Archives for category: New projects

We are very excited to announce the launch of a crowdfunding campaign for Kin, a new short film to be directed in August by the highly talented Mila Zuo – based on a script co-written by Zuo and Beg Steal Borrow’s William Brown.

The campaign comes on the back of Zuo winning the 2019 Oregon Media Arts Fellowship, sponsored by the Oregon Arts Commission and administered by the NW Film Center.

The crowdfund campaign is being run through Seed&Spark, a site dedicated uniquely to filmmakers. For more information about the campaign – and to donate – check it out here…!

It is only between your help and the award from the Oregon Arts Commission that Kin will get made.

About Kin
Kin tells the story of three 20-somethings who live together in beautiful rural Oregon, passing their time with beer, TV, home repairs, and vague dreams about a better future.

Conversations about love, security, and taste punctuate the film’s depiction of three young adults in a forgotten Pacific Northwest town, as a shy young man is enthralled by the overconfidence of the couple he lives with.

While the men repair their neglected home, the young woman works at a small motel, as Kin builds towards a violent climax, exploring its origins and testing how far audiences can go in their ability to sympathise, identify with, and even forgive characters.

Cast and crew
Kin looks set to feature various actors who are well known from the realms of American independent cinema – and it will be exciting to update people about that as soon as the cast is confirmed.

Meanwhile, the film’s director, Mila Zuo, is best known for her short film, Carnal Orient, which premiered at Slamdance in 2016 before going on to play at a host of other festivals in North America and further afield.

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Mila Zuo preps a new film shoot

The film has since been picked up by online horror distributor ALTER, where Carnal… has thus far received over 77,000 views.

In addition, Zuo’s visual essay Détourning Asia/America premiered at CAAMfest 2019 in San Francisco. The film features and is made in collaboration with renowned Asian-American film director Valeria Soe.

Kin will be lensed by Edward P. Davee, who is an award winning writer/director whose films have screened in several film festivals and art galleries around the world.

His first feature, How the Fire Fell won Best Feature Film at the Seattle Film Forum’s Local Sightings Film Festival and was distributed by FilmBuff.

In 2012, Davee also won the Oregon Media Arts Fellowship as well as additional grants from the Oregon Arts Commission and the Regional Arts and Culture Council. The proposal for his 2nd feature film, Lost Division, won him the annual RACC Innovation award as well.

 

While we are busy working simultaneously on This is CinemaLa Belle NoiseThe Benefit of Doubt and The New Hope 2, we are also delighted to announce the completion of Vladimir and William.

Vladimir and William consists of eight video letters sent between William Brown and Macedonian experimental filmmaker Vladimir Najdovski between 2017 and 2018.

The film is inspired by various epistolary movies, such as Chris Marker’s Sans soleil, Erik Baudelaire’s Letters to Max and Mark Cousins and Mania Akbari’s Life May Be.

Featuring images of Skopje, London, Edinburgh, New York, Paris and Abu Dhabi, the film offers thoughtful considerations of various contemporary issues as well as perennial philosophical conundrums.

Here is a link to the film. If a password is required to view the film, then do get in touch with us and we shall happily send one to you.

First things first.

Pre-production
We are still working on all manner of projects, including a possible sequel to The New Hope, a film about a group of university friends holding a reunion in France called Mantis, and a film about members of a singularity cult who decide to blow up server farms called How to Get Killed in the UK. This is not to mention our unnamed musical project about London’s French community. Hopefully one or more of these will get made in the next few months.

Production
Recently we travelled to Portugal, where we did the principal photography for an experimental film about actors and acting called La Belle Noise. The movie stars Beg Steal Borrow regular Dennis Chua and newcomer Colin Morgan in the lead roles. Alya Soliman and Guy Farber helped out on the production, which featured numerous contributions from participants at and around the Fest Film Festival in Espinho, just south of Porto.

Fest provided the backdrop to the film, with William Brown also delivering a masterclass on zero-budget directing at the festival.

Post-production
We are continuing post-production work on This is Cinema and The Benefit of Doubt. Imminently our collaborative epistolary film with Macedonian filmmaker Vladimir Najdovski will be completed and will enjoy a screening in London. Keep an eye out for this!

Exhibition
William’s recently completed short film Clem, which is about one of the cats that lived with his family during his childhood, played at the 2018 Film-Philosophy Conference in Gothenburg, Sweden, where it was generally well received.

On a separate note, though, Circle/Line was accepted into the Jogja International Film Festival in Indonesia, where it received an International Award of Merit.

