Posts with tag Film

Education in cinema II • Bangalore

Gunilla Bursteadt and Leif Eriksson from Film School of Directing in Göteborg are discussing film education in Bangalore with Prakash Belawadi, filmmaker, and N Vidyashankar, Suchitra Cinema & Cultural Academy. What should an education look like with the aim of educating independent filmmakers in the Indian context? How do you secure a multi-level and cross-cultural approach in education?

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The visit is part of the exchange between Karnataka, India, and Region Västra Götaland, Sweden that started in 2007.

11 december, 2009

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Pixar Animation Studios

For the movie Finding Nemo, 43.536 storyboards were presented during the three year period it took to make the film. The full movie was screened five times for an invited audience until the result was satisfying for the team. At Pixar Animation Studios they are constantly creatively challenged. The storyboarding process is all about building an idea, pitch it for the creative team, get critique and re-do it. img_6138.jpgWhen screening the films, the interaction is direct. Critique is not about being polite, but say what you think. Details are important. An idea is finished when they feel a hundred percent sure that the result is exactly what they want. Intuition is a driving force. In the book The art of Wall-E Andrew Stanton, director and writer , describes the process: ”If you challenge yourself with each artistic endeavor, always aiming beyond your comfort zone, you invariably become a student of your own work…”. On the team directors, artists, sculptors, actors, writers, designers, editors and animators work in collaboration: drawings are done by several people and a story is very much a product built with team-work.“The atmosphere at Pixar is casual. But deadly serious when it comes to quality”.

Eric Pearson, Post Production Manager, meet us in the lobby. Two things strikes you when stepping in through the doors at Pixar. The lobby is a very large open space at the center of the building. It’s planned as the meetingplace for both visitors and the employees. img_6094.jpgIt’s a place where you eat lunch, meet over a cup of coffee in the lounge sofas or just run into each other as you move around between the film theatre, the second floor, coffee and drinks, and the reception. The second thing is how quickly they put up exhibitions of the work behind the films. Wall-E, the newest film, just opened at the film theatres in US. Walking at Pixar, everything is already exposed in the exhibition: example of storyboards, sculptors, products, sketches and small stories of how the film was built.

In New York Times’ Sunday Book Review there is a review of the new book telling the story of Pixar The Pixar touch. The Making of a Company. Writer Michael Hirschorn, argues in the article, that what is striking about Pixar’s history is that the whole thing with computer animation in the beginning seemed provisional. The entrepreneurs starting it kept on working, even though no-one believed in it, driven by an intuitive feeling that this was what they wanted to do. They were, as Hirschorn puts it, “entrepreneurs seeing clarity where others saw only fog”.

Also look at New York Times’ critic A.O. Scott, where he is reviewing Pixar’s movies.img_6099.jpgimg_6110.jpgimg_6129.jpg

2 juli, 2008

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Intersection, Ninth Street Independent Film Center and Namac

Intersection Incubator started in the 70s trying to help artists with sustainability. Today it’s more formalised and is run through the incubator. 120 projects are part of the programme, which primarily consists of fundraising, business management and promoting work. Few funders give yesenia.jpgartists direct funding, for this you need to start a non-profit organisation.

But the organisational form has laws that are difficult to overview. Most of the time an individual doesn’t have a chance to keep up with changes in regulations, which makes it difficult says Yesenia Sanchez at our meeting. Intersection is the intermediary between the artist and the funder. The solution is called Fiscal Sponsorship, which in short is taking care of the money in and out, while the artist can concentrate on being an artist. The incubator has a large network of partners that the members easily can get in touch with and use for a small fee.

It can be lawyers, bookkeeping, and marketing.Related organisations could be Fractured Atlas, Springboard for the Arts, National Network of Fiscal Sponsorship (website coming), Center for Culture Innovation and Creative Capital. At Ninth Street Independent Film Center, film festivals and organisations as The National Alliance for Media Arts and Culture (Namac) are gathered in one building in central San Fransisco. The kc-price.jpgfilmer.jpgsolution was to buy the building, trying to build up the advantages of sharing resources, networking and supporting each other. The independent film sector is a large sector in San Francisco, although the field is changeing, KC Price tells us.

More and more people have their own cameras and computors, the need for spaces where this can be rented or borrowed has changed. The Do t Yourself trend has changed who is producer and customer and film makers in much larger extend work on their own. What still is a need for is meeting places.Namac is one of the organisations based in this building, a non-profit organisation with around 370 members all over USA and some in Canada with the common goal to support and work with the advocacy of independent film, video, audio and digital arts. Amanada Ault and Morgan Sully meet us in their small office. The administration is just a few people, the variety of activities that they do is amanda.jpgmorgan.jpgimpressive. Main focus is events, research, capacity building (both individual and organisational) and advocacy. Members meet mainly during the every two-year conference; on-line discussions and information is the main communication tool.

They want to, as they say, put forward ”the value of the collective intelligence of the network” and are at the moment developing a new website, which will be much more user friendly and a platform to be active from. This together with a reflective part where they do articles and studies of the field and to put forward new methods, often provocative, makes them both a practioner and service organisation.

17 juni, 2008

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Lotta Lekvall
Director of Nätverkstan, a Cultural Organisation in Sweden. Nätverkstan provides services …

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