Actors Business Network- Podcast.
Actors Business Network- Podcast.
How the Independent Film scene can lead to great success with Lift-Off Global Networks Natalie Daniels
Actors, get ready to uplevel your acting career today, Direct from Pinewood studios.
Today we welcome Natalie Daniels from Lift-off Global Network. Lift-off is an innovative organisation working as a collective worldwide to present live screening events, distribution initiatives and a growing network of Indie film creatives.
In this episode we will be discussing:
- How to network and get involved in the Indie film scene.
- Why actors are missing out on an entire segment of work.
- The importance of adding value.
- The power of creation.
- Why you need to attend film festivals today.
- Exclusive chat about how to contact Indi film creatives.
- The film festivals of the elite and how to get involved.
You are now listening to the actors business network with Alaina joy for more,
Speaker 2:Hey guys,
Speaker 1:Welcome back to the actors business network podcast. This is your host Alaina joy, where we endeavor to help you navigate the acting industry. So with the latest tips and advice from the acting industry professionals from business and mindset experts. So today we welcome Natalie Daniels, the general manager of liftoff global. Now,
Speaker 3:Uh, liftoff global network is primarily a film festival and we are based in 11 cities around the world. But not only that, we have lots of showcases and labs that take place at Pinewood studios, our home. Um, but primarily our city-based festivals is where it is at. And that's where we see the most growth in the last 10 years. Yes, we're 10 years old. That's crazy. I've been with the company for five years now. And so even growing, um, from my background, which was an actor through to where I am now in the company. Um, it's crazy. I remember speaking to Elena when, um, when I first got this role and she was like, do it, do it. There's nothing to lose. So, and she's absolutely right there. Wasn't anything to lose. And now I'm essentially helping running this amazing company, which supports filmmakers, independent filmmakers, and we screened their work around the world. Amazing.
Speaker 1:Sorry, why did you decide to move from acting into the film world? What was it about that?
Speaker 3:Well, I think still is a huge passion for me and it burns inside and I don't think that will ever go away. And the reason why I took that leap in the first place was because I wasn't meeting the right people to advance my acting career. I was very much in that bubble of going to additions for tie, uh, some motion capture and also some short films, which happened to be in independent world anyway. So I thought, why not? And I saw this job role come up and I was just like, it sounded phenomenal. Literally come and work in an office. You must have a background or knowledge in film to be able to review the content that comes through for the festivals. And obviously there's a whole judging process behind the film. So I was just a small part of that team. So one, I was going to learn what films would be insulated at the film festival circuit. And two, my aim was to meet as many people as possible. And three, the job was at Pinewood studios. So in my head I was like Pinewood studios. Okay. So that's where they shoot all of the bond films. Some of that Harry Potter star Wars, there must be some sort of opportunity to meet people here. So that's what I went into and obviously five years down the line, I'm still here. Um, so something kind of misdirected along the way, but I don't regret regret any of it at all. Um, so going back to acting when saw it here, I suddenly started to see all these incredible filmmakers who I would say were roughly at the same level as I was in the acting world as they were in the film world. So we instantly connected and we could then collaborate. And that's exactly what I did and I still do. So even though now I'm the general manager of the company and I run a lot of the festivals here. There's still time to connect with filmmakers and I've been asked to audition for some feature films there, this job I've got voiceover work. Um, and I've just connected with way more filmmakers than I ever could have done as an actor.
Speaker 4:Cause you end up creating like a real relationship with them rather than it being something that's like artificial or something when you're just trying to get something from them because you know, you're helping them. They're helping you. That comes to be like really organic rather than
Speaker 3:It's exactly what you just said, that I'm helping them, but in return, they're also helping me. So if you're an actor listening in on this, what can you do to help the production? What can you do in order to help get a project up on its feet and in return? What can they do for you? Um, you've got a really cool story about that as well. Don't you? Um, I told this one on the loss on[inaudible].