While this sounds like good news, there was no actual screening of the film, since the organisers of the festival insist that all filmmakers be present if their film is to be screened – and William could not afford the cost of the airfare to Indonesia.

Failing the presence of the filmmaker, one can pay a local representative to be at the film, while the festival also only accepts films that have been burnt to DVD/BluRay by the local designated company. Oddly, the festival does not accept file transfers.

The combination of these quirky policies has led William to question whether the festival is really one aimed at getting the filmmaker to spend money locally in Indonesia, which is not necessarily a bad thing, but which does reaffirm the way in which many festivals are not screening stuff because they really like it, but for other reasons, perhaps here economic.

This prompted William to survey his festival submissions over the past few years. Looking at FilmFreeway alone, William has submitted his projects to a total of 128 festivals.

There have from this been 11 acceptances, 113 rejections and 3 submissions the outcome of which has not yet been decided. This means that less than one in 10 submissions has resulted in an acceptance.

Of those 11 acceptances, two were for film scripts (or rather, for the same film script, namely Kiss & Make-Up – at the Oaxaca FilmFest and at Scriptapalooza respectively), while six acceptances were for films that ultimately did not have a screening (with those screening-less festivals being the Beijing International Film Festival, the Stockholm Independent Film Festival, the UK Monthly Film Festival and the Barcelona Planet Film Festival, which supposedly accepted three of our films at once).

This then leaves three festivals alone as having taken our work and actually screened it – with one of those being a screening of The New Hope at the Bad Film Festival in New York, where there was an audience of zero people (although this number has not officially been confirmed). Otherwise, Letters to Ariadne played at the Validate Yourself Film Festival in New York (where over two thirds of the audience walked out and where the festival organiser himself tried to clap the film off the stage), and Circle/Line played at the wonderful East End Film Festival in London.

This means ultimately that 128 submissions have led to three film screenings, a hit rate of less than one in 40. And it means that a sum of roughly £1,500 has led to about 100 people watching our films. In order words, we are paying about £15 per head for people to watch our films.

(This is not as bad as the £400 paid to a cinema in London recently to show a preview screening of The Benefit of Doubt, and to which 10 people turned up. A simple case of mathematics: for that screening we paid £40 per person to be there!)

A couple of things follow from this, the last of which will be a typical performance of self-deprecation.

The first is that if you want to make some easy money, we suspect that you could do worse than to set up a film festival that never actually runs, or which if it does run, plays only one or two films from among those ‘selected.’ All you need really to do is to give to people ‘palms’ (if that) so that they can put them on their poster to give their film the air of having had ‘festival success.’

Charging a small fee in order to attract those filmmakers who do not have the money to foot £75 entry charges, I imagine that you would have a steady stream of 50-100 submissions each month (especially if you create a ‘rolling’ festival, like the UK Monthly Film Festival). At, say, £10 a pop, that would make you between £500 and £1,000 per month, minus your fee to Film Freeway. It would certainly help with the rent and/or to pay for one’s own creative projects – including the hire of a venue at which to the screen your own work (something that William has also spotted some festivals as doing).

The second point is that such a low hit rate would suggest that our/my/William’s filmmaking is shit – since no one wants to watch it (we have to pay people to watch our work).

Even after a high profile screening of Circle/Line at the East End Film Festival, not a single door has been opened in terms of giving to that film a further festival life – in much the same way that no festival screening has ever in our careers led to further festival screenings, with none of our 14 feature films having played at more than two festivals (and with none of our shorts having ever been selected for a film festival at all).

This compares very negatively with numerous other filmmakers, whose work seems to enjoy a ‘run’ of 30 or 40 festivals with a single film.

Perhaps one day we’ll work out what it is that we do wrong. But certainly we are just wrong, or we just get it wrong the absolute vast majority of the time. We certainly very rarely get it right – in terms of not just having a screening, but also in terms of people actually liking what it is that we do.

I guess, however, that we carry on – even if it is to the displeasure of those who wish that we would just give up, and even if it is to the displeasure of those who enjoy having a good laugh/bitch at our expensive when our work is mentioned in conversation.

Because if we didn’t carry on, then the feeling of not being right would become overwhelming, since it also is linked with not being right for this world. And the logical thing to do for someone who is not right for this world is to remove oneself from it.

The Straight Jacket Guerrilla Film Festival is this week showing four – yes, four! – Beg Steal Borrow films as part of its programme.

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The Straight Jacket Guerrilla Film Festival.

