I love that phrase, “It won’t leave the island.” I never understood it until it was explained to me that that is what producers, etc, call a British film that doesn’t stand a chance of achieving success (or whatever) anywhere but here – ‘on the island’.
So, what the heck do the BIFA awards – British Independent Film Awards – have to do with anything? They’re not the Oscars, are they? They’re sure as heck not the BAFTAs, which are still called the British Oscars. What’s the point of yet another British film award for works that may or may not leave the island?
Plenty. Today’s BIFA nominations, held at 45 St Martin’s Lane, London, were surprisingly lively. The champagne flowed, courtesy of Moet & Chandon and the goodie bags by MAC Cosmetics (who still recycle old makeup containers: 3 used containers = one new lipstick) were pretty glam, sustaining MAC’s association with film. Sponsors are key to awards like these; they indicate that British independent film is no longer small beans. British film is slowly inching towards serious business, higher stakes and bigger markets. Filmmakers are beginning to get that films have to ‘leave the island’ if they want to earn their money back. British Independent Films do not need to be quirky, weird, UK-centric films that even we can barely stomach.
Of course, there is an argument that a good film, given the right marketing and distribution, will get seen no matter what. And good films do surface via word of mouth, cinema clubs and the web. You can’t keep a truly good film down: someone, somewhere will tweet about it. (At least, that’s the theory. The filmmakers may go bankrupt, but we’ll get to see their work for free. It’s a great deal for the audience.)
The peeps at the BIFA awards were excited about this year’s list of nominated films that are good enough, mostly, to leave the island. Many of the nommed titles could compete against anything the Hollywood studios can muster. (Don’t forget, Hollywood doesn’t exist to make films. It exists to make money from films; it’s actually into intellectual property rights and distribution.)
The real King of ‘The King’s Speech’
Eight noms went to director Tom Hooper’s ‘The King’s Speech’, a film that is a real crowd-pleaser. ‘Monsters’ (a really well-made, interesting and beautiful film which is about monsters but mostly about a romance), the star-crammed drama ‘Never Let Me Go’ and the ground-breaking unposh ‘The Arbor’ all received six noms.‘Kick-Ass’ and ‘Four Lions’ were also mentioned as were Mike Leigh’s ‘Another Year’, ‘Made in Dagenham‘ and the new ‘Brighton Rock’.
The quality of these films, while higher than most indie productions, still varies. The audience they’re aimed at also varies. And, like every other creative industry, risks are taken. For instance, I loved ‘Made in Dagenham’, but so far it isn’t setting the world on fire – I suspect mainly because you don’t go, “Hey, let’s spend £50 on a sitter and drive 30 miles to see that film about women striking in a factory, okay?” Sally Hawkins and Bob Hoskins are brilliant in it. (Then again, I’m still reeling after seeing Bob Hoskins in ‘The Long Good Friday’ last week. ZOMG.)
There is no automatic audience for British film. Not really. But we’re still cranking ‘em out, hoping for another ‘Slumdog’ or [put British film name here]. After all, Brits are pretty happy watching other countries’ films – and that’s why the BIFAs matter: they highlight the good stuff that’s happening here.
Will winning a BIFA award bring £££ or $$$ to the filmmakers? Possibly. According to a study in 2008, awards are more important for independent films than they are for the big Oscar-nommed bruisers. The awards, created by the Raindance Festival people in 1998, show that each country has to yell about its own films because, outside of America, no one else cares unless you make them care. And if indigenous filmmakers make money on one film, they may be able to stay in business.
Maybe they’ll read your script and make it into a big hit?
