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Development flow increases..  As the demand for original media content, Filmed Entertainment Products (FEP), continues to grow for television, for digital streaming platforms and, still, for eventual theatrical release,  First Wind Film Development continues to bring its extensive skills and experience to developing and curating a wide range of fresh and original projects on offer to  film production entities.

“Studios, networks and streamers are still hungry for development deals, say nearly a dozen agents – a sign that content makers will be ready to spring into action when production resumes and the workforce comes back online”  says Variety.

Ever ready – Just as prospecting for oil and minerals continues through thick and thin to maintain a pipeline  flow of sites for the drill-rigs and excavators to plan where next to be working,  so Development of Concepts to the Production-ready stage continues to be an essential step in the film-making process, regardless of external crises. Now, although Production work itself may be physically restricted due to the pandemic, Development continues to ensure that in some 12 months time, and hopefully sooner, the projects in Development are up and ready to fill the gap at just the sweet-spot moment when the Production entities can get their full Production  teams off standby and get working on them.

Story Consultants – FWFD ensures its Story Consultants have a pipeline of concepts and material to work on to be ready for when  pre-Production  gets rolling again – Meanwhile, FWFD Readers are continuing to sift through specific  genres of books looking for the best possibilities for Adaptation, passing through the info to FWFD Executive Associates to enter into discussions with Authors and Publishers.

New Concepts flowing into FWFD maintain the pipeline of  stories to develop, as factual or as drama. Themes sought after are those with local relevance, in all countries including UK,  together  with global reach, particularly true stories of human interest and endeavour. 

• Authors holding rights to their publication are welcome to check in with us to discuss the possibility/suitability of the work to be developed for the screen..All ideas/concepts sent in to FWFD will be registered and accredited for further discussion,  for submissions please contact info@fwfd.co.uk

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Frankly my dears it has taken me until today, (three days after the event) to put finger to keyboard to comment on the most prestigious day in the British Film Industry’s calendar, the BAFTA awards. I blame the sponsor #Tattinger.

It was truly a glittering, moving and sophisticated affair. The side of the industry that most of us in it, rarely experience. The end user end: The perfect make up, the polished manners, the expensive dresses, the whump of limousine doors and the dazzle of diamonds. We saw the autograph hunters, the fans quoting lines from films that had premiered only days before; the selfie-takers hoping for a little stardust to rub off on them, including a small band of protesters grabbing a fist full of limelight for their cause. Even my new undercut got a shout out from the crowd that lined the very bouncy very red carpet. For a moment I was at the epicenter of the most glamorous industry in the world on its biggest night out.

The event was also a remarkably friendly affair. Unusual for London, strangers just turned to each other and chatted. The powder room queue was no exception. There we mortals rubbed elbows and gossiped with the stars, who like us got sprayed by an uncontrollable tap, experiencing a shape of water down our fronts!

It was during the speeches, -where the men in suits who pay for the crews in jeans have their moment of glory- (and it was all men this year) that the hundreds of technicians that make each moment of screen magic possible sprang to mind. The solid foundation of sparks and stylists, the paint crews, the dirty down teams, the girls who wash the wigs when everyone has gone home and the costume teams who come to work when everyone else is still in bed; stand-bys and stand-ins, trainees and clapper loaders, and writers, I salute you.

It is award season. Dig out the little black dress and sponge down the DJ, it could be you!

Around this time of year Distributors, Directors, Executives and the creative HODs (heads of department) are all getting excited about the possibility of a golden statuette from BAFTA or Oscar adorning their smallest room. (Research has shown is where most winners keep their gongs.)

So how do you win? Who votes for you? I am going to give you a peek into the world of the BAFTAs.

Any film that has had a cinema release in the past twelve months is eligible. BAFTA members are invited to nominate films for what is the master list. Big budget, low, budget, documentaries, animation; all are included in the pool of pictures that members vote on. There are two rounds to the process. In the first, every member with voting rights can vote in the performance and best film categories, but only the craft chapters can vote for their particular subject, the idea being that Make up artists, or visual effect supervisors, cinematographers, production designers etc. have the expert eye in their field.

Round two, which is whittled down to a short list, is the round the public gets to hear about. All members vote in all categories here. This is the round that awards the prize!

The whole process involves watching a lot of films! BAFTA hosts screenings throughout the year to keep us up to date with new releases and members get free entry at Cineworld and Odeon cinemas if they are not near BAFTA HQ in London, like me. Distributors also share DVDs or download codes so we can watch at home as the releases ramp up in the late autumn. So how did my household spend Christmas? Glued to at least three films a day to catch up on the nominees.

For sure I watched films that were not to my taste, and one or two that took me way out of my comfort zone, and a few that were clever and delightful and a fabulous delicious surprise. Yes, members discuss their preferences and occasionally manage to modify each other’s choices. And yes, reviews and articles in the trade papers can be helpful as a guide when a sensory overload occurs and critical analysis becomes impossible. So what did I vote for? I cannot possibly tell, but I will be there at the Royal Albert Hall on February 18th to witness firsthand the tears and tsunamis of gratitude, the glamour, and glitz, the antitheses of a day on set in a dusty film studio where the real magic happens!