The online festival, which specialises in underground, cult and experimental cinema, runs for a week, with a Beg Steal Borrow film playing on each of the festival’s first four days.

The running order sees our punk Don Quixote meets Star Wars film The New Hope playing on Tuesday 15 August.

A manifesto for the film can be read here: The New Hope – A Manifesto.

The New Hope is followed on Wednesday 16 August by Roehampton Guerrillas (2011-2016), a compilation of short films made by the titular group of guerrilla filmmakers and curated by William Brown.

Then our art house zombie homage to the Lumière brothers, Ur: The End of Civilization in 90 Tableaux, plays on Thursday 17 August.

And finally on Friday 18 August, the festival is showing Selfie, an essay-film about selfie culture comprised uniquely of moving-image selfies featuring William Brown.

We are completely delighted to be featuring so prominently as part of the festival, which is run by guerrilla filmmakers extraordinaire Fabrizio Federico and Laura Grace Robles.

The festival will culminate on Saturday 21 August with an awards ceremony at the Alamo Street Eat Bar in San Antonio,Texas. The ceremony runs from 9pm to midnight, with the Beg Steal Borrow films competing for Most Creative Feature Film. Let’s keep our fingers crossed!

Tune in to the Straight Jacket website in order to watch the films.

And click here to read an interview with William Brown about guerrilla filmmaking.

The Straight Jacket screenings come ahead of the World Premiere of Letters to Ariadne at the Validate Yourself Film Festival in New York on Saturday 2 September – and follow hot on the heels of the World Premiere of Circle/Line at London’s East End Film Festival in June.

In the meantime, we have also enjoyed preview screenings of The Benefit of Doubt at the Roxy Bar & Grill in London on 17 June and of Sculptures of London at the Film-Philosophy Conference at the University of Lancaster on 4 July.

We have also very nearly finished all filming for This is Cinema, the principle shoot of which lasted between 10 and 23 July.

So… all in all a busy summer for Beg Steal Borrow. Let us hope that we have more screenings in the near future. But in the meantime… please support our work by checking out our films!

Last weekend saw both the completion of our crowd funding campaign for This is Cinema and the screening at the East End Film Festival of Circle/Line, our documentary investigation into whether people in London are happy.

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A poster for Circle/Line at the East End Film Festival screening.

We would like to offer our thanks to all those who helped to organise and who came to the screening (especially the team at the EEFF!) and to those who pledged money for This is Cinema via our campaign with LiveTree.

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Circle/Line screens in Old Spitalfields Market.

But this is not a moment to sit still, but a moment to carry on…

And so since Saturday 3 June, I have been doing some work on an essay-film, #randomaccessmemory, while Tom Maine and I went out on Monday 5 June to shoot more sculptures for our short essay-film, Sculptures of London.

The fourth day of our shot, Tom and I started at the Emirates Stadium, where we took some shots of Arsenal legend Thierry Henry, before then heading to the site of the old Gainsborough Studios in order to capture images of the giant film reel that sits in Shoreditch Park and a curious bust of the Master of Suspense, Alfred Hitchcock himself.

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Hitchcock on the site of the former Islington/Gainsborough Studios.

We then travelled down to Liverpool Street and the surrounding area, where we saw Fernando Botero’s Broadgate Venus, Xavier Corberó’s Broad Family, and one of the Kindertransport memorials created by Frank Meisler and Arie Oviada. The last of these commemorates the effort of the British to take in nearly 10,000 Jewish child refugees in the build-up to the Second World War.

Richard Serra’s Fulcrum then followed, a statue that we shot in a style that rhymes with a similar shot of Bernar Venet’s Neuf lignes obliques in The Benefit of Doubt. We shot The Benefit of Doubt in Nice, France, where Venet’s sculpture lives. The film is a retelling of the myth of Ariadne, the daughter of Minos abandoned on the beach by Theseus and who then meets (in our film, two versions of) Bacchus.

Next we viewed Jacques Lipschitz’s Bellerophon Taming Pegasus. As Tom and I discussed creativity, I wondered (cheekily perhaps) that the City location of this sculpture about the mythical slayer of monsters capturing the monstrous chimera seemed somehow to symbolise the way in which the world of work also captures and hinders creativity – with creativity being the creation of monsters, in the sense that creativity brings into the world things and beings that have never before existed (maybe this is why we call children little monsters).

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Bellerophon Taming Pegasus

Looking at Antanas Brazdys’ Ritual in front of the Woolgate Exhange, I also wondered how this particular sculpture also seems very meaningful given its location and the material from which it is made.