Speaker 4:Yeah. For anyone that hasn't heard me say this already, I'll just, I'll make it quick. But, um, I just had a crazy day once when I was, I'm actually working my day job and I was just sort of like, ah, should I get a new agent? Should I not? And I just emailed somebody. And I just literally said, because I've got a background in Shakespeare, I know quite a lot about it. Um, like dappled here and there with a work of different directors. Um, and I said, I will help your clients with any of their Shakespeare auditions if, um, you had considered representing me. And then literally four minutes later, I got response being like, I feel let's have a conversation. So just that sense of, you know, sort of added value to them had a huge impact if they wanted to give something back. Because obviously if you're just constantly sending your CV, just being like, look at me, look at me, look at me. It's kind of why. Um, and a lot of people have said this, um, that we've had on so far, like, um, Jessica Jeffrey is, she was saying the same thing. Like if you were to contact, why, why are you contacting me? You should know the reason. Um, why, what can w what are you going to be able to do what you can be able to give? So, uh, just come up like time and time again. But, um, so the independent film circuit, like a lot of people have heard of independent films. A lot of people have, um, heard about the festival check. Things like can like be in a huge one. How is it that people get involved in independent film festival circuit, aside from things like spotlight, there must be another way of going about getting in contact with these people, attend
Speaker 3:Festivals, just buy a ticket and go, most film festivals, have a networking element to it, especially if they're actually happening and live. And in a cinema space, they will have some sort of networking drinks after party or whatever it may be. So go and watch those amazing films. I guess I liked it because honestly, if you're not really aware of the independent scene, this is the moment before those next big directors are like bought in. You see there, the huge work on the cinema screens. Um, but this is where all of those relationships kind of start and it's the film festival circuit. Um, so go and watch these amazing short films and feature films for that matter. And then if you resonate with their work, if there's some sort of element that I don't know, maybe you're typecast and you are the girl next door, and you see some sort of a coming of age film at a film festival, and it's exactly the role that you want to play. And you've just completely resonated and fall in love with that film, find out who the right to was stay to the end of course, to see if there's a Q and a with that director or what is happening after, and then approach them, say to them, don't go to them and say, I'm an actor. I loved your film. Give me a role, cause that will never, never work, but go to them and just say who you are, what you liked about that, about that film, and maybe a little bit more about who you are and the type of artists that you are, and see if you can go for a coffee or meet up or have a zoom call or wherever it may be after. And just start building that relationship that if you go in there with the attitude of I'm an actor I'm looking for work, you might as well just walk straight back out that room because you're not offering anything in return. And a lot of the times filmmakers at this level don't necessarily get that appreciation or get approached that often. So is it a unique way to get in contact with the right person?
Speaker 4:Yeah, definitely. I think the other side of that is it's really good to kind of have a different approach other than just applying for things on spotlight. Um, because not only can you fall into getting very similar jobs and things like that, but also this gives you an opportunity to go for what you want to work for in terms of what you said about like the art form, the, like the, the actual, the, the work of art. You can really choose things that potentially you would like to see on your CV. So more beggars can't be choosers if you are preaching the industry in the correct way, rather than continually, I fall in that same loop of the same jobs over and over again, somebody else said, Oh, I know, I know it was, um, it was an actor actually, who I had a conversation with the other day. Um, it isn't on a podcast, but, um, she was basically saying that she was stuck in a loop of Tia and she was just constantly like, she's worked since drum score, but she's constantly on the same jobs. And she feels really bad and turning down work that is right there, right on offer for her. Um, but equally finds it really difficult to try out for other things, because the opportunities are always there that field. But unless you make that jump, the nurse, you try, you're always going to be sort of stuck within that same realm. So I think that's,
Speaker 3:I think, I think that's really interested in what you're saying that, and this is from a filmmaking point of view, but I feel like it also goes hand in hand with acting as well, kind of type costs yourself or decide what genre of filmmaking you want to go down, because then you'll start to build your network and you'll start to collaborate with people and they'll use you over and over again. And your career will Excel in that field a lot faster than if you spread yourself thin and do you want to do everything and anything that comes your way. And this is some advice that we have guest speakers, heritage stuff, coming from the showcases regularly. And this is the advice that they've given to our filmmakers over and over and over again, find out exactly what it is that you want to do and build your connections within that line of the industry. Because if you spread yourself thin or apply for every acting job under the sun, you'll just get jobs here and there, but you'll never fully build your, your pod or your connections. So if you can do that, then you will hopefully accelerate in that one field and you might be sitting there being like, well, that's exactly not what I want to do. I don't want to take classes myself. I want to experience everything, but just think about, are you doing this for passion? Or are you doing this as a career that can support yourself and get maybe that mortgage or get whatever it is that you're hoping to down the line? Yeah. I don't think it's a sacrifice because if you're so passionate about a particular area or that type of storytelling, then you will Excel in that area anyway, but just be wary of not necessarily taking every single thing that comes your way.
Speaker 4:Yeah. I think, yeah, that's really, really good advice. And especially what you said about like type, if you can figure out why you fit in the industry, then why not? Especially because these opportunities could completely like align up round the corners for you. And when you start to in the same way, as what you were saying earlier on get to know people within the field, it will be more of a relationship-based thing they'll know that they want to work with. You they'll know that you are, um, positive when you're on site. You're not overly tired in the morning and, or, you know, when you're cold or you're not complaining, they'll want to work with you. Cause obviously, I mean, from my experience where being on a film stays at the coldest place on the internet.
