Gyda sawl sinema dal ar gau oherwydd COVID-19, ry'n ni'n parhau i ddathlu lleoliadau annibynnol ar draws y DU yn ein cyfres 'Sinemau ein stori'. Dyma gyfweliad arbennig gyda Pauline Williams, Off y Grid, am y prosiect aml-leoliad sydd wedi'i gefnogi gan Canolfan Ffilm Cymru ac sy'n anelu i ddod a chymunedau ynghyd i wylio ffilmiau annibynnol Prydeinig. Canolfan Ffilm Cymru, that aims to reduce isolation and increase engagement with British and independent film.
Mae Off y Grid yn brosiect sy'n gweld lleoliadau yn cyd-weithio ar daws Gogledd Cymru er mwyn darparu gwasanaeth gymunedol i gynulleidfaoedd ardaloedd gwledig a dathlu treftadaeth leol. Mae'n nhw'n gweithio ar y cyd i ddarparu rhaglenni tymhorol fel bod modd denu cynulleidfa ehangach ar draws yr ardal. Dyma Pauline Williams, Rheolwr y Prosiect, yn egluro sut y mae'n nhw'n cyd-weithio er mwyn gwella'r profiad i'r gynulleidfa ac er mwyn gallu rhannu arbenigedd ar draws y sinemau, mae hefyd yn son am ei phrofiadau cyntaf hi o'r sinema ac sut y mae'r profiadau hyn yn dylanwadu ar ei gwaith heddi.
Beth mae Off y Grid yn ei gynnig i'r gynulleidfa?
Mwy o bobol. Mwy o ffilmiau. Mwy o lefydd. Dyna ydi amcan prosiect Off Y Grid (OYG). Mae OYG yn cydlynnu partneriaeth unigryw rhwng saith canolfan yng Ngogledd Cymru sy'n gweithio ar y cyd i hyrwyddo ffilmiau annibynnol, Prydeinig a ffilmiau byd i gynulleidfaoedd mewn ardal wledig. Mae OYg hefyd yn cynnig arlwy o ffilmiau clasurol cyfarwydd yn ogystal â dathlu treftadaeth Cymru trwy ffilmiau archif.
Mae'r 7 canolfan - CellB, Galeri, Pontio, Neuadd Dwyfor, Neuadd Ogwen, Tape Community Music & Film a Theatr y Ddraig - yn cynnig profiadau gwahanol o ran gofod a lleoliad ond yn rhannu'r un meddylfryd gyda'r diwylliant Cymreig, etifeddiaeth a hygyrchedd yn ganolig i'r arlwy. Wrth gyd-weithio gellir hyrwyddo ffilmiau mwy heriol i gynulleidfa ehangach. Wrth rannu syniadau ceir cyfle i greu profidadau sinema newydd yn yr ardal.
Wedi ei ariannu gan Film Hub Wales, mae'r prosiect yn cynyddu gweithgareddau ar draws Gogledd Cymru mewn ardaloedd sy'n aml yn dioddef o ddiffyg nawdd a digwyddiadau celfyddydol. Mae'n digwyddiadau yn cysylltu â'r gymuned ac yn cynnig darpariaeth gelfyddydol, yn annog trafodaeth ac yn ehangu gorwelion trwy gyfrwng ffilm. Yn ogystal â dangos ffilmiau rydym yn cyflwyno gweithgareddau ychwanegol (fel sesiynnau holi ac ateb) ac yn cydlynnu gyda gwyliau ffilmiau a digwyddiadau sinematig yng Nghymru a thu hwnt.
Rydym yn cyd-weithio gyda nifer o bartneriaid rheolaidd ond yn barod i ehangu'n gorwelion gyda phartneriaid newydd er mwyn hyrwyddo ffilm. Yn ddiweddar rydym wedi bod yn cynnig sinema pop-up i gymunedau lleol a'r bwriad yw ehangu ar ein darpariaeth yn y maes yma yn ogystal â pharhau i ddatblygu cynulleidfa o bob oedran yn yr ardal.
Beth oedd eich swydd gyntaf? Sut arweiniodd hyn at Off y Grid?