This stainless steel piece offers distorted reflections of those who walk in and out of the building, thereby making us look again at, and perhaps question, the daily ritual that is the commute into and out of work. Why do we do this? Is there reason to doubt the ritual?

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Ritual

There followed shots of Karin Jonzen’s Gardener, John Birnie Philip’s Peace and Michael Ayrton’s Minotaur by the Guildhall School of Music and Drama in the Barbican.

Given the difficulty that we had in finding the Minotaur, which had moved since when we used it for a shot in En Attendant Godard in 2009, it seemed as though this minotaur really did live in a labyrinth – until a very helpful man called José helped us to locate it by leading us through the Guildhall’s staff-only area.

In En Attendant Godard, the minotaur is used to represent a bull – the form taken by Jupiter in order to rape Europa, in the film represented by Annie, who is played by Hannah Croft.

En Attendant Godard refers repeatedly to the mythical Rape of Europa – with images of François Boucher’s Rape of Europa featuring early on, before we then see Alex Chevasco’s character, Alex, being slain as a bull by a torero (Tristan Olphe-Gaillard), before Alex re-adopts bull horns and poses with Annie (who has now changed her name, although we not sure to what) by Lake Geneva.

At the time, we felt as though these images allowed us to investigate visually a link between the Rape of Europa and the concept of Europe: to be European means to be wide-eyed (from the Greek eurys/wide and ops/face or eye). In other words, it means to be open, to look others in the eye or in the face; it is a sign of respect. But perhaps Europa suffers for her wide-eyed openness as Jupiter descends to abduct her.

Further tying this myth to Beg Steal Borrow’s productions, Europa was the mother of Minos, the father of the minotaur, from which the afore-mentioned Ariadne, daughter of Minos and sister of the minotaur, saved Theseus by giving him the spool of thread that he used to make his way out of the labyrinth.

Ariadne is the name of the character that Hannah Croft again plays in The Benefit of Doubt, which is based on the myth of Ariadne, but here picking up the story from after she is abandoned by Theseus on the beach of Naxos (here, Nice) and then discovered by Bacchus (in The Benefit of Doubt represented by two characters played by Nick Marwick and Greg Rowe).

Ariadne is also a key figure in Letters to Ariadne, a film about which I shall blog shortly, and which is an attempt by me to help my niece Ariadne to make sense of the world.

Often life feels as though it is a labyrinth: a puzzle from which we can find no release, except perhaps through an act of love or kindness (as José gave to us at the Guildhall). I wonder (immodestly) that this is something that I try – in my limited way – to explore in my films (or at least to ask if to doubt, if not to know and yet to be open and wide-eyed – or in an etymological sense to be European – can benefit us).

And as in a labyrinth, where being lost we keep returning to the same places to try to make sense of them, so it is with Sculptures of London that we find ourselves returning to the same myths and themes from our other films, haunted by the same questions about what life is, and what the story is that the sculptures of London can tell us.

Indeed, as mentioned in an earlier blog, various of the sculptures that we shot in Kensington Gardens and Hyde Park also feature in The New Hope, while other sculptures that we have shot and are yet to shoot for Sculptures of London also appear in Circle/Line and Common Ground, about which more later.

To return to Day Four of the Sculptures shoot, though, we then shot the four feminised personifications of CommerceScienceAgriculture and Fine Art that live on Holborn Viaduct, while also taking an image of a lion covered in scaffold tarpaulin. This gave it the appearance of a sculpture modified by an artist like Christo, who is famous for covering monuments with cloth: like Ritual, the tarpaulin that hid the lion oddly also made it suddenly more visible than usual.

Wandering further around the City, we filmed images of Antony Gormley’s Resolution on Shoe Lane, the sculpture of Samuel Johnson’s cat, Hodge, by Jon Bickley (who also made the pig sculptures we shot on our last sortie), and St George and the Dragon by Michael Sandle and Morris Singer.

While we failed to find Stephen Melton’s LIFFE Trader, we did find J Seward Johnson’s Taxi! sculpture, before then shooting various more ‘monumental’ statues of the likes of Queen Victoria (on Blackfriars Bridge), Queen Anne (outside St Paul’s Cathedral) and the Duke of Wellington and James Henry Greathead by Bank.

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Taxi!

Outside St Paul’s, we created a shot of Georg Ehrlich’s Young Lovers that echoes a shot of Dennis (Dennis Chua) walking around the cathedral in Common Ground – during a sequence that we filmed during the Occupy London movement in late 2011.