Speaker 3:Cool, great. You're wearing a tiny little dress and started outside of the snow. Um, yeah. So
Speaker 4:It's not always as glamorous as what it seems obviously on the screen or anything like that. I think if we're going to him for it going into film for the glamour side of things, then it's the wrong career anyway. Yeah. I think it's always, it's really good to remember that everything is about relationships. Everything is about like creating those bonds that you can help each other. So with that in mind, I'm assuming that you don't need an agent to be cast in independent films in the same way as what you might, when you go down the sort of generic,
Speaker 3:Well, it might help. It might help if you have an agent or whatever, cause they can put that connection. And especially if you are approaching someone that you don't personally know, then that obviously does help. And it depends where these independent filmmakers are putting up castings. A lot of independent filmmakers work within their bubbles. They know who they want to work with. So they just hire those actors to work with them, which happens all the time. But if the costing goes up on somewhere like spotlight, then if you have an agent and you're actively looking as well, you can prompt them to those types of costings. But if it goes up on cost and cool pro or Mandy
Speaker 4:[inaudible] exist anymore now isn't it. Yeah. Yeah. I'm still I'm out of the loop cause I just contact the filmmakers directly. Um, no. So if it's on Monday
Speaker 3:Start now then of course apply for it. But I would also say have a look at what the filmmakers has done. What have they done before? Go on a little Vimeo stalk and see if they've got that, um, playlist up there and, and comment on that when you're applying, although it seems like a lot of work, it might be worth it. Um, so no, I don't think you need an agent to get independent film work, but yes, it might help. And I think that's the answer for everything. I just mentioned a website they're called Vimeo and I'm sure lots of your listeners know what Vimeo is. Yeah. But it is a fantastic platform for watching independent film free. Um, and another way to look at it is Vimeo have Vimeo staff picks and these are some incredible films, um, that I would highly recommend watching. If you're a little bit unsure about what the independent film mode is, you can stop that and then look at different festivals. But the reason why I bring Vimeo up was because you can contact the person that has uploaded that video and is often there someone within the team of that production company, usually the producer or the director has uploaded it directly and you can click on them and message them. Um, and if you're based in the same city, sometimes you can see that in the information if they filled that out, you're both based in London. Okay, great. Write something really nice. Say what your mission is and see if there's any way that they can help guide you into achieving whatever that mission may be. And again, invite them out for a coffee when all of this, um, when you can.
Speaker 4:So for zoom, chop, you know, if it's still going on like zoom chat. So, you know, easy is a good way to
Speaker 3:Communication, but there is nothing better than meeting someone in person because then you instantly engage with them how they're actually feeling. And they might not be able to cost you in their next film, or they might not be able to give you a job instantly, but that's not what is about, this is about just building relationships. Because if you keep in contact with someone, all of a sudden, they may have thought, Oh my God, I know someone who would be perfect for this role. Who's really interested and go for it. They might write you into that X script or whatever it may be. Um, but just it's about building relationships, getting, building trust as well between the actors and the filmmakers or lots of independent directors, producers costs from within their own kind of groups.
Speaker 4:I think that's the same for theater as well. Uh, reasonable, you know, like frantic assembly, for instance, they cost from within a bubble of people who they know, I think they do hold auditions. Um, but it is, you know, a lot of the time it's people who they've already worked with in the past and things like that. So it's that classic thing, not what you know, who, you know, but you always have the opportunity to add people to exactly. You know, so it doesn't have to be a, Oh, well, I don't know anyone in the industry. It's like, well, make it your mission for the year to find out who everyone is.
Speaker 3:Sorry, everyone, everyone.
Speaker 4:So would you say then, um, what would you say then is the best way to network within the film metrics? Uh, that particular independent film industry, because there's, you know, casting directors of the few that I've spoken to so far, they have said that they prefer an email and then from there they can decide whether they're going to respond or not. And they want to be something in that that, um, makes them a little bit different or something that they're offering rather than it just being a generic email. What do you think, could I, for the independent film industry, would you say there's a good way to contact or would you say literally commented on their work?
Speaker 3:All right. Well, if you are not at a festival and you're unable or the filmmaker isn't at that festival, for example, but you saw that work, find out, speak to the festival, organizers, find out if there's a way that you can get that email address and then reach out to them and say, I watched your workout, the London liftoff film festival. I thought it was incredible. Um, what are you working on now? Is there any chance that we can meet in the future? Whatever it may be, but re yeah. Email is a great source to contact, uh, filmmakers as well. But I would say, um, if you have no experience and you'll go straight into something that you've just seen on YouTube or seen on, um, Vimeo or whatever platform it may be shadow, or I dunno, I'm trying to think of lots of YouTube is also a wonderful place to watch independent film. There's a platform called Ulta, which is specifically for horror. And then you've got dust, which is specifically for Spotify. And again, one of the information is that you find out exactly who the producers are, who the director was of these films that are getting millions and millions of views. And imagine if you were an actor in that would be amazing showroom material, plus then you're instantly highlighted two directors who are also in that, that field. If you then reach out to them and say, well, I took part in this project and here I am, but obviously to get there, you need to start reaching out and connecting with work that you resonate with and to do so, right. Something that is unique to the project, right? What it is that you want to achieve. Right. What it is, I don't know, just get creative and don't be bland. How are you going to stand out, make something interesting about yourself and obviously compliments go a long way. Yeah.
