Pinewood Studio Wales is a British film and television studio operated by the Pinewood Group in South Wales.
Plans for setting-up and establishing a film studio were announced during February 2014, after negotiations between the 'Pinewood Group' and the Welsh Government. This resulted in an agreement for Pinewood to rent the site of the former Wentloog Environmental Centre in the suburb of St Mellons in north-east Cardiff. Construction began in the second half of 2014, and Pinewood Studio Wales opened in January 2015.
**The historical television series 'The Bastard Executioner' was filmed on Stage 1 of the complex, and in other locations in Wales, and then released in September 2015 on FX in the United States.
**Studio filming for the fourth series of the BBC drama 'Sherlock' took place at Pinewood Studio Wales in 2016.
Pinewood Studio Wales continues to be a hub of activity for a wide variety of TV & Film Production Companies.
About the Paintworks (http://paintworksbristol.co.uk/about-paintworks/)
For all the advantages media growth has provided, it is at a cost. Incessant bombardment of celebrity, slick advertising and fashion-conscious styling, in a corporate brand dominated world has anaesthetised our senses to real, simple and substantive values.
Those behind Paintworks detect a growing consciousness in society and see the project as a genuine attempt to regenerate a mixed use district centred primarily on a sense of community and in so doing provide a model for others to build on elsewhere.
Considerable effort has gone into the intimacy of the street scene, the public areas and hub spaces. This is in deliberate contrast to insular "lifestyle" residential accommodation and soulless anonymous business parks. The aim is to show there is Another Way to increasing isolation. A place where "lifestyle" living and working is not just marketing hype, but somewhere people do actually want to live, want to work and want to interact with others.
IT'S NOT A SCHEME, IT'S A PLACE
Paintworks is a bit of town, not a development. It's a place where people want to work and a place they want to live. Not all that complicated really, but not many places are like it.
The Apollo Victoria Theatre is a West End theatre on Wilton Road in the Westminster district of London, across from London Victoria Station. (The theatre also has an entrance on Vauxhall Bridge Road.) Opened in 1930 as a cinema and variety theatre, The Apollo Victoria became a venue for musical theatre, beginning with The Sound of Music in 1981, and including the long-running Starlight Express, from 1984 to 2002. The theatre is now the home of the musical Wicked, which has played for ten years at the venue as of 2016.
One of the largest theatres in London - with a seating capacity of 2,208 people.
About Theatre Bristol
(from the Bristol Theatre Website)
Theatre Bristol is a collective of producers. We believe that anything is possible. We follow our curiosity, individually and collectively, to work for the benefit of artists* to make great art.
We do this in lots of different ways, in partnership with many different people and organisations. We offer bespoke advice and support to artists and producers; we commission and produce new work; we run events (networking, inspiration, action planning); we host a user-generated website; we research new ways of working and we develop national and international exchange opportunities.
In August 2013 they published a booklet highlighting our activity and way of working which you can download below.
In 2015, Theatre Bristol celebrated it's 10th birthday and we had a special book commisioned to mark the occasion which you can view below.
Theatre Bristol is an Arts Council England National Portfolio organisation and Bristol City Council Key Arts Provider.
* Artists = writers, circus artists, puppeteers, dancers, live art artists, producers, directors, designers, technicians, funders, stage managers, musicians, composers, thinkers, administrators, bookkeepers, fundraisers, critics, enthusiasts, supporters… everyone who’s interested is welcome.
This article has been written by Lisa Lacy
To promote its AI horror thriller, Morgan, film studio 20th Century Fox commissioned technology platform IBM Watson to analyze the movie and generate a trailer.
It’s a clever marketing move given the content, but it also begs some intriguing questions about the long-term viability of human creativity and whether, as John Smith, IBM Fellow of Machine Vision at IBM Research, noted in a video about the project, computers will eventually be able to create art.
On a somewhat fortuitous note, marketing intelligence resource Contagious and interactive agency Razorfish recently set out to see if they could boil great creative work down to an algorithm. And human movie trailer creators, as well as the larger creative community, will likely be happy to hear the hypothesis of the resulting study was that superior creative performance comes down to people – and, specifically, how people work.