Meanwhile, in front of the Wellington statue by Francis Leggatt Chantry, we came across some pro-EU protestors singing modified versions of protest songs (e.g. Pink Floyd’s ‘Another Brick in the Wall’) in the build-up to the next General Election. They very happily let us film them, and we chatted briefly about their desire for the UK not to leave the European Union (and their desire for Theresa May not to win the election).

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Pro-EU protestors before the Duke of Wellington

There followed brief visits to The Barge Master and the Swan Master of the Vintners Company by Vivien Mallock, and The Cordwainer by Alma Boyes on Watling Street. Interestingly enough, Tom and I marvelled at how – as per the latter statue’s inscription – shoemaking only really took off as an industry in the UK as a result of leather imported from Spain, with cordwain being a corruption of Cordovan, or things from the Spanish city of Córdoba.

If this European connection were not enough, it felt apt that the statue would find itself on Watling Street, which Tom told me was both the site of Boudica’s defeat by the Romans in cAD60 and the dividing line of the Danelaw in the late 9th Century. This latter event saw Watling Street become a boundary between Wessex and Guthrum – which in effect were thus two separate countries at the time.

In other words, the shoes that we wear to cross boundaries are themselves the product of materials crossing national borders, and which are made on the site of a place that itself became a national border and which played host to a battle about national sovereignty. It would seem that today’s disputes over national borders and boundaries have long roots in our past – which we can begin to discover by looking at the public art that surrounds us both in London and elsewhere.

After a trip to Aldgate to see Keith McCarter’s Ridirich, Tom and I popped by the Tower of London to shoot the Building Worker Statue by Alan Wilson, which was created to commemorate the lives of those who have died undertaking construction work in the city.

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Tom Maine shoots Ridirich

We then visited St Katharine Dock, where we saw Wendy Taylor’s Timepiece and David Wynne’s Girl with a Dolphin, a companion piece to his Boy with a Dolphin on Cheyne Walk and which we shot on our previous day of filming (as mentioned here).

In contrast with his Boy, though, the presence in Wynne’s Girl of a fountain that sprays up on to her body, and which spray darts around in the wind, lends to this particular piece a pornographic dimension.

Crossing the river, we then discovered that Eduardo Paolozzi’s Head of Invention has been moved – although we have not yet discovered where to (but it was not in Butler’s Wharf as we were expecting), while we could not find a bust of Ernest Bevin on Tooley Street, either.

We ended, then, with Jacob the Dray Horse by Shirley Pace in the Circle on Queen Elizabeth Street, and John Keats by Stuart Williamson in the Great Maze Pond by Guy’s Hospital in London Bridge.

It is apt that we ended in a maze – another sign that we are all in a labyrinth through which we struggle to find our way.

‘Sure a poet is a sage; A Humanist, physician to all men.’ In The Fall of Hyperion: A Dream, from which these words are taken, Keats suggests that the poet is on an endless quest for knowledge, which in turn means that the poet is plagued by doubts, never reaching the point of understanding, but always seeking, open-mindedly, to understand further.

Furthermore, in the poem, Keats suggests that humans should suffer and seek the spiritual, rather than follow or create the words of false poets: not those who create (poiesis), but those who destroy.

Filming these final two sculptures of the day in London Bridge, we came across a multitude of people, including many wearing Muslim Aid-branded clothing, taking part in the vigil announced by Mayor of London Sadiq Khan for those who died during the terrorist attack that took place at London Bridge on Saturday 3 June.

It would seem that such horrific incidents haunt Beg Steal Borrow’s films. On 14 July 2016, there was an attack involving a truck on the civilians of Nice, where we filmed The Benefit of Doubt, while this attack took place just hours after the screening of Circle/Line at the East End Film Festival.

Such catastrophes are hard if not impossible to comprehend. London is a city full of paradoxes, just like a circle that is supposed also to be a line.

However, if the vigil can teach us anything, it is that above and beyond the stories that are told by London’s sculptures, London is a city full of loving, open-minded, wide-eyed and welcoming humans – of innumerable races, religions and other types of category that we use to define ourselves. Of the sort who I would like to think are open to taking in refugees, perhaps especially children, and even if the current government recently scrapped the so-called Dubs scheme.

With each other’s help and support, perhaps we can come to learn the benefit of not knowing all the answers and perhaps not knowing at all. If we not only learn the benefit of doubt, but also share our doubts with each other (by writing poetry), then perhaps we can also learn to be Humanists, physicians to all humans, and to give to ourselves and to each other the thread that will help us to find our way out of this labyrinth.