Speaker 4:What about like additional skill sets and things like that, do you think that's, um, something that would,
Speaker 3:So actually, what do you mean by additional skillsets?
Speaker 4:I mean, like, uh, you specialize in a particular area, like, um, for instance, it might be, um, motion capture. It might be performance capture. It might be circus.
Speaker 3:I think to mention all of that is great as well. And if you have, when, once you start the dialogue and you've got, um, like a repertoire going, then you can drop your show and, and drop all of these other bits and pieces in. But to begin with, you've got to instantly grab their attention. And if you send an email that is three page essay, they're not gonna necessarily read it the might, but it would be quite raw. Get their attention by adding a bit of flavor about who you are and why you're interested in working with them essentially. Um, then start dropping in these other, talking about assets that you may have. If you're an actor who's worked on a crowdfunding campaign, mentioned that because these independent films might be, um, might be going through that process as well. So if you could absolutely help out with getting funding for that film, and of course in return, then you've got that dialogue. What do you want in return for this help? Um, social media as well. That's such a big thing. And unfortunately, as it is, some actors get cast because they have a good following. And why is that? Because then it brings an audience to the film and it's free money. It's free marketing. And who's going to say no to that, especially if your in, I don't know, lower budget and you need to get people to watch your film. It's not just the low budgets. You see it now across Netflix as well. They cast on known, but like, um, people were following then of course they're going to get more views. Um,
Speaker 4:So that should definitely be a focus. Anyway, I think in today's world, as much as we'd like to say, you know, um, social media following, you know, focus on your craft, everything else, you, yes, you need to focus on your craft, but also you do need to start thinking about, um, social media, how it's gonna impact your career. And ultimately social media is literally the world's biggest stage. Like there's every opportunity to perform. And if you are in a lockdown, then what better way to practice your skill set than find a scene, find a monologue, see what you can do there. You know, it might not be the best quality, but it's actually quite surprising what you could potentially create. Like there's, um, that film host that just got made on an iPhone or over zoom during lockdown. Like, I mean, now it's massive, isn't it it's like awards and all sorts of things
Speaker 3:On shutter and in major cinemas. So really well done to that team.
Speaker 4:Yeah. That's amazing. Like, and they've done that with next to nothing in terms of like equipment and everything else, like being in a lockdown. So the opportunities are there to, yeah. Just use your social media, use it to your benefit.
Speaker 3:I think though there are lots of social media platforms and if you're like me and you're not the biggest fan of social media, pick one, just pick one and focus on growing your audience behind that one, um, platform. And for me, I would say that that is Instagram. Twitter is also fantastic and finding castings and finding out what else is going on, but I feel like it is easier to get a following on Instagram.
Speaker 4:Yeah. Yeah. You can like get, um, post schedulers and all sorts of things. So you can really sort of take the pressure off if you're thinking, Oh, I just don't want to post every day. Um, I know for me, I struggle with social media as well. I just, uh, I don't know what it is about social media, the sort of,
Speaker 3:So I think if you're sitting there going like, Oh, what if they judge me if I post that? Or like, no, that only got like 10 likes and I can't, I have to remove that post because it didn't match the other ones. I think you just got to let go of those inhibitions and make sure that you're branding yourself exactly to how you want to be perceived and, and align with what type of work that you want to just have a think about that thing and, and create maybe a strategy of how you want to appear to the, to the world. Um, and, and if you are a little bit like that, make a separate account and have your own actors account or filmmaking account, and then you can separate that with your own personal account where you can just post your dog all day or your cat all day or whatever it may be, but can you keep them separate?
Speaker 4:Yeah. So it was clarity then for anyone that might want to reach out to you, what would you professionally? Um, and it allows people to really have a good idea of who you are as a professional, what you stand for and everything else. Yeah. Cool. So what impact do you want to have on the film industry? Like what's your purpose
Speaker 3:Liftoff? No. So let's go and left off. Um, so our ethos is to support grassroot filmmakers, and we work with filmmakers who are either just graduated from film school is making their first short film to then those who have made two or three short films. And then I'm now making their feature films. We take projects to the film markets to help connect those, um, amazing filmmakers with sale agents in order to get their films onto wider platforms like Netflix and Amazon prime. And our whole ethos is to break down all these barriers and all these walls that filmmakers feel that there might be in their way in order to get their work shown and to get them noticed. So our ethos is to support grocery filmmakers.