Ar ôl cychwyn gyrfa yn y BBC Caerdydd a chael hyfforddiant yn gweithio ar ddramau a chyfresi teledu bum yn gweithio'n llawrydd nes i mi ymuno fel Cynhyrchydd â chwmni Gaucho a chyd-weithio gyda'r cyfarwyddwr Endaf Emlyn. Bu'r cwmni'n gyfrannwr allweddol yn y byd ffilm yng Nghymru ac roeddwn yn gyfrifol am gynhyrchu'r ffilmiau arobryn Un Nos Ola, Gadael Lenin, Y Mapiwr yn ogystal â dramau unigol a chyfresi drama ar gyfer teledu.
Cariad at ffilm a'r awydd i rannu'r brwdfrydedd yna a chynnig profiadau sinematig unigryw i gynulleidfaoedd hen a newydd sy'n fy nghyrru i gyd-weithio ar OYG.
Ydy ffilm a mynd i'r sinema wedi bod yn ro'ch bywyd erioed?
Pan yn blentyn roedd cael mynd i'r Majestic yng Nghaernarfon i glwb ffilm ar fore Sadwrn yn brofiad rhithiol. Doedd dim byd gwell nag ista'n y gynulleidfa yn disgwyl yn eiddgar i'r golau ddiffod yn ara deg a'r llenni i agor led y pen i arddangos sgrîn enfawr. Roedd bod yn y tywyllwch mewn byd arall yn brofiad mor gofiadwy. Dwi'n cofio mynd efo fy mam i weld Summer Holiday a'r llliwiau yn dallu'r llgadau. Ond yn fwy na hynny roedd y teimladau a ysgogwyd gan y ffilmiau mor bwerus.
Yn ddiweddarach roeddwn yn mynychu'r Coliseum yn Port a'r Forum yn Blaenau yn rheolaidd. (Yn anffodus does na'r un o'r sinemau yma'n bodoli bellach) Does dim byd mwy cyfareddol na bod yn yr hanner gwyll yn cael y'ch tywys i fyd arall. Does dim ffiniau i ddychymyg. Yn sicr roedd dylanwad y sinema yn y blynyddoedd cynnar yn allweddol yn fy newis o yrfa.
Sut y mae gweithio a'r lleoliadau san sylw wedi dylanwadu ar eich gwaith chi heddi?
Mae'r profiadau ges i o wylio ffilm ar y sgrîn fawr ac ymgolli mewn byd arall yn y sinemau cymunedol, lleol yma yn f'ysbrydoli i gynnig profiadau tebyg i gynulleidfaoedd heddiw. Roedd mynd i'r sinema yn brofiad rheolaidd, fforddadwy a'r rhaglen yn amrywiol felly roedd cynulleidfa'n derbyn a gwerthfawrogi pob math o ffilm- a hynny ar stepan drws.
Mae gwylio ffilm ar sgrîn fawr yn brofiad hudolus, rhithiol. Mae bod yn rhan o gynulleidfa sy'n cyd-rannu emosiwn yn deimlad cynhwysol, cyfrin. Mae ffilm yn gallu cyfareddu. Mae'n cynnig allwedd i fydoedd eraill. Mae'n ysgogi emosiynnau. Mae'n gynhwysol ac yn drawsnewidiol.
Gan bod sinemau ar gau oherwydd COVID-19, ydych chi wedi dechrau unrhyw fentrau newydd fel Off y Grid?
CellB wedi bod yn gweithio'n rheolaidd i gynnal a hybu Gwallgofiaid trwy drefnu sesiynnau ar lein gyda Rhys Ifans fel mentor i brosiect gwneud ffilm fer.
Watch The Three Films Festival online Friday 31ain July – 2nd August
In this period of challenge and uncertainty for the creative industries, film Festivals in Wales have responded by coming together to promote the importance of Festivals in our communities and provide a new national and international platform to celebrate young talent in Wales. This initiative has been led by the Wicked Wales International Youth Film Festival in Rhyl and supported by Film Hub Wales as part of the BFI Film Audience Network (FAN), made possible by the National Lottery.
First Minister for Wales Mark Drakeford MS/AS says:
“At a challenging time for the arts, it is inspiring to see Welsh film festivals coming together to give young film makers this opportunity to share their creativity.