Another session shooting Sculptures of London took place on Tuesday 30 May, as Tom Maine and William Brown ventured around southern London filming various different works.

The day started at the Wetlands Centre in Barnes, where we saw some wildlife sculptures, including Nicola Godden’s portrayal of Sir Peter Scott and what appear to be some geese.

We then headed up to St Mary’s Hospital in Roehampton, where we squeezed in a shot of Dickie and Sam, Brian Alabaster’s portrait of his father reading a book to his son, who has Down Syndrome.

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Tom Maine shoots Dickie and Sam.

A brief trip from there to Putney allowed us to follow the Putney Sculpture Trail, which features 9 works by Alan Thornhill.

Thornhill’s works are marked by a wonderful contusion and confusion of bodies, many of which seem to be carrying weights or unidentified infants, and which have the most expressive if bizarrely deformed bodies.

In some senses, Thornhill’s work is unique in London in that he defines the public art landscape of the Putney area, invoking notions of how humans are not separate from each other, but interlinked and intertwined.

It seems fitting, then, that his works are alongside the Thames, the central artery that links London and Londoners alike.

It is further along the Thames at Battersea that we next visited, filming various works in and around Battersea Park. These included John Ravera’s In Town and Catherine Marr-Johnson’s Two Swans on the south side of the river.

Meanwhile, on the north side, we captured images of a naked women in Gilbert Ledward’s Awakening, a clothed man in Leslie Cubitt Bevis’ Sir Thomas More, and a naked woman in Francis Derwent Wood’s Atalanta.

We saw the painter Kenneth Howard at work alongside Atalanta, opposite from the remarkable Boy with a Dolphin by David Wynne.

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Boy with a Dolphin by David Wynne

We then walked into Battersea Park, where of all of the works on offer we opted to shoot Henry Moore’s Three Standing Figures and Barbara Hepworth’s Single Form, the latter of which is an imposing eye (reminiscent of the Open University logo) that really conveys a sense of solidity and gravity – as is fitting for its purpose as a memorial to UN Secretary General Dag Hammarskjöld.

From Battersea, Tom and I trekked on to Clapham, Stockwell and Brixton, taking in various works, including Aleix Barbat’s Bronze Woman and the various figures that inhabit the platforms of Brixton’s train station.

By Barbat’s Bronze Woman in Stockwell, we had a brief discussion with a passer-by about sculptures in London: he was very much intrigued by the provenance of this piece, which was made to commemorate the lives of Caribbean women.

A brief stop at Denmark Hill to see Catherine Booth at the headquarters of the Salvation Army was then followed by a look at some of the more monumental works around the O2 Arena in North Greenwich.

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Catherine Booth stands before the Salvation Army headquarters in Denmark Hill

This included capturing shots of Antony Gormley’s Quantum Cloud, Gary Hume’s Liberty Grip and Alex Chinneck’s Bullet from a Shooting Star.

The day then ended with a trip to the Surrey Quays Farm where we managed – through a closed gate – to get images of our final sculpture of the day, a series of pigs, ducks and a donkey by Jon Bickley.

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Jon Bickley’s pigs and goats

A long and productive day that sees the Beg Steal Borrow team get close to finishing their tour of London’s outlying boroughs, before turning their attention to the public art to be found in the centre of town.

Keep an eye out for further updates!

 

 

 

A huge thank you to everyone who has so far helped in the backing of This is Cinema, the new film from Beg Steal Borrow and which will be shot in July 2017.

As of Friday 19 May, we have raised an impressive £2,240 of the £3,000 that we are aiming for through our crowd funding campaign on LiveTree. This amounts to just shy of 75 per cent of the desired money raised, leaving us with £760 to raise to meet our target in the next 15 days.

This is Cinema tells the story of Ben, a university lecturer who is grieving the loss of his wife and child. One day, his brother-in-law, Dennis, unexpectedly arrives on his doorstep with Radhika, a homeless woman who is fleeing an unhappy marriage.

Slide1Meanwhile, Latoya is a diligent and popular student taking one of Ben’s classes. Her brother, Wilhelm, is also in Ben’s class, but he hardly attends, preferring to sell weed on campus in a bid to finance his musical aspirations.

Things become complicated when Ben and Latoya get a match on a dating app while Ben is on a drunken night out. Furthermore, Ben’s world also unravels when he is threatened with redundancy for not being productive enough.

