pronounced “Sir coil”, means "coffin"…in french. CERCUEIL is a french trio from Lille (FR), created in 2005 and leaded by Nico Devos and Penelope Michel. The band has released its second album “EROSTRATE” on french label LE SON DU MAQUIS (distribution Harmonia Mundi in France, V2 for the Benelux, Proper for the UK), recorded at Toy Box studio in Bristol (Uk) by Alister Chant (Gravenhurst, Scout Niblett) and masterised by Bob Weston (Lcd sound system, Fuck buttons...). -
SETDECOR Online
SSEETTDDEECCOORR OOnnlliinnee www.setdecor.com 1166ttthh AAnnnnuuaall AArrtt DDiirreeccttoorrss GGuuiilldd AAwwaarrddss NNoommiinnaattiioonnss Congratulations to the entire team for each film & television show honored! The SDSA particularly acknowledges the set decorator’s contributions for these outstanding productions and invites you to read our coverage at www.setdecor.com. NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN FOR A FEATURE FILM IN 2011: PERIOD FILM THE ARTIST Production Designer: Laurence Bennett Set Decorator: ROBERT GOULD HUGO Production Designer: Dante Ferretti Set Decorator: FRANCESCA LO SCHIAVO SDSA THE HELP Production Designer: Mark Ricker Set Decorator: RENA DE ANGELO SDSA ANONYMOUS Production Designer: Sebastian Krawinkel Set Decorator: SIMON-JULIEN BOUCHERIE TINKER TAYLOR SOLDIER SPY Production Designer: Maria Djurkovic Set Decorator: TATIANA MACDONALD (more) 1 of 8 SSEETTDDEECCOORR OOnnlliinnee www.setdecor.com FANTASY FILM HARRY POTTER AND THE DEATHLY HALLOWS PART 2 Production Designer: Stuart Craig Set Decorator: STEPHENIE MCMILLAN CAPTAIN AMERICA: THE FIRST AVENGER Production Designer: Rick Heinrichs Set Decorator: JOHN BUSH THE ADVENTURES OF TINTIN: THE SECRET OF THE UNICORN Art Director: Kim Sinclair ANIMATED…NO SET DEC PIRATES OF THE CARIBBEAN: ON STRANGER TIDES Production Designer: John Myhre Set Decorator: GORDON SIM SDSA COWBOYS & ALIENS Production Designer: Scott Chambliss Set Decorator: KAREN MANTHEY SDSA CONTEMPORARY FILM THE GIRL WITH THE DRAGON TATTOO Production Designer: Donald Graham Burt Set Decorator: K.C. FOX SDSA THE DESCENDANTS Production Designer: Jane Anne Stewart Set Decorator: MATT CALLAHAN (more) 2 of 8 SSEETTDDEECCOORR OOnnlliinnee www.setdecor.com EXTREMELY LOUD & INCREDIBLY CLOSE Production Designer: K.K. Barrett Set Decorator: GEORGE DE TITTA, JR. SDSA DRIVE Production Designer: Beth Mickle Set Decorator: LISA K. -
Nominations Announced for Art Directors Guild 20
FOR IMMEDIATE RELEASE: NOMINATIONS ANNOUNCED FOR ART DIRECTORS GUILD TH 20 ANNUAL EXCELLENCE IN PRODUCTION DESIGN AWARDS Awards Celebrate “From Silver Screen to Every Screen” Jan. 31 at the Beverly Hilton There is a TIE in the Variety, Reality or Competition Series Category Resulting in Six Nominees LOS ANGELES, Jan. 5, 2016 – Nominees for the Art Directors Guild (ADG, IATSE Local 800) 20th Annual Excellence in Production Design Awards in 11 categories of Production Design for theatrical motion pictures, television, commercials and music videos were announced today by ADG Council Chair Marcia Hinds and Awards Producer Thomas Wilkins. The 20th Annual Excellence in Production Design Awards presented by DXV by American Standard, will take place on Sunday, January 31, 2016 at the Beverly Hilton Hotel with comedian Owen Benjamin serving as host. THE NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN FOR A FEATURE FILM IN 2015 ARE: 1. PERIOD FILM BRIDGE OF SPIES Production Designer: ADAM STOCKHAUSEN CRIMSON PEAK Production Designer: THOMAS E. SANDERS THE DANISH GIRL Production Designer: EVE STEWART THE REVENANT Production Designer: JACK FISK TRUMBO Production Designer: MARK RICKER 2. FANTASY FILM CINDERELLA Production Designer: DANTE FERRETTI JURASSIC WORLD Production Designer: EDWARD VERREAUX MAD MAX: FURY ROAD Production Designer: COLIN GIBSON STAR WARS: THE FORCE AWAKENS Production Designers: RICK CARTER, DARREN GILFORD TOMORROWLAND Production Designer: SCOTT CHAMBLISS 3. CONTEMPORARY FILM EX MACHINA Production Designer: MARK DIGBY JOY Production Designer: JUDY BECKER THE MARTIAN Production Designer: ARTHUR MAX SICARIO Production Designer: PATRICE VERMETTE SPECTRE Production Designer: DENNIS GASSNER THE NOMINEES FOR EXCELLENCE IN PRODUCTION DESIGN FOR TELEVISION IN 2015: 4.