“The creative industries sector is one of the fastest growing in Wales and we are very proud our country is recognised as a centre for film and TV production. Innovative events like this will help to nurture the incredible pool of future talent we have, even in the most difficult circumstances.
“I would like to wish the Three Film Festival the very best of luck and congratulate Wicked Wales and everyone who has brought this to life.”
Festivals from all corners of Wales have joined together in a new Wales Youth Festival Network WYFN. The WYFN Network is being launched with a new national ‘Three Films Festival’. The Festival will screen up to three films from each of the many established film festivals in Wales and has also welcomed films from S4C, Hijinx and Into Film. The films screened have all been made by or for young audiences aged approximately 15-25.
The Festival this year will be online and will take place between Friday 31st July and Sunday 2nd August. The programme will include film screenings and an industry programme supported by Film Feels Connected on aspects of filmmaking.
Lorraine Mahoney, WYFN Coordinator says:
“Three Films Festival demonstrates the commitment by film festivals across Wales to want to help support and develop the next generation of cinema goers and filmmakers with this inspiring online showcase of films and events. It is a coming together and a celebration of the work begun by WYFN and its film festival partners, who are all working together to screen a wider range of films to young audiences in Wales.”
Rhiannon Hughes, Director of Wicked Wales Festival adds:
“Wicked Wales Festival has benefited enormously from belonging to an international youth film festival network ‘Youth Cinema Network’ (YCN) in terms of sharing ideas and best practice, collaborating on projects and raising funds together. It was this experience which we wanted to introduce to Wales to strengthen support for Festivals in Wales. We are grateful for the support of Film Hub Wales who have worked with us for a number of years to develop the new network.”
Mark Williams, Iris Prize Outreach and Education Manager:
“We’re delighted to be sharing some of the films we have made with young people. We’ve been inspired by the creative talent we have here in Wales, as our next generation of filmmakers begin their journey. We hope people enjoy watching these films as much as we’ve enjoyed making them.”
The full festival programme is available on the www.wickedwales.com website and WYFN Facebook page.
Follow twitter @wales_youth for regular updates and subscribe to the YouTube festival channel to watch the free online film festival. And visit their facebook Wales Youth Festival Network neu Wicked Cinema
Streaming services added 4.6 million subscribers in the first eight weeks of UK lockdown. As we’ve acclimatised to COVID-19 restrictions, a major season of film from the BFI Film Audience Network has been giving film fans a whole new world of film to explore.
Bringing together more than 50 programmes from UK cinemas, festivals and film societies, the season offers UK film fans new ways to connect with unique, bespoke and diverse film screenings and special events, beyond the tried and tested streaming platforms.
Upcoming highlights include:
Film Feels is a National Lottery funded project designed to bring new, off-the-beaten track, films to those who have spent lockdown completing Netflix, searching every corner of Amazon Prime for something a bit different or have had all the Disney+ they can handle.
This summer, Film Feels Connected invites audiences to join in with over fifty online film events; ranging from watch-alongs to live conversations with directors, filmmakers and critics, to film festivals, workshops and at-home creative activities.
We’re spending almost three hours a day watching TV and films during lockdown2,” said Annabel Grundy, Film Feels Connected project lead, “so Film Feels Connected adds a whole new dimension to the kinds of things readily available. From Russian cinema to Japanese animation, award-winning short films, queer cinema and much needed comedic relief, we’re working with organisations and cinemas all over the UK who are selecting films they love, to share with audiences online.
Although cinemas were given the green light to open in England on 4 July, many smaller independent cinemas in the UK, unable to open at reduced capacity, are making plans to reopen later in Summer and the early Autumn.
Greg Walker, Festival Director at Pilot Light, one of the Film Feels Connected participating organisations, says:
COVID-19 has thrown many organisations a curveball with their physical festival delivery, so we’re very excited for the opportunity to connect with new and existing audiences online with our eclectic selection of TV Pilots and Web Series. We hope this format keeps our loyal audiences coming back and, also reaches new people around the country hungry to discover fresh, diverse & talented voices working in and breaking through Indie TV.”
The team behind Film Feels Connected hope that while the cinemas are dark over the summer, curious film fans will visit the Film Feels website and take a risk on some true cinematic gems. All chosen by respected cinema programmers, film festivals and cinephiles who want to share their passion for cinema.