Speaker 4:How does the film network work? Would actors go to any of the events that like film network events or would they Swurfer? Is that more for the actual production team,
Speaker 3:Um, regards to film markets? Is that what you mean? Like the Marcia film, the Cannes film festival or the Toronto international film festival, a bell in LA? No. So this is something that we talk to our filmmakers about as well, and that, uh, lots of opportunities for actors, but these film markets are essentially where projects are bought and sold. They aren't necessarily for actors to be networking in. Having said that there are so many events that go on alongside this and parties, that it is also the perfect opportunity to meet filmmakers. So can, for example, is world-renowned red, red-carpet celebrities, lots of drinks, lots of partying. It is fantastic. I absolutely love it. Um, and we meet so many actors there. There are so many actors that attend that and you might be sitting there thinking, wait, I can, I can go to the Cannes film festival. Yeah. You just have to pay. And it is expensive. And just to get a weekend pass, you're looking at two, 300 pounds. That's a lot of money, but it is an experience. And it might mean that you're in the right place at the right time and meet someone. Um, so I would say film markets are not the right place for actors, but attending these film festivals are so you can attend the Cannes film festival just don't go to the Marsha to film. So the Cannes film festival is obviously where they have all of the screenings, all of the premiers that year. And there's also lots of little mini festivals alongside the Cannes film festival. And that's where you'll get to meet these up and coming filmmakers who may be looking for actors or building connections. And there's also so many panel talks and opportunities to understand what is happening within the industry at these events as well. So yes, just make sure you tend the right side of, of, um, the film festivals and the markets.
Speaker 4:So a good amount of research before you go, rather than just jumping on a plane and being like, Oh,
Speaker 3:So EFM, which is the European film market runs alongside Bella, which is also the, one of the biggest film festivals. Uh, it takes place in Berlin every February and they have, um, a sector called, um, Berlinale talents. I believe it's called that. And, um, this is 250 people from all over the world that are the next big thing was that they've identified have some sort of, um, up and go in there. They could make it big. Essentially actors are also invited to take part in that. And that's something that I only learned this year. I thought it was solely for, uh, producers, directors and filmmakers in visual arts and every area apart from performance that is not, they also include actors in that. So if you've been in a couple of films or you have some notable credits you can apply, and this is a whole week full of workshops and I just was blown away by seeing it. I didn't actually get to go myself because you have to be invited, but it's definitely a personal goal of mine. If I go down that route that I would love to attend that
Speaker 4:Amazing. That sounds incredible. Wow. So you apply for it. It's like, um, exclusive,
Speaker 3:It's very exclusive, but you have to have, um, I think for, I don't know the quotes for actors, but for, um, filmmakers, you've had to have at least two short films and they've screened at notable festivals, either Academy qualifying or BAFTA qualifying of some sort of, um, substance behind it. And also, I believe actors need to have some sort of TV or film credit that is notable or noteworthy. Um, so you can't, you can't nobody. Well, I say nobody, you can't just be an actor. Like I'm an actor today. I'm going to go and apply for this because you won't get anywhere. And I probably cost quite a bit as well, but if you make it through,
Speaker 4:I may say, wow, I didn't know about that either.
Speaker 3:This is really very cool and TIF has something similar and, um, I'm sure can do something very, very similar as well, but it's just finding out and each year it changes each year. There's something new. So yeah, definitely keep your ears open eyes and ears open,
Speaker 4:Say more reasons to really work for those connections within independent film socket, say that these opportunities,
Speaker 3:Well, what we just talked about there is the top tier, like, yeah, that is the ultimate goal for a lot of filmmakers. We were there last year. And once upon a time in Hollywood premiere there and Quintin Tarantino was something that, so, and I wouldn't class him as an independent filmmaker.
Speaker 4:Oh my God. No,[inaudible]
Speaker 3:Absolutely not. So it's not just independent filmmakers that attend these top tier film festivals. And that's something that I think actors don't really know that much about how big the independent film world is because it is huge. There's a platform called film freeway, which from a filmmaker's perspective is where you can upload your films, submit your film to all of the festivals that you want to submit to, including the big festivals there, but also everything in between to free festivals. And, um, there are thousands, I think there's something like 14,000 on this platform. Wow. Worldwide, but that is huge. And yeah, it's just an untapped world for an actor. I think it's an oversight as well.
Speaker 4:Yeah, definitely. I mean, if you think about there's so many, even from like my experience of feeling like I was really like plugging away when I was acting, I mean, it was like five years ago now, but what I was actually, I felt like I was constantly doing stuff and constantly contacting people and things like that. But in actual fact, I I'd never even stretched in that direction. I was just constantly going for a very small funnel, but not a very focused funnel. And I feel like, um, if you're going within the independent film secretary and you are saying, I'm going to work, focus solely on this, this is going to be where my attention goes. Then of course, before you know, it, you've got to start climbing and larger because it's like you said, there's less, um, known really mean anything, but the filmmakers and all of the directors that is probably their only focus. If you're an independent filmmaker, that is your world. So it's, it's crazy how you can turn it on its head really from an actor's perspective, looking at, you know, TV things and Netflix and stuff like that. And that's just such a tiny, tiny, tiny part of an acting career.