Razorfish and Contagious analyzed 15 years of entries and awards from The Cannes Lions International Festival of Creativity to reveal the patterns behind what they called the world’s top creative performers. This analysis included “billions of data points from the Cannes Lions archive,” including more than 403,000 submissions and 294 million words with focus on win rates as the primary measure of creative performance. And, according to the study, the overall probability of winning a Lion is just 4%.
“What we learned was it is not necessarily reducible to an algorithm, which was a relief to those in creative,” said Will Sansom, director of strategic and creative consultancy Contagious Insider. “What we did find is there are specific ways of working and specific behaviors and organization [that yield great creative work]…the closing gambit was there is no code for creativity, but there’s a code of conduct for creativity.”
Here’s what that code includes:
1. Good ideas trump big budgets.
The study found no correlation between the highest media spenders and the likelihood of winning.
“There is no correlation between loads of money and great creativity,” Sansom said. “Our main takeaway was essentially that creativity isn’t the sole preserve of big budgets at big agencies in big countries. It’s a good rallying cry…it’s achievable by anyone.”
2. Winning content is location agnostic.
In addition, the study found the wealthiest countries had no measurable advantage in the ability to deliver award-winning work.
When the top ten countries are analyzed in terms of win rate, the study found only three were in the top ten for GDP per capita – and, what’s more, it said 70% of the most creative countries were those with lower levels of wealth.
In fact, per the study, the top three countries with highest win rates that have entered a handful of times are Kosovo, Macedonia and Kuwait, and the top three countries with highest win rates that have entered thousands of times are New Zealand, Argentina and France.
3. Large, diverse teams are important.
The study also revealed large, collaborative, multi-disciplinary teams tend to outperform smaller ones.
To win: Winning entries had +26% more people credited than non-winning entries, per the findings.
“This suggests the importance and role of collaboration in creative performance,” the study said. “It could also support a broader point about culture, which is that regardless of how many people worked on a campaign, organizations that credit, champion and value their teams are more successful.”
In addition, when comparing winning entries, the study found significantly higher levels of involvement from several supporting disciplines, including production, planning, technology, PR and strategy.
The rate of representation from these disciplines was up to 50 percent higher in winning entries.
“We thought this was indicative of what’s happening with a modern integrated campaign having lots of moving parts and so big, diverse teams [are] more effective,” Sansom said.
The study also found submissions that had a larger share of credited staff — below director level — were more successful.
“This is about crediting talent in the agency that might not be at the senior level, but does great work,” Sansom added.
And that means agencies should create environments where people are encouraged to grow their skills and give staff autonomy and discretion over their assignments and resources.
4. Long-term brand/agency relationships matter.
Contagious and Razorfish found the length of client relationships with agencies is also important, with long-enduring relationships yielding a win rate twice that of the average.
A study of the first few years reveals a short-term climb, followed by a drop in the number of submissions versus win rates, which the study said suggests they are no longer producing winning work. But the study also found creative performance peaks at years two and three, which it said is logical given the time required for an agency to learn a client’s business and to get a sense of its challenges and how to get brave work signed off by the right people.
Thereafter, the study said win rates fall after year three in joint client-agency submissions. At the same time, the study also found client-agency partnerships not only perform better after the ten-year mark, they perform higher throughout the entire duration of the partnership – and those client-agency relationships that last past the ten-year mark have a win rate that is twice that of the average.
“There’s a huge spike and then it drops off the cliff – is the honeymoon over, do you get complacent, do you take the best people off the account?” Sansom asked. “What’s really interesting is it suggests that really productive creative relationships require an investment of time…we’re in a real pitch culture right now – [clients] get scared and think they have to switch things up, but this suggests the opposite to do great creative work.”
And that’s in large part because trust is a vital ingredient in great creative, which can only result from time.
“In our industry, there’s a tradition of either doing great work or not and, if not, you get a new agency in, and actually it can be better to push the agency to reinvent…and…produce really amazing work that pushes both sides to get back to their winning ways,” he added.
5. Specialty agencies offer advantages.
Further, Sansom noted the study found entries that had a higher number of agencies credited had higher win rates than those with just one agency credited.
