Ian Fielding: How does Wilby Park relate to filmmaking today?

WILBY PARK TUG OF WAR

Ian Fielding: Now is an exciting time for filmmakers in general, the advent of sophisticated and realistically priced digital technology means that the field is open for anybody with a story and a scintilla of determination to go ahead and make that flick.

As broadband sizes increase film distribution faces its biggest commercial hurdle since its inception. It also means that if you make a film of any length you can put it out there and it will find an audience whether it’s forty people or forty thousand.

Later this year sees the tentative UK commercial launch of the red camera, the camera they used to shoot the recent Che biopic with. That’s world class imagery becoming more and more accessible to the guy or girl on the street.

When that thing comes out, the old idea of industrial film making being the sole providence of big studios will be blown out of the water forever. In a couple of years you could envision a small troupe of passionate teenagers on minimum wage drubbing up the cash between them to make a story completely viable for the commercial market. With lowering costs you get greater freedom, more room for creativity, I’m not saying that’s all there is to it, you can buy the best guitar in town but you still gotta know what to do with it.

If you’re lucking enough to live in a developed country from Andover or Andalusia making a film could become as common as starting a garage band with your mates. As Marx might say, the means of production are now in the hands of the workers – the revolution starts now.

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