Speaker 3:Yeah. Crazy. Um, and I think it's important to kind of switch that on its head as well. So instead of solely approaching people to, um, work on their projects, what about writing your own projects? What is it that you want to do? Write your own projects. And then as you were looking for filmmakers, invite them to work on your project as well. If you're the writer and you're the actor, I mean, you can be the director and producer as well, but then you're taking on a lot and often you can see that there's something that's missing from the film. And that's because that filmmaker or actor has spread themselves too thin and she should have given some responsibility to others. So then this is a perfect way for you to start building connections with directors, producers, cinematographers, and sound designers to create your own work. And I think that's where the value really holds in building connections right now. So going back to the beginning where I said about, what do you align with, what projects do you align with when you watch these films at film festivals on Vimeo, on demand, or even if you're sitting on YouTube Googling short films now, um, and what comes up, what is it that you want to achieve? Try your hand at writing it yourself and then approach these contexts that you've met or had a, started an email conversation with saying that I am an actor, but I've also written something that is quite similar to your work. And I would love to get your advice on this, or do you know anyone who's interested to be a cinematographer on this? And then you start to build your own collective and your own network. And all of a sudden you've got your own, you've got your own production company and you're acting in all of these incredible films. And that's because you started it, you had that idea and you wanted to then connect with amazing filmmakers and the way to meet these amazing filmmakers is seeing their work and reading.
Speaker 4:Yeah. And in fact, if he that's offering them work, isn't it really as well. And so everyone wants ultimately making films. You want to be a filmmaker. You want to be creating, making, developing work. So
Speaker 3:It's a vicious circle. It really is. It's good. It's really good. And, and if I took my acting career back into my own hands and really wanted to push that, that is exactly what I would do. I would come up with some ideas. I would come up with the roles that I've always wanted to play a long kind of stereotyping myself most likely. Cause I can't, I can't play an 80 year old woman in a film that just doesn't work. And that's something else you've got to be realistic about. What is it that you look like? What kind of roles can you actually play? Instead of thinking like theater world, you can, especially in Tia, well, you can play every character under the sun, but what is realistic? I'm film cameras don't lie. So it makes it a lot harder. And obviously there are amazing prosthetics and other CGI and new technologies around. But realistically in the independent film world, you're looking at budgets around 50,000. Oh my God. If you had 50,000 for a short film, that is amazing. Okay. 10, 10,000 is the average, but then you do have the exceptions where it goes up crazy to a million. And then you've got the almost no budget, a hundred pounds short films that are still great. And that's another one of our ethos is cut talent before equipment or talent before technology. And that's filmmakers actors. Storytelling is the heart of everything.
Speaker 4:Wow. So it's not a case of all of this. I need this equipment in this film. It's more a case of who's who's working on the film who you with.
Speaker 3:No, I think it comes more to, that was an amazing performance that script had. Every hit, every pot line. You're not bored at all or, and you're engaged throughout the cinematography is flawless, but the cinematography these days is quite, it's not easy to achieve, but technology has come on leaps and bounds. And going back to what you said there about hosts, it was shot on zoom or shot on something like that's insane. So just grab your friends, grab equipment, start playing around. And then when you feel confident that you've got a project that you want to start getting money behind them, reach out to the, to the filmmakers who really know what they're doing. And if you want to take on the director's role, then my one piece of advice would be get a cinematographer that has worked in an industry for a while, because you may have a vision in your head. And if you've never made a film before, then you will struggle to match that vision that's in your head, but the cinematographer will know how to achieve those shots that you want, which means that you can then focus on directing and acting.
Speaker 4:Yeah. And also you'll be learning on the job as well. Wouldn't you? Yeah, yeah.
Speaker 3:That too. And, and the cinematographer, um, the director of photography, the DOP, which is another name for them, they can literally use you, show them what you want. Then they would direct that in directly. Yeah. So you're still the director, but they will have kind of taken charge. It's weird. But that is the one piece of advice that we always give to first-time directors work with someone who knows how to be a cinematographer.
