Page 7 - 21_Bafta ACADEMY_Alistair McGowan_ok

Of course, the proof will be in the pudding but I believe that Film London can play a vital co- ordination, promotion and sup- port role for the film industry and film culture in London. We have not been set up to duplicate other activities or compete with other film bodies.
Our role is to add value and to develop partnerships that are really meaningful. For example, I don’t think anyone could deny that, despite the best efforts to date of the London Film Commission, shoot- ing in the capital is neither easy nor practical for many film productions.
Considering the fact that the overwhelming majority of requests that come in from international film companies to shoot in the UK are actually requests to shoot wholly or partly in London, the sit- uation as it is cannot continue.
It is, therefore, one of Film London’s key and pressing priori- ties to work with all the appropri- ate bodies to hammer out a new agreement between the local authorities and the industry that can simplify and strengthen our ability to deliver location filming across the whole of the city.
I am not saying this is a straightforward proposition and there will be a lot of negotation necessary to make it fly but I am, with our Film Commissioner, Sue Hayes and the whole Board of Film London, led by Sandy Lieberson, 100% dedicated to achieving a significant improve- ment in what is possible for film- makers shooting in London.
Aside from co-ordinating and supporting location filming, Film London is also determined to work across the city, encouraging the development of new film- making talent.
There is much work to be done to establish exactly where we can most significantly con- tribute, something that Gill Henderson, our Industry & Cultural Development Executive, will be focusing on. There is no doubt in my mind that, by work- ing at a grass roots level, particu- larly in communities that have not had the opportunity to get the most basic experience of media production, Film London can potentially foster really excit- ing new projects.
With any projects that we develop, with a range of part- ners, our intention will be to try and integrate production and training opportunities with exhibi- tion and education initiatives, so that we are not simply focusing on one aspect of the industry to the exclusion of all others.
Another obvious role for Film London is to provide information and advice to help film-makers and would-be entrepreneurs. We wish to deliver this in a variety of ways, not least of which will be through a digital platform, with a comprehensive database of information about all kinds of contacts, facilities and other organisations’ activities that would be useful to people living and working in London. This is something that we hope to fast- track and launch as early as pos- sible in 2004.
There have already been numerous suggestions of particu- lar kinds of public events that Film London might support and, although it is too early to say what the full range of these might be, there are already some ideas which seem like they would be of use to the industry for Film London to co-ordinate.
Of course, Film London will be fulfilling its obligations to already existing clients for film festivals, cinema and educational events but we will also be looking for new, innovative and original ideas, hopefully encompassing new digital technologies, as part of our new strategic approach. To this end, we hope very much to be working with the Film Council on their distribution and exhibition plans, as they come to fruition.
I know that film producers and sales agents are tired of discussing the pros and cons of a London sales market and there does not seem to be any appetite for trying to back that particular horse in the current climate.
Nevertheless, it seems, at the very least, bizarre to me that the majority of other film producing countries in Europe do stage short, focused industry showcases of home grown product, (eg the Paris screenings in France; the Genoa screenings in Italy) but nothing at the moment is proper- ly staged in the UK.
This appears to be an omis- sion that Film London could help to rectify, working with a range of interested bodies, including sales agents and our colleagues in the other Regional Screen Agencies, so I do hope that this is something we can progress over the next year.
There are also a whole raft of initiatives that could be devel- oped, tying into national and international tourist visits to London. This may appear strange to some BAFTA members but I really feel that Film London’s job is to work to market and promote London’s film associations in the broadest possible sense and, of course, it ties back into our priori-
ty to help more location filming happen in London.
Again, the detail of this has to be worked through but there are a variety of inexpensive but effective actions that can be taken, working with media organisations and the tourism bodies, that can stimulate peo- ple’s perception of London and encourage them to regard it as a real centre for film-making and film culture.
Whether this be tourist trails, publicity materials or holiday packages, we will get involved if it supports our objective of mar- keting London.
I do not know whether what I have briefly outlined constitutes a vision for Film London and I am cognisant of the fact that we have a lot to do to demonstrate our worth and really add value to what goes on in the capital but, on a personal note, I think that it is a fantastic opportunity and a challenge to relish. So, as they say, watch this space.
Adrian Wootton is first chief executive of Film London, the new body charged with repre- senting and developing the film and media industry in the capital. He is currently the acting director of the British Film Institute, and before that was director of the London Film Festival (LFF), the National Film Theatre (NFT) and head of bfi Exhibition.
5