The ultimate goal of this project is to complete a film which is both creative, original and of quality.
It is proposed to enter She Moved Through The Fair into film festivals, both in the UK (for example, London or Edinburgh) and abroad (Cannes, Sundance, etc). Currently research is being undertaken to assess the most appropriate festivals.
One possible and a favourable scenario would be that a distributor purchases the film rights to secure a wider release. There is also the option for the rights for the film as a concept to be bought. Both of these scenarios offer the possibility that the film may make a return, and could lead to further development of the project. It is our intention to make the film available digitally via our website for purchase, for streaming and download.
I would not want to suggest a return is guaranteed, which would be wrong. I would, however, wish to confirm that there is always an opportunity that a return may be achieved for sponsors, as a recognition of their contribution.
All of the cast and crew involved in this production have experience in media and the creative arts, and are passionate about creating an original and thought-provoking piece of independent cinema. This will be both a demanding and exciting process, proving that it does not require a significant budget and large studios supported by complex infrastructure to make a compelling film.
Independent cinema is more significant than ever, as technological advances have allowed filmmakers to work outside the traditional studio model. Below are just three examples of acclaimed directors whose first feature films were made on micro-budgets even before the transition to shooting in digital format; their innovation and initiative is an inspiration to us and filmmakers everywhere.
Multitalented filmmaker Kevin Smith is famous for directing cult classics including Clerks, Chasing Amy and Dogma, as well as inventing the characters Jay and Silent Bob. When he was 23 years old, Smith filmed Clerks at the store where he worked, shooting outside of its opening hours, on a budget of $27,575. He used several friends and family as extras to pad out the cast. Debuting at the 1994 Sundance Film Festival, it joint-won the Filmmakers Trophy, as well as winning two awards at Cannes. After the film was taken up by Miramax Pictures, it went on to gross $3 million in the USA, launching Smith’s career. Regularly appearing on numerous lists of great films, Clerks was named the 4th greatest independent film of all time in 2006 by the famous Empire magazine.
Photo Credit: Luigi Novi
Oscar-nominated director David Lynch is world-famous for films such as The Elephant Man, Dune and Blue Velvet, and TV shows like Twin Peaks. He made his first film, the infamous Eraserhead, on a budget of around $10,000. Production suffered from money shortages and issues with the AFI – whose campus he was using as a location – but Lynch refused to give up, spending years on the project and filming whenever he had enough money. Initially reception was lukewarm; however, after several extensive runs as a ‘midnight movie’ in select cinemas, it soon became a cult hit. In 2004, Eraserhead was preserved in the US Library of Congress as a “culturally, historically or aesthetically significant” film.
Director, producer, writer and composer Robert Rodriguez is best known for films such as Sin City, the Spy Kids franchise (including composing the soundtracks and editing the films) and Once Upon A Time In Mexico. He shot his first feature-length movie El Mariachi on a budget of just $7000, aged 23 at the time. Rodriguez was famously cost-efficient, improvising much technical equipment (such as a wheelchair for a dolly!) and using a single camera. To save money he kept in bloopers and rarely shot multiple takes. Despite being a Spanish language film with an amateur cast, Columbia Pictures bought the American distribution rights, starting Rodriguez’s Hollywood career. In 2011 El Mariachi was also added to the Library of Congress due to its significance as a landmark in independent filmmaking.