Tensions rise, then, as Dennis struggles to rearrange his life after losing his own marriage and falling into drink, while Latoya wrestles with depression and Wilhelm a mounting debt that sees him turn to dealing cocaine.

As Ben tries to work through his grief, and as all of the characters try to find meaning in their lives, This is Cinema explores the lives of two very different families as worlds collide in contemporary London.

The film is thus about those who desire intimacy and trust in a city where neither is easily forthcoming, and where traditional barriers must perhaps be broken down if trust is to be found.

Set against the backdrop of the neoliberalisation of British university education, This is Cinema will partially be shot in the areas of London where François Truffaut made his 1966 adaptation of Ray Bradbury’s famous 1953 novel, Fahrenheit 451. In this way, the film’s setting will echo Truffaut’s use of south west London spaces in order to investigate how in addition to politics, the very architecture of the city plays a role in placing the freedom of thought under threat.

Starring Al Trevill as Ben and Dennis Chua as Dennis, This is Cinema is set to feature performances from various Beg Steal Borrow stalwarts, while also featuring performances from brand new collaborators, including Radhika Aggarwal as Radhika, Cherneal Scott as Latoya and George Morgan as Wilhelm.

Shot by stellar cinematographer Tom Maine, we also look forward to sound recording from Julio Molina Montenegro, as well, hopefully, as musical contributions from many of our long-standing collaborators (Radhika is the drummer in Extradition Order for whom we have shot a couple of music videos).

This is Cinema thus looks set to be a wonderful addition to the Beg Steal Borrow canon. And if you are interested in supporting the film, then please take part in our crowdfunding campaign, a link to which is available here.

The LiveTree crowd funding campaign created by Beg Steal Borrow Films to help produce This is Cinema has got off to a fantastic start, with over £800 of the desired £3,000 raised within 48 hours of the campaign’s launch.

Nonetheless, we still have plenty of ground to cover in order to reach – and perhaps go beyond – our target over the next 28 days.

This is Cinema tells the story of Ben, a university lecturer who is grieving the loss of his wife and child. One day, his brother-in-law, Dennis, unexpectedly arrives on his doorstep with Radhika, a homeless woman who is fleeing an unhappy marriage.

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Meanwhile, Latoya is a diligent and popular student taking one of Ben’s classes. Her brother, Wilhelm, is also in Ben’s class, but he hardly attends, preferring to sell weed on campus in a bid to finance his musical aspirations.

Things become complicated when Ben and Latoya get a match on a dating app while Ben is on a drunken night out. Furthermore, Ben’s world also unravels when he is threatened with redundancy for not being productive enough.

Tensions rise, then, as Dennis struggles to rearrange his life after losing his own marriage and falling into drink, while Latoya wrestles with depression and Wilhelm a mounting debt that sees him turn to dealing cocaine.

As Ben tries to work through his grief, and as all of the characters try to find meaning in their lives, This is Cinema explores the lives of two very different families as worlds collide in contemporary London.

The film is thus about those who desire intimacy and trust in a city where neither is easily forthcoming, and where traditional barriers must perhaps be broken down if trust is to be found.

Set against the backdrop of the neoliberalisation of British university education, This is Cinema will partially be shot in the areas of London where François Truffaut made his 1966 adaptation of Ray Bradbury’s famous 1953 novel, Fahrenheit 451. In this way, the film’s setting will echo Truffaut’s use of south west London spaces in order to investigate how in addition to politics, the very architecture of the city plays a role in placing the freedom of thought under threat.

Starring Al Trevill as Ben and Dennis Chua as Dennis, This is Cinema is set to feature performances from various Beg Steal Borrow stalwarts, while also featuring performances from brand new collaborators, including Radhika Aggarwal as Radhika, Cherneal Scott as Latoya and Femi Wilhelm as Wilhelm.

Shot by stellar cinematographer Tom Maine, we also look forward to sound recording from Julio Molina Montenegro, as well, hopefully, as musical contributions from many of our long-standing collaborators (Radhika is the drummer in Extradition Order for whom we have shot a couple of music videos).

This is Cinema thus looks set to be a wonderful addition to the Beg Steal Borrow canon. So if you are interested in supporting the film, then please take part in our crowdfunding campaign, a link to which is available here.

Monies raised by the campaign will ensure that the film’s significant cast and crew can be fed during the production, while also perhaps covering the hire of a gimble for interior sequences, ensuring that we have enough hard drive space to back up video and audio recordings, film festival submission fees, and perhaps even recompensing various of the many participants in the film.