Speaker 4:Yeah. Cause it's hard, isn't it? It's that is the entire story is told through what you can see through the lens. Yeah. Yeah. Yes. I always think that when I'm watching a film, actually, I quite often, I think when I'm looking at it, I'm like, wow, somebody, this has gone through somebody as if they are imagining, it's looking through my eyes. Mary is in front of me. I think it was crazy. It's amazing. Um, so with, within liftoff, go on. What is the, what are some of the biggest success stories for filmmakers for the collective? We see
Speaker 3:We've had so many fantastic stories and I mean, we host an event here at Pinewood. Every I wish Elaine has been to a few times, but it's just the lift of seeds and awards. And we're absolutely gutted this year that we have to take it online, but it is our end of year award ceremony where we celebrate the best films that came through the left of circuit that year. And, um, just to reflect on that, it, ah, it's so good. I absolutely love it. And each year the standard is getting better and better. And I keep getting blown away by these films. And every year after the season Wars, the passion for acting and the passion for being back on set, it burns, it burns a lot, but going back to success stories, we premiered a film called the silent child and it was nominated at the season of Wars for best acting ensemble of all things, actually. And it's a story of a deaf girl who, um, is sent to a normal primary school where there isn't support for deaf children, essentially, that is it. So she gets a helper and then they decide not to, not to go down that route and send her back to school that essentially the story, we premiered it at our first-time filmmakers showcase and then screened at the London lifter film festival. And then it was nominated at the season awards. And a couple of months later, it, we could see throughout the year, um, actually in November, I think it was that it was long listed for an Oscar. Then after the season, it was when it won best acting ensemble with us. It, um, it then got shortlisted for an Oscar. And then when the awards took place, the Academy awards they won and now they have the lift of trophy next to that Oscar, I guess just over that,
Speaker 4:That is amazing. That's absolutely incredible for all from the film.
Speaker 3:Oh, from a short film and now, I mean, the directors are doing really well and Rachel Shenton, who was the star and the writer of the piece is often on our TV screens. Um, but she was also in Hollyoaks before, before making this film, but it just goes to show it's the power of independent film and the routes that can take you down that could happen to you as an actor, you could be in a BAFTA award-winning short-film or, um, an Academy award-winning short film. And then all of a sudden you could be sitting up after or at the Oscars and that's through independent film. So it's definitely something to, to think about. So that's just one, one example. Um, we have many, we've had lots of long lists and shortlisted films at the academies and BAFTA.
Speaker 4:That's amazing though. It's always good to have a winner right there.
Speaker 3:Yeah. That's the one that it was right in my, in like, um, I just remember the moment so clearly from getting into,
Speaker 4:Oh, you look so happy when you're telling that story. It's just like, Oh, it's exciting.
Speaker 3:It's exciting. Because during that showcase, they almost didn't attend because the film wasn't ready, it was still, um, it just needed to be colored basically as they were right at the end of the process of the post production, they needed to grade it and, um, finish off some of the edits. And we were just like, it's absolutely fine. This is an in-house showcase. Um, feel free to come along and screen it. So they did. And we got feedback on it. And again, we talked about social media, but they, they quickly got a team behind them because they were getting lots and lots of festivals selections quite quickly after, after that. Um, and the rest is history as you know, crazy is that, that is a story that makes me kind of like, yeah.
Speaker 4:Yeah. So inspiring. It makes it feel, it makes us sometimes the Oscars and things like that. When you say like the Academy awards or BAFTA, it feels so far away, but in actual fact it could be so close. Like it could be literally like, you know, one connection away. You're always one connection away though, I suppose on you. So how can act as a learn about getting involved with like liftoff with liftoff projects, with, um, lift off the teens. So
Speaker 3:Five years down the line, we really, really, really want to have our own production company where we work with our filmmakers that come through the festival circuit and we're producing content that is either a web series. So we can approach the contacts that we have at Netflix and match what they're currently looking for. Along with making short films, as proof of concepts for feature films, that is what we want to do. And obviously actors are a huge part of that. Um, we do want to work more closely about actors and we always encourage, um, the filmmakers who get invited to the showcases to bring along an actor or bring along whoever they want to as their plus one. And yeah, we don't specifically have an element where it is for actors. Um, but it is something that we would love to expand. And that is in our five-year plan. So attend, go festivals again, come and meet us, say hello. And, and just lift off is a company that came from actors. They two fo co-founders Ben and James went to the opposite school of drama. Um, I started at East 15, um, and did acting stage come back there and we've got, um, our design, uh, guy, Charlie who come up. He went to drama school as well. So like it's a huge acting is what has brought us all together as a company. And so we do strongly resonate with actors, um, but being a film festival right now, we need to find a way to incorporate them. And it's something that we are very excited to do, hence our backgrounds.
Speaker 4:So at the moment what's going on with liftoff, where can people find your festivals and that online, obviously I'm assuming everything will be online for at least the next few months.