Independent venues and festivals really care about their audiences, and so many organisations have quickly pivoted to an online programme, to connect with people and try new ways of working even in the face of challenge and uncertainty. From community film club watch-alongs to experimental programmes of new work from arts collectives, the opportunity for audiences to discover and share new films and experiences is alive and well,” says Annabel, “plus, the chance to get closer to the directors and writers behind the films with online discussions and interviews, is greater than ever before; particularly for those who are isolated or unable to access physical venues at this time. Film still has the power to connect us all.
Visit filmfeels.co.uk to find out about the all the films and events you can join in with over the summer.
There is a huge amount of work being done across the sector in response to the COVID-19 crisis. The Screen Sector Taskforce, coordinated by the BFI, is a group of the UK’s leading film, TV and moving image bodies and organisations working together to identify challenges and develop policy recommendations for Government in response to the COVID-19 crisis.
Originally brought together in response to the Brexit referendum, the Taskforce membership has grown from 30 to more than 100 senior representatives from film, TV, animation, VFX and video games. It currently operates through five sub-groups focusing on different aspects of the screen sector value chain, which are chaired by leading bodies in this area – distribution and exhibition (chaired by UKCA and FDA) inward investment (British Film Commission), independent film production (BFI), TV production and broadcasting (Pact), and video games (Ukie). Each working group will develop policy interventions designed to get the sector back up and running as quickly as possible, with these presented to Government as a single package of measures designed to help right across the sector.
Quantifying the cost of re-opening cinemas in line with social distancing and the impact on consumer demand have been priority workstreams for the distribution and exhibition sub-group. This will inform asks to Government designed to mitigate this cost and keep the exhibition sector sustainable in the aftermath of lockdown. This work complements that by the UKCA to develop guidance and safety protocols for cinemas on how to reopen in line with social distancing, which is with UK and devolved governments for consideration.
Here is a list of those involved in the Distribution and Exhibition subgroup:
If you have a COVID-19 related enquiry, please contact covid-19.queries@bfi.org.uk which acts as a centralised point for all COVID-19 enquiries, and from where BFI can also signpost you to the most relevant advice if necessary.
The Savoy has a long and fascinating history. It is one of the oldest working theatres in Wales, and is located on the oldest known theatre site in the country. Today it’s a mixed-arts venue, programming films and event cinema alongside live music, comedy and more. Director and General Manager Chris Ryde has been working at the Savoy Theatre in various roles since 2009, and brings a wealth of industry experience with him. Here, he offers some insight into the venue’s significance to South Wales as both a nostalgic link to the past and a much-loved present-day destination that has adapted to many challenges in order to survive. Long may it continue!
What does the Savoy Theatre mean to its local community?
For many, it represents a link to their past and recalls either their movie-going heritage or a link to places they were brought up. It’s a place where films were meant to be seen. It is not a box or a multiplex; it is a purpose-built venue in which films are meant to be enjoyed. Our Art Deco design motif brings back the feel of movie-going in its heyday and gives a holistic experience to customers, as they can read all about the building and put their visit into context. It is a constant joy to see the look on people’s faces as they enter the auditorium from the street and realise they have walked into a piece of history.
Where did your own history with cinema begin?
I am delighted to say that the cinema that shaped my life is still going. The Ritz in Belper, Derbyshire, which I visited for the first time in 1957, and is still in operation thanks to a husband-and-wife team (the Mundins) who bought it, restored it, and made it operational. I visited them two years ago and it was a magical experience to go back.
What was your first job working with film?
My first job in the film industry was as a trainee producer in the 1970s. I worked with Nic Roeg, Adrian Lyne, and Ridley and Tony Scott. From 1977-2012 I worked for Equity, the union for performers and creative practitioners, which brought me into contact with plenty of filmmakers, and I spent many an hour on film sets.
What initiatives are you most proud of having worked on at the Savoy Theatre?
The most successful by far was re-introducing live entertainment, because it has been a massive success, and is what people most celebrate. Second to that was getting the funds secured for digital exhibition back in 2013. We had no money and there was a real prospect that we would not be able to survive as a first-run cinema, but we got there.
