Lights, camera, action … will the next Mike Leigh please stand up!

By James Drew

Date: 13/05/04

OK, SO you've got dreams of making it big in the movies, but the daily grind of Hollywood doesn't whisper quite the same magic to you as Europe's relaxed ambience and stunning locations. Besides, EU directors have more freedom to express their unique artistic vision, right? Could the US have ever produced a Lars von Trier, Mike Leigh or Wolfgang Becker? It's doubtful.

Some directors might have had an idea for a short film, written a script, picked up a camcorder and convinced someone to fund its production.

By financing their own small projects, taking in as many one-off film seminars as they can and directing memorable films they gain experience.

Producing their own films becomes a film school in itself.

And by sending their projects to film festivals, they may get noticed.

Once one of their projects is successful - critically or commercially - they may be able to raise the money to direct a feature film or just continue making short, experimental films if that is what they desire.

They may even be able to make a living doing this.

While this approach has been known to work, it is very unreliable and takes a great deal of work and sacrifice - holding down another job while trying to make short films and the distinct absence of romance. Those weekends are for making movies!

Then, there's the film school option. Such institutions normally teach the basics of editing, camera operation, sound, lighting and scriptwriting, before allowing students to specialize.

The most important aspect of film school is the opportunity to gain experience. Most schools hold a great deal of equipment that spends most of the year (during long European holidays, for instance) not being used. The students working weekends on their own projects with school equipment and resources are the ones who will probably get work when they leave - there will never again be a chance to have access to quality equipment at no charge.

Leaving film school with a proficient show-reel, with the invaluable experience gained from its production, puts the filmmaker in question in a much stronger position when looking for work in the real (or is that reel?) world.

So, location, location, location! Where do tomorrow's visionaries win their spurs? A quick internet browse (www.afc.gov.au/downloads/pubs/faq1_0310.pdf, for instance), shows that Europe now boasts numerous institutions, with many pros and cons to be considered.

One institution frequently found on young filmmakers wish-lists is the European Film College (EFC). It is to be found on wooded hills overlooking the sea at the picturesque town of Ebeltoft, Denmark, and was founded in 1993 with the overall goal of "contributing to a vibrant film culture and a successful film industry in Europe".

The EFC provides education and training in all aspects of the audiovisual media to undergraduates and professionals, and is registered as a folkehøjskole (folk high school) under the Danish ministry of education.

Its campus includes a studio, cinemas, workshops, post-production facilities, as well as accommodation for teaching staff and students. From September to May each year, the campus is home to just over 100 students on the EFC's 8-month foundation course, which offers training in all aspects of the art and craft of film, TV and multimedia. To date, students from more than 30 different countries have been taught there.

The college opened for its first, four-month pilot course in January 1993, just three-and-a-half years after the first general assembly. The official inauguration took place in May 1993 and, in that year, the EFC launched its first summer programme of courses, workshops and seminars for film and TV professionals. The first full eight-month foundation course began in September 1993. (www.efc.dk).

And after college? Before even gaining any experience, a young filmmaker needs to have enthusiasm and be efficient in completing the most mundane tasks. Armed with these attributes and, after plenty of knocking on doors, one door may open. Unfortunately, with so few companies and so many young filmmakers looking for jobs, it really is a case of being in the right place at the right time.

TV commercials are often the first stepping stones towards becoming a fully fledged film director. They are popular because, as well as being a good vehicle for learning the trade, to experiment and develop new techniques, the work can also be career furthering and financially rewarding at the same time.

Ideally, the advertising agency will approach a suitable director for their project. The agency creatives will put forward their idea in the form of a written script and then discuss the script with the director at an early stage.

There may be some things in the script that are not possible to do from a director's point of view. This being the case, these creative problems will be negotiated between agency and director until a satisfactory answer is found.

Now the strength of the working relationship will decide how smoothly the project goes. For example, some directors are renowned for flying off the handle when their creative achievements are put into question by agency types.

Others may take a more diplomatic view and bow to the client's or agency's wishes because, after all, they are the people paying for the film.

Final word goes to UK director Mike Leigh, whose uncompromising visions of suburban life, such as Naked (1993) and Secrets and Lies (1996), have received worldwide critical and audience acclaim. As a piece of advice for director's chair wannabes, it is hard to top: "If my movie ever was not entertaining, it's a turkey as far as I'm concerned.

"My aim is to entertain, meaning, literally, what the word means. People forget what that word means. It means to make you stay here, to keep you in your seat. One of the things that drives me mad about watching films in [the UK] is that nobody can sit still for two minutes.

"The attention span is dreadful because - and I submit that this did not happen in the 'golden age' of Hollywood when they made movies that made you sit there and really watch the whole time - [the films] are boring, basically." Bear that in mind…

Article discusses how to get started in making films. European hopefuls may consider the European Film College (EFC), founded at Ebeltoft, Denmark in 1993.

http://www.efc.dk http://www.efc.dk

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