Speaker 3:So we've partnered up with, um, Vimeo on demand where we have our own channel there and all the festivals are running. Um, as we speak, we're currently just finished the London lifter film festival and Berlin will be going live from the 1st of February. Um, and all the information is on our website, liftoff.network. And we are also on YouTube. Actually. We have lots of cool content on YouTube. We do live streams quite regularly, um, workshops. And there are actually a few actor workshops on there. And one that is quite interesting is how to find a producer. So if you own acting has a project, definitely take a look at how to find a producer, which is all on our YouTube channel. If you just search, lift up global network, it's there as well. And then we're on Instagram lift a global network, a surprise Instagram handle. Um, so we are out there and we are around to do check us out and we have a membership platform as well, which is a hub full of filmmakers. I kid you not, there are thousands of filmmakers on there. So if you are an actor, we are looking to add an actors branch into this at some point. Um, so when that is available, I will let Elena and the actors business know and we can sort something out there. Um, but definitely check us out and yeah. Get contacting filmmakers.
Speaker 4:Brilliant. And what about, so last question, um, the film festivals that are abroad, do you think it's still worth, uh, people investigating and viewing their work from, um, something like Europe and things like that in regards to the film festival in regards to potentially making connections
Speaker 3:As an actor? Yeah. I'm going to say no. Right. And the reason is unless, well, unless there is a film that you're like following where it's screening, so you can meet the filmmaker. Then there's no point if that filmmakers based in the UK, we even, even for filmmakers, we say attend film festivals that you can actually attend or submit to film festivals. You can actually attend. Sorry. Um, which means if you don't get selected, you can still go and see what was selected that year. And I think it works the same for actors. What's the point in go to film festivals to find out what is being screened, but the aim is to meet those people. And if you are planning to move to France, then yes, attend film festivals in France. But I would say the closer to home you are, the better chances are of actually building relationships. Amazing. Sorry. That was a very convoluted way of saying go to festivals that you can attend, meet the filmmakers close to home.
Speaker 4:No, I think that's great. Yay. Thank you so much. That was so incredible. I think that was so honestly like so much advice, so much that people can be doing to actually be proactive, to be acting. Even if you just say, Oh, I'm going to go on Vimeo. I'm going to have a look around, I'm going to find liftoffs page. I'm just going to look through what is there. Like that's going to take you at least a few hours to go through the most recent stuff. And then you'll start to get an idea of what you like, have a little thing about, um, what you think that you would be cast. And you can do this by, um, speaking to your families, being to your friends, get together like 10 adjectives that describe the best, um, from those people who are closest to you and start to figure out exactly where you fit or ask them. What could you imagine me? And could you imagine me as this character? Could you imagine me as that character, because so much of the time, um, especially if you do want to go down the sort of typecast route to work in film or something like that. So much of the time, um, you have a different idea of what characters you could play. Then the people who are closest to you, they're going to give you the most honest answer. They, they know you best. So they're going to say, you know, if you, for instance, think that you could be in a period drama, but you think that you're going to be playing, um, the sort of lady of the house in actual fact, they're like, uh, I think you're more of a factory worker. Like you need to really start to consider where you fit and what's, what's gonna work for you. What's going to get you the job. What is going to ultimately give you
Speaker 3:The credit so that you can, um, move forward. I think it's also important to think about why you wanted to enter this industry in the first place. Was there a specific film that inspired you to want to become an actor? Or what moment was it that you realized this is the career I want, um, go back to that moment and then see what films inspires you and where the spark knives, because that might be the route that you want to go down. Yeah, for me, it's bend it like Beckham. I love a nice, brilliant. Yeah. She knew what mine was. I hit mine was a shot. I think mine was when I went to see, um, Annie in the theater, when I was like seven, I had a little Annie dress. I literally wore the full on costume, like with the wig and everything. And I sat there almost steps with my non no, she's watching the show. And I was like, Oh, I want to be an actor. Um, yeah, it was definitely the coming of age, family friendly, bended, light back, um, anger, slow, uh, Angus thongs and perfect snug. Like I think I was around 15 when I realized this was an industry I was going to walk in. And from that point of view, obviously in front of the cameras, what you see, but there are so many roles behind it. And yeah, I li I, I just remember getting that feeling of like, no, this is where I belong whilst watching those films. And it's quite funny now that I attend the film markets, I talked to sales agents and distributions on what's selling and, and what projects are filmmakers should be making in order to, um, start getting paid for that work and selling their projects and family friendly is what comes up top all the time. And I'm just like there. Yeah. It's, it's the most sought after genre, if you want to call it a genre. And so there we go. So if you want to make something, make it family friendly. Yeah. Potentially, potentially, but yeah. Where the gap could be. Right. That was brilliant. Thank you so much. No worries.
Speaker 1:That was Natalie Daniels from liftoff global network. Thank you so much for joining us today who knew the independent film sector has so many opportunities for you guys to go out and feed you, grab hold of, thank you so much. And thank you so much. This audience. I appreciate you all so much and I cannot wait for you to join me next week. Bye-bye.