While cinemas are closed due to the COVID-19 lockdown, have you begun any new initiatives to reach audiences at home?
The lockdown has had a big impact on our team, with almost all of our staff furloughed. Sadly this means we do not have the capacity to start any new projects right now, but we are keeping in touch with our audiences through newsletters and social media. We’re running a fundraiser to help the Savoy Theatre through this difficult time, and still welcoming supporters to our Friends of the Savoy scheme.
Once cinemas can reopen which film would be your first choice to see on the big screen?
The film that most exemplifies the spirit of the Savoy: The Smallest Show on Earth with Peter Sellers and Margaret Rutherford, made in 1957. I’d love to play it here.
If you’re a fan of the Savoy Theatre and would like to support them at this difficult time, you can donate to Chris’s fundraiser, Savoy Survival. If you’d like to support other independent cinemas in the UK, consider donating to the UK Cinema Fund. These donations will be added to the BFI FAN COVID-19 Resilience Fund and used to offer critical relief and business continuity to exhibitors across the UK.
BFI FAN Covid-19 Resilience Fund
London, Friday 12 June 2020: Bydd Rhwydwaith Cynulleidfa Ffilm BFI (FAN) has allocated emergency funding to independent exhibitors across the UK through the BFI FAN COVID-19 Resilience Fund. £1.3m National Lottery funding, plus a £150,000 contribution from the Mayor of London’s Culture at Risk Business Support Fund, has been made available to provide grants to those in critical financial need as they continue to face months of closure and uncertainty. BFI FAN – a unique collaboration of eight Film Hubs managed by leading film organisations across the UK – targeted the fund to help small and medium sized audience-facing organisations with a particular focus on venue-based exhibitors.
Ben Luxford, Head of UK Audiences, BFI, said:
“Mae ailgyfeirio cyllid y Loteri Cenedlaethol a Maer Llundain i roi grantiau argyfwng i’n harddangoswyr annibynnol wedi bod yn llinell bywyd, gan alluogi ein lleoliadau, sinemau a gwyliau gwych ar draws y DU i aros mewn busnes yn y tymor byr. Ond, mae’n amlwg bod y cyrff hanfodol ac unigryw yma, sydd yn hollbwysig i wead diwylliannol cyfoethog eu cymunedau lleol yn parhau i fod mewn argyfwng. Pan fyddan nhw’n cael ailagor, fe fydd gweithredu canllawiau cadw pellter cymdeithasol yn ddiogel yn amhosibl o ran logisteg i rai, a hefyd fe fydd nifer yn annhebygol o allu talu eu costau wrth weithredu ar gapasiti llai. Fe fyddai colli’r arddangoswyr yma yn golled diwylliannol enfawr i gynulleidfaoedd y DU ac felly rwyf yn falch bod FAN wedi gallu eu helpu i gadw’r goleuadau ymlaen tra mae pawb ohonom yn wynebu’ sialensau i ddod.”
The Fund has supported 130 FAN Members across the UK with awards ranging from £415 to £23,000 each. These include MacRobert Arts Centre in Stirling, Jam Jar Cinema in Whitley Bay, Magic Lantern in Tywyn, and Bounce Cinema in London, supporting exhibitors who often representing the only cultural offer in their local area. Helping to ensure they can survive is crucial, particularly to provide an offer to audiences to support wellbeing after a prolonged period of lockdown and isolation.
The BFI FAN COVID-19 Resilience Fund was administered through each of FAN’s regional and national based Film Hubs, working with the BFI, set up to support exhibitors and festivals which have faced unprecedented challenges, with many at risk of making staff redundant and permanent closure. The Independent Cinema Office (ICO) conducted a survey – Reopening Cinemas the Independent Way – to understand the impact of the COVID-19 pandemic on the independent exhibition industry. It found only 59% of respondents considered they could reopen with social measures in place, with 63% stating they could survive for only three months. Almost half of the 59% believe they will be able to open in September at the earliest.
The Resilience Fund is part of a package of support the BFI has quickly responded with in order to support individuals, productions, organisations and businesses that have been hardest hit by COVID-19.