Beg Steal Borrow Films is delighted to announce the launch of a crowd funding campaign to finance their new film, This is Cinema.

Running until 3 June, the campaign is being hosted by LiveTree, and is hoping to raise £3,000 to support the production of This is Cinema, the 11th Beg Steal Borrow feature.

If you are interested in supporting the film, then please sign up to the campaign here.

The film tells the story of Ben, a university lecturer who is grieving the loss of his wife and child. One day, his brother-in-law, Dennis, unexpectedly arrives on his doorstep with Radhika, a homeless woman who is fleeing an unhappy marriage.

Slide1

Meanwhile, Latoya is a diligent and popular student taking one of Ben’s classes. Her brother, Wilhelm, is also in Ben’s class, but he hardly attends, preferring to sell weed on campus in a bid to finance his musical aspirations.

Things become complicated when Ben and Latoya get a match on a dating app while Ben is on a drunken night out. Furthermore, Ben’s world also unravels when he is threatened with redundancy for not being productive enough.

Tensions rise, then, as Dennis struggles to rearrange his life after losing his own marriage and falling into drink, while Latoya wrestles with depression and Wilhelm a mounting debt that sees him turn to dealing cocaine.

As Ben tries to work through his grief, and as all of the characters try to find meaning in their lives, This is Cinema explores the lives of two very different families as worlds collide in contemporary London.

The film is thus about those who desire intimacy and trust in a city where neither is easily forthcoming, and where traditional barriers must perhaps be broken down if trust is to be found.

Set against the backdrop of the neoliberalisation of British university education, This is Cinema will partially be shot in the areas of London where François Truffaut made his 1966 adaptation of Ray Bradbury’s famous 1953 novel, Fahrenheit 451. In this way, the film’s setting will echo Truffaut’s use of south west London spaces in order to investigate how in addition to politics, the very architecture of the city plays a role in placing the freedom of thought under threat.

Starring Al Trevill as Ben and Dennis Chua as Dennis, This is Cinema is set to feature performances from various Beg Steal Borrow stalwarts, while also featuring performances from brand new collaborators, including Radhika Aggarwal as Radhika, Cherneal Scott as Latoya and Femi Wilhelm as Wilhelm.

Shot by stellar cinematographer Tom Maine, we also look forward to sound recording from Julio Molina Montenegro, as well, hopefully, as musical contributions from many of our long-standing collaborators (Radhika is the drummer in Extradition Order for whom we have shot a couple of music videos).

This is Cinema thus looks set to be a wonderful addition to the Beg Steal Borrow canon. And if you are interested in supporting the film, then please take part in our crowdfunding campaign, a link to which is available here.

Beg Steal Borrow’s William Brown was selected as a finalist for the Global Script Challenge at the sixth Oaxaca FilmFest in Oaxaca, Mexico.

The top left positioning alas did not mean first prize.

The top left positioning alas did not mean first prize.

William’s script, Kiss and Make-Up, was one of 12 scripts to be selected for the final – with William ultimately losing out to Dave Ryan for his script, Coffin.

Kiss and Make-Up is a script about a man who disguises himself as different people in order to remain close to his ex-girlfriend. It is the first script that William has submitted to a film festival – and he is delighted to have made it through to the final.

Indeed, as a finalist one can happily claim to have come second or joint second.

Now, all that remains is for someone to produce the film – be it specifically as a Beg Steal Borrow production or otherwise.

Oaxaca FilmFest’s curator, Enrrico Wood, described the script as ‘funny, well-written and witty.’ May such positive feedback continue – and may this be the first of many festival inclusions and perhaps even plaudits.

William relaxes with a beer after making it to the final of the Oaxaca FilmFest's Global Script Challenge.

William relaxes with a beer after making it to the final of the Oaxaca FilmFest’s Global Script Challenge. Photo by María Villanueva.

Many thanks to the Oaxaca FilmFest for including the script and then for listing it as one of the 12 finalists. The Global Script Challenge’s panel of judges included Couch Fest founder Craig Downing, actor Orlando Moguel Granados, directors Ron Leach and Jorge Pérez Solano, screenwriter Mariana Musalem Ramos, Keya Khayatian of the United Talent Agency, and film critic José Quintanilla.

Furthermore, the Oaxaca FilmFest, which was founded in 2010 and which has already garnered a reputation as ‘Sundance south of the border’ also works in partnership with the Sundance Institute – thereby making it even more of an honour to have been selected and then included as a finalist.