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How do we get people to not use toilet paper sourced from the boreal forest? "Many major toilet paper brands – most notably, Procter & Gamble’s Charmin – are made almost exclusively from virgin pulp from climate-critical, centuries-old forests in the Canadian boreal. The boreal forest is essential in the fight against climate change, holding more than 300 billion tons of climate-altering carbon." Let's stop buying any toilet paper made from trees. Period. Who Gives a Crap is made from recycled content and so is Natural Value which is also made in the US. See Michael's The Issue with Tissue film if you can. It really highlights everything wrong with clearcutting age-old forests for wiping our butts. It's very sad. Natural Resources Defense Council (NRDC) Sierra Club BC Urban Forestry Bury St Edmunds Ltd URBAN 2nd World Forum on Urban Forests Carbon Sink LLC Carbonsink Carbon Sink Action https://bit.ly/3ZuOaRQ

Six key developments in the international film industry:

“DOC NYC touts itself as “America’s Largest Documentary Film Festival,” as its tagline states. But for some, bigger isn’t always better.” Read the full article by Anthony Kaufman on #DocumentaryMag.

Great article geared towards on taking those first steps to starting your own film festival!

This really depends on your goals. Is your goal to connect with community and build audiences or to meet with agents and seek representation? You have to think about these. When you work on your film festival strategy, start with this tier of festivals. Look out for the “When” because that determines your premiere status. Then you want to look into niche film festivals like the Cascade Festival for African Films or the American Black Film Festival. Once these festivals respond look into your local film festivals. Also, set aside a budget for traveling.

This month I’m celebrating 25 years as a member of the British Film Institute (BFI). Here’s 5 reasons you should become a member: (1) The BFI is home to the National Archive, one of the largest film archives in the world, with nearly 1 million films and TV programmes. As a member, you get privileged access to the catalogue, including special screenings, both physically at the BFI Southbank and BFI IMAX (Britain’s biggest screen) and digitally through the BFI Player. (2) Being a member means that you actively contribute to the National Archive’s efforts to restore, preserve and showcase classic British films, including their role in tracking down sought-after missing titles that don't exist in any archive. (3) The BFI organises the annual @London Film Festival, one of the top film festivals internationally, and showcases a diverse array of films from different genres and countries. As a member you get priority booking. (4) As a BFI member you have access to their excellent riverside bars, cafe and shop. (Full transparency, you don’t need to be a member to frequent the bars but you do get money off in the BFI Shop.) (5) BFI membership starts at the bargain price of £39 a year. That’s 75p a week. You can’t say fairer than that. So, if you fancy joining a community of film enthusiasts and supporting an organisation dedicated to celebrating, preserving, and advancing the art of cinema, there are details of how to join in the comments below 👇🏻

Everyone’s talking about where the Sundance Film Festival will live in the future, but a more compelling question may be this: How do independent filmmakers plan to distribute their films and create real careers when even Sundance — wherever it may be based — is not enough? That’s not a knock on Sundance, or on any festival; it’s recognizance that the world has changed. Many films don’t sell, even at Sundance. The decline in theatergoing, the change in streamers’ strategies, the rise of arthouse events: No one knows what the new normal is, but today putting faith in selling a movie at its premiere and living happily ever is not even a fairy tale; it’s a toxic myth. #IndependentFilmmaking #FilmDistribution #SundanceFilmFestival

WorldFilmFederation.Com the global film industry resource and free to join From Blockbusters to Bust: Why the Film Industry is Fading Fast

Local Suppliers, Crew and Talent Can you provide a service to Film Productions in Dorset & Hampshire?   Would you like to see more film projects in this region? Just imagine how working locally will reduce the time and cost of travelling to set, let alone carbon footprints! Then raise your hand now, and let us know who you are. Why? The doors are opening wide with opportunities for local Crew, Talent, Services and Locations. We need to gather the stats that show Film & TV Productions that we can deliver world-class skills and facilities across Hampshire, Dorset and the Isle of Wight. That’s why we’ve been out and about talking to land-owners, studios, investors, streamers, and councils across our region. All of them have expressed an interest in seeing film studios in the two counties. What’s more you could benefit from what’s coming through our connections: ·        The new Medina Film Studios on the Isle of Wight is coming soon! ·        There are talks for another film studio in Southern Hampshire.  ·        Discussions are also taking place for two new film studios in Dorset. ·        COLLABORATION IS KEY, join us, Dorset Film Office, Hampshire Film Office, Isle of Wight fixers, FILM EXPO SOUTH and Medina Studios working together to 'MAKE IT HAPPEN' To complete our survey, it’ll only take you two minutes - the more Crew/Talent we can highlight in the region, the greater the benefit to all. Taking a few minutes of your time could make a major change for our region and the opportunities in the industry for us all. So please fill out the survey here: https://lnkd.in/ejQHZtzv and let’s pull together to make sure that light turns green.   Please do share with other local filmmakers. Kind regards Gillian Tully Luke English DAL Strategy Ltd Danny Stack Adam J. Merrifield Julia Stringer Debbie Tarrier Buz Ross Devoted Films Ltd Love Films Treehouse Digital Paul Sarony

Concerns About the Zambian Film Industry A concerning trend is taking root in the Zambian film industry, one that many are reluctant to address openly. As George Chirwa Jr II aptly highlighted in his recent article, our industry is plagued by internal conflicts that are undermining its potential. I want to clarify and support his observations, though my article aims to be more direct. The date 27th July is shaping up to be a critical and chaotic day for the Zambian film industry. With only a small but passionate audience for films, it's disheartening to see multiple movie premieres scheduled for the same date. This clash does more harm than good, fragmenting our already limited viewership and resources. ____________________ On 27th July, the Short Film Exhibition will take place at Nu Metro Cinema at Arcades Mall in Lusaka. This event is crucial as it showcases a variety of works from different producers, offering diverse entertainment options in one place. _____________________ Simultaneously, "City of Goons" by Raphael Nyirenda will premiere at Lowenthal Theatre in Ndola. This recent feature film deserves its moment to shine and generate income, with cinema being a primary avenue for such revenue. _____________________ Additionally, "The Mwizukanji Feature Film" by Cosmas Ngandwe will premiere at Kitwe Little Theatre in Kitwe on the same day. _____________________ This scheduling conflict makes it difficult for film enthusiasts to support all these events. While competition is healthy, the manner in which it is being pursued—by vying for audiences on the same day in different locations—is detrimental. Our industry should compete in terms of production quality, not by forcing audiences to choose between events on the same day. Reasons to Avoid Multiple Premieres on the Same Day 1. Audience Fragmentation: With our young industry, having multiple premieres on the same day splits the limited audience, reducing the impact and success each event could have if held separately. 2. Media Coverage: Staggered premieres would allow for better media coverage and publicity for each film, giving them individual attention and the chance to shine. 3. Economic Impact: By spacing out premieres, we can maximize ticket sales and revenue, which is crucial for the financial health of our fledgling industry. 4. Community Building: Staggered events allow filmmakers and audiences to support each other, fostering a stronger, more united film community. Building a Better Industry We need order in how we launch our films. Let's stop trying to prove a point by scheduling premieres on the same day. The time for competing over audiences will come, but for now, we must focus on building a solid foundation for our industry.