The BFI also continues to work closely with industry and Government to develop and implement a robust, sector-wide strategy for recovery. Out of its Screen Sector Task Force, a number of working groups are focused on key areas: inward investment; independent film; distribution and exhibition; and television and broadcasting. The BFI has up-to-date industry advice for the sector at www.bfi.org.uk/supporting-uk-film/covid-19-answering-questions-screen-sectors.
The UK Cinema Association and the Film Distributors’ Association have been developing guidance to support cinemas reopen. In the first instance it is likely only multiplexes and larger chains and will be able to open once Government guidance allows, with smaller independent venues hoping to follow later in the year.
Dan Ellis, Managing Director, Jam Jar Cinema, (FAN Hub North member) said: “Jam Jar Cinema has become a hub for our community, a key attraction for our high street and most importantly something that local people love, and are proud of, in the town. The reality is that without BFI Resilience funding all of the hard work, audience development and local buy-in would be lost as we probably wouldn’t survive this crisis. This support gives us a fighting chance to reopen and we’re using this time to figure out what we need to do differently, as well as identifying the important bits – the ones that make us who we are – to keep the same in the future. But it’s not just enough to survive, it’s about coming back and being there for the people who use us, need us and are yet to discover us. It’s about cinema for all. It’s about local people, finding local solutions to local problems. It’s about being the best we can be. With this support we hope we can work together with our audiences so that our organisation, our community and our town can thrive once again.”
Natalie Jode, Executive Director, Creative Arts East (FAN Hub South East member), said: “BFI FAN COVID-19 Resilience investment for Creative Arts East will make a significant difference to our survival, both this year and next. This year it will allow us to balance the books, maintain employment for our staff and continue to support our network of 64 community cinema groups with remote training and digital programming. Crucially, this investment affords us the time and capacity to move out of a financial firefight for 2020-21 and begin looking to and preparing solutions for the medium and longer-term challenges that we are facing alongside our colleagues in the wider arts and cultural sector.”
Jessica Brewster, Director, The Roses Theatre, (Film Hub South West Member) said: “The BFI Resilience Fund is a game changer for The Roses at an incredibly difficult time. As well as ensuring our survival through the next few months, it will give us the staff capacity to innovate our film programme to better serve our communities while the doors are closed, allowing us to reach new audiences and start new conversations around independent film.”
Rhiannon Wyn Hughes, Festival Director & Cinema Co-ordinator, Wicked Wales Film Festival and Cinema, Rhyl (Film Hub Wales member), said: “Having the support and funding from the BFI and Film Hub Wales means a great deal to our team of young volunteers who run the Wicked Pop Up Cinemas at Rhyl Little Theatre in North Wales. With Film Hub Wales support we started our community cinema 3 years ago bringing affordable cinema back to some of the most deprived communities in Wales. This period of lockdown meant losing contact with the audiences we had worked so hard to build up. This funding will enable our volunteers to continue to have a place to work from and an opportunity to reach out to our existing and new audiences ready for when we open the doors again.”
Nerve Centre/ Foyle Film Festival (Film Hub NI Member) said: “BFI Covid 19 Relief Funding will strengthen our resilience to the impact of COVID-19, by helping us to maintain our connection with our strongest supporters our film audiences and the young people who make the Nerve Centre what it is – a hub for youth culture in Derry-Londonderry. We’re a venue that’s open for business, building new ways of reaching out and welcoming new audiences, online and in venue.”
Beth Bate, Director of Dundee Contemporary Arts, Dundee (Film Hub Scotland Member) said: “DCA is delighted to be a recipient of the BFI FAN Resilience Fund: this vital funding will support our cinema team during a time of immense pressure and change to ensure we can reopen our doors to our audiences as soon as possible, with a programme that’s as diverse and exciting as ever.”
Paul Carr, The Northern Light Cinema, Wirksworth Derbyshire, (Film Hub Midlands Member) said: “We’re a small rural independent cinema tucked away in Derbyshire and although we have a terrific community around us, it’s still easy to feel pretty isolated as far as the cinema is concerned. Independence comes with a price. So the BFI Resilience Fund did more than just throw us a financial lifeline. It connected us back to the big picture, reminded us we weren’t alone and gave us the breathing space, and the confidence, to plan our way back.”