“There’s a big debate at the moment around clients – everything is so complicated, [so should you use] one big full-service agency or the right combination of agencies who can bring different skillsets? And it is always a danger of oversimplification, but this suggests a combination is the right way to create great work.”
Indeed, the study said one of its strongest observations was that modern creativity demands collaboration – particularly as we enter a connected economy where brand experiences depend on business strategists, artists, technologists and storytellers.
“The main point is creativity is accessible to anyone. It’s about investing in meaningful long-term relationships…[which is] something achievable by more junior people [and] bigger, more diverse teams and [by] collaborating. Those are really positive things – and something anyone can do,” Sansom said. “If this is not a rallying cry for creativity at a time when we are slightly unsure about the future, [I don’t know what is]. It’s a really nice thing…it bodes well for the future of what we all do.”
Find The Drum's Creative Works round up each week across America, Europe and Asia at the dedicated section, featuring some of the best advertising, design and promotional work being released.
This article is about: North America, Cannes Lions, Razorfish, creative works,creativity, Artificial Intelligence (AI), Advertising, Digital, Digital Advertising,Events, Marketing, Media, Creative
Getting back into consistently writing / developing screenplays?
Not a problem re: my familiarity with more than just the the basics of the craft - but grappling with time management? Yes. That has definitely been a struggle over the last several months - not being able to simply schedule in time to enjoy writing in both a calm and focused way.
Why? Because sometimes, whether you like it or not, away from needing to work - family commitments / responsibilities get in the way of creativity / art. That is, in my case, alongside my siblings, I've become a part-time Carer for one of my Parents (in another city).
**This has taken up a lot of time and energy ie. working towards establishing some semblance of stability in all of our lives**
BUT thankfully, and without further ado, I've now literally found both a pragmatic and creative approach to my new Work-Life Balance. I can once again consistently enter the Writing Zone in a focused, yet calm state - able to work on developing my own craft as a Writer, whilst enjoying the journey. :O)
Three main areas:
Achieving a balance of all three areas can be considered successful, but achieving success in all three areas can often mean a lifetime of dedication.
Artistic Excellence - an artist may put all of their effort into their studio work, spending very little time exhibiting. This artist will have to find other ways to earn a living – taking different jobs to ensure a livelihood.
Artistic Recognition - many artists possess a deep desire to share their work with the world, after all, art is all about communication. To win an award or attract critical appraisal is far more important than anything else.
Revenue Stream - for entrepreneurial artists, the most natural thing to do is to focus on creating work that will appeal to an audience. These artists continuously research the marketplace to attract the attention of either the largest audience possible or by focusing in on niche markets ie. simply getting their work in front of potential buyers.
In order to become a Successful Artist, you have to determine what drives you! This will inevitably help you with decision-making, focus, artistic endeavour and how you go about capturing and making use of necessary resources - whilst you build clarity and momentum.
Your success will be underpinned by either Artistic Excellence, Artistic Recognition or Revenue Stream generation; a combination of any two or all three of these areas.
Name : Kirk Stacey
Age : 37
Role : Illustrator & Film maker.
Location : Bristol UK
GIVE US A QUICK INTRODUCTION ABOUT YOURSELF
My name is Kirk Stacey, I have worked many years as a Freelance Illustrator / Artist here in Bristol. Besides Art I enjoy the world of Short Film making. I have recently started experimenting in this area by shooting and editing my own mini short films using my smartphone and iPad. I am currently shooting my first no-budget short film.
YOU ARE MAKING YOUR FIRST SHORT FILM, TELL US ABOUT WHAT LEAD YOU HERE?
I always feel if you are creative you have to have a go! It’s a rule of life. You don't know until you try something. I knew James Ewen from Cineme Films and he was well connected with people in the Short Film World here in Bristol. I was later introduced to Short Film maker Wayne Lee who I've been working with on projects for a few years now.
For 4 years, I was a helping-hand at "Cineme" (a Bristol-based platform for screening short films - also feature films), and having watched a multitude of short films over this time period I’ve really been inspired. Everyone who came to the gigs were already making their own films or wanted to make their own film - so it was a great place to be.
I have always written scripts based on visuals / ideas in my head. 5 years ago, a friend suggested I make a short film based on one of my scripts. This was a short called “Partners In Crime”, a neat little idea about two lonely hearts who meet up on a date as superheroes and fight crime.
We got a crew together, however my heart was not in it, as I wanted to call it off to work on longer on Pre-Production. It felt like a rushed production, I lacked confidence and literally didn't know how to direct, so that film fell by the way side, besides that, the sound was poor and we had no editor! I felt guilty for many years, feeling like I’d had let the cast and crew down, and I never wanted to be in that position again. If I was to make another short film I would want to be in charge on all aspects of production.
Five years on I’ve been shooting my own films /sketches on an iPad and editing them in a basic movie maker. Some of the films were improvised on the spot. I think I’ve made over 100 mini-shorts - a few specifically aimed at Sufferers of OCD to showcase how the disorder works / effects people. So my first ‘tip of the hat’ about my producing skills came from that avenue. I even had a request to make more!
WHAT MOTIVATES YOU TO BE SO CREATIVE?
The idea. If it’s a good one you have to find a way of showing it. Because I have a background in illustration this was always easy to do on paper, I would receive a brief and I would brainstorm it and then set to work.
With film it takes a bit more effort. If people like your idea you kind of feel empowered to make things happen. So it's good to have that supportive pat on the back. I have worked behind-the-scenes on a few local no-budget films and there is a lot of great fun to be had - this being another motivating factor.
I used to be under the impression that a film-set was a tense, ego-ridden place to be, and at any given moment you’d be snapped at by an Actor or a Member of the Crew. This may be the case at times on serious blockbusters, but having the element of fun on a no-budget film project is really essential.
TELL US ABOUT YOUR FILM?
In a nutshell, “See you on Wednesday” is a dark satirical, surreal piece set in a world gone mad. It contains Three Metaphorical elements that portray how we persevere and react to the "Terror threat"
INSPIRATION FOR THE FILM?
I remember Working on an art-piece at the time of the recent terror attacks in Paris. I was saddened at the Loss Of Life and I detested the way the news was being reported! It often felt like a movie was being played out hour after hour....But this was real life!
I thought to myself, how do we actually stop this Madness happening? We’d all love a solution of sorts, but I feel we all search yet end up frustrated. I wanted to make a film to sum up everything. If the film appears utterly mad and nuts then that's pretty much the world I wanted to capture. Job done!
TELL US ABOUT YOUR CREATIVE PROCESS FOR THIS FILM
I will say that this is my first ‘legitimate’ no-budget film. I'm starting from scratch, at the bottom of the ladder, and it’s about having an idea, picking up a camera, bringing your mates on board and getting it done . I did manage to pull a budget from my art fund, last year I had a great run of selling my Art prints all over the world (much to my surprise) so I decided to use part funds from that to create this film. (Because what I sold were cartoon standees of film stars I was tempted to call the production company / title "Paper Doll Present's" But I think I will stick with 'Kirk's Pen Productions' as it has served me well in the past).
As for the process, I spent many months brainstorming the idea. I only seriously sat down and finished it after a few friends said that this sounds great! Go for it! So I needed a nudge. After that, I got a cast together, many of whom I had worked with before and I was delighted that they liked my ideas. I scouted all locations and designed the look and feel of the film.
When you take your time to ensure that your pre-production process is ‘water-tight’ and you map out the route for your film, it makes it so easy to communicate to cast and crew, and as a result they feel rest assured that their time is really worth it.
Lots of people have different ways of working, each to their own. Sometimes you learn from others, even from their mistakes. I was acting on a shoot last year that was very tiring, tedious and I even injured myself. That film still hasn’t been released, so I came away thinking I would rather be behind a camera than be in front of it. There is nothing worse than coming away from a production feeling alienated and used.
For me, it’s all about ‘team effort’ from the very first time you’re together all the way through to the end. And by communicating effectively with each other and having loads of fun - all of this goes a long way to ensuring that the whole film experience is an enjoyable one.
As a Film Director / Producer / Creative, you have a duty to make sure that a project is started, finished and delivered. It’s this rule and practice that keeps any business on track. I feel it’s a massive ‘let down’ when an Actor prepares and gives up his or her time and never ever gets to see any film footage, not even a screenshot or anything at all at the end of it - so it's absolutely vital that cast and crew are kept in the loop on that perspective.
WHAT ARE YOUR THOUGHTS ON CREATING A FILM NOW? ARE YOU MORE CONFIDENT?
I am very happy that I have full control over this project, that being, the Shooting, Directing and Editing. I always used to think that editing was the hardest, most tedious, time-consuming job, on a film project, but I really enjoy it, because at the end of the day it’s just like creating a piece of art, just using different tools. You are working to your vision and if you know how that is going to look and be put together, then the process can be easy.
Whether I could edit someone else's vision, I am not entirely sure, because it's not about being a jack of all trades, as you have to learn all aspects of what you are trying to master and also be honest if you fail at things. However no matter what you do, you will still learn.
WHAT WERE YOUR EXPERIENCES MAKING THIS FILM ?
I do suffer with OCD (Obsessive Compulsive Disorder), so I did experience a fearful night before the First Day of Shooting. Thoughts such as ...
"The camera will break down midway through……You’ll get hassle from crowds on locations….My very young nephew who is in the film will be seriously hard work etc. I had all those fears hanging over my head, but in actual fact, it went smoothly.
It was a hot busy day with lots of set-ups and I was literally sweating buckets. I remember filming the actor, Angus Brown's last scene, with sweat dripping off my nose, after we over-ran by three hours, but I was desperate to get the shoot done. It was all worth it and I am grateful to all the actors going the distance, they were so professional. I came away from the shoot absolutely exhausted, but very happy!
WHEN AND WHERE WILL WE SEE THIS SHORT FILM?
I finish shooting in early July. I would like this film online in late July via Youtube, Vimeo and to also be available as a personal DVD. I’ve prepared a Mini-Teaser, and there is to be an Introductory Teaser to the film. I am not keen on full-blown trailers for short films. I saw two recently online and they pretty much gave you good reason to put watching the film on the back-burner because the story board and spoilers were all in the trailer. It kills the Project in a way, so a Teaser is enough for me, that's just my opinion.
DO YOU HAVE ANY MORE FILM PROJECTS LINED UP ?
I want to create my first solid short film that I am happy with. The title "Director" or "Writer" does not sit well with me, as I feel at this stage I am just a chancer. But if you have vision and confidence you have to take a chance and simply step into the "Role" to get things done. When any piece of art is put out there, it’s the audience / public that buy it and they're the ones who actually decide if you’re good at what you do or not.
I have many Film ideas – an additional three have been written. So, if I am happy with my first, it may be something I do again. At the moment I am confident and happy the way things are going.
From 'Simplicity: Design, Technology, business, Life'
The Storm of Creativity
Although each instance of creativity is singular and specific, Kyna Leski tells us, the creative process is universal. Artists, architects, poets, inventors, scientists, and others all navigate the same stages of the process in order to discover something that does not yet exist. All of us must work our way through the empty page, the blank screen, writer’s block, confusion, chaos, and doubt. In this book, Leski draws from her observations and experiences as a teacher, student, maker, writer, and architect to describe the workings of the creative process.
Leski sees the creative process as being like a storm; it slowly begins to gather and take form until it overtakes us—if we are willing to let it. It is dynamic, continually in motion; it starts, stops, rages and abates, ebbs and flows. In illustrations that accompany each chapter, she maps the arc of the creative process by tracing the path of water droplets traveling the stages of a storm.
Leski describes unlearning, ridding ourselves of preconceptions; only when we realize what we don’t know can we pose the problem that we need to solve. We gather evidence—with notebook jottings, research, the collection of objects—propelling the process. We perceive and conceive; we look ahead without knowing where we are going; we make connections. We pause, retreat, and stop, only to start again. To illustrate these stages of the process, Leski draws on examples of creative practice that range from Paul Klee to Steve Jobs, from the discovery of continental drift to the design of Antoni Gaudí’s Sagrada Familia.
Creativity, Leski tells us, is a path with no beginning or end; it is ongoing. This revelatory view of the creative process will be an essential guide for anyone engaged in creative discovery.
Angus Brown - Producer at Maelstrom Media Productions