Watermans (Film Hub London Member) said: “We are delighted to have been selected to receive this funding from the Mayor of London, BFI and Film London. Watermans is a small independent cinema facing huge challenges at this difficult time – along with so many others – and this grant will help us to weather the storm. But it isn’t just about keeping a cinema going during hard times; it’s about supporting a place that is at the heart of its community in Hounslow, a place where people meet, make connections, are inspired by talks, festivals and an eclectic selection of film. It’s a place where we welcome people whatever their background and put increasing access to the inspiring world of cinema at the heart of our programming. At a time when life may be difficult for so many in the coming years, places that bind communities in all their diversity will be more important than ever, and this grant recognises the role that a cinema like Watermans can play in that.”
Datganiad i’r Cyfryngau: 15fed Mehefin 2020
Mae Canolfan Ffilm Cymru wedi dyfarnu cyllid Loteri Cenedlaethol o £100,000 i 16 o sinemau annibynnol a gwyliau ffilm yng Nghymru sydd wedi cael eu heffeithio’n ddifrifol gan Covid-19. Wedi gorfod cau eu drysau ar ddechrau’r cyfnpd cloi yn y DU, mae’n debygol mai’r lleoliadau hyn fydd rhai o’r cyrff olaf i ailagor wrth i’r pandemig gilio.
Gyda misoedd o fod ar gau ac ansicrwydd o’u blaenau o ganlyniad i’r pandemig, fe fydd y cyllid yma yn cynorthwyo sinemau sydd mewn angen ariannol dwys.
I gynnal incwm hanfodol yn y tymor byr ac i gadw mewn cysylltiad gyda chynulleidfaoedd, mae rhai lleoliadau yn datblygu gweithgareddau ar-lein. Yn Nhywyn, fe fydd y Magic Lantern yn cynnal prosiect cof digidol dwyieithog i edrych ar rôl y sinema yn y gymuned. Yn y Bari mae Memo Arts Centre yn cynllunio prosiect amlgyfryngau gan weithio gyda grwpiau hyglwyf i nodi cymhlethdodau ailymgysylltu cynulleidfaoedd yn ystod ac ar ôl Covid-19.
Maen nhw hefyd yn chwilio am gyllid pellach i edrych ar gynlluniau goroesi busnes ar gyfer y dyfodol., yn cynnwys syniadau ar gyfer digwyddiadau cadw pellter cymdeithasol a fydd yn hanfodol er mwyn osgoi cau yn barhaol. O syniad Cellb o sinema awyr agored ‘Mwoo’, lle byddai cynulleidfaoedd yn cadw pellter cymdeithasol ar lled buwch; i blatfform ‘Ein Dalgylch’ Neuadd Ogwen sydd â’r nod o ddod ag artistiaid o bob disgyblaeth allan o’r lleoliad i berfformio yn y dyffryn, fforestydd a mynyddoedd.
Mae sinemau a gwyliau yn cael eu gyrru yn ystod y cyfnod anodd hwn gan bobl ymroddedig sydd yn gweithio tu ôl i’r llenni, yn ceisio dwyn cymunedau yn ôl at ei gilydd drwy ffilm. Mae Canolfan Ffilm Cymru yn gweithio’n galed gyda’r 16 partner i ddeall sut mae Covid-19 wedi effeithio arnyn nhw, fel bod modd cyflwyno’r dewis mwyaf o sinema i gynulleidfaoedd ar draws Cymru unwaith eto.
Mae Hana Lewis, Rheolwraig Strategol Canolfan Ffilm Cymru yn esbonio:
“Mae sinemau yn gwneud cymaint inni; maen nhw yno pan rydyn ni eisiau dianc, maen nhw’n dod â ni at ein gilydd ac yn ein cysylltu gyda’r byd. Rydyn ni wedi cael ein rhyfeddu gyda chapasiti staff sinemau i ofalu am eu cynulleidfaoedd, o gyflenwi cyflenwadau lleol, i gyfarfod eu hymrwymiadau ariannol. Roedden ni eisiau manteisio ar y cyfle i rannu eu straeon.
“O ganlyniad i’r cyfnod cloi, daeth incwm o werthiant tocynnau a chonsensiynau i ben dros nos, gan roi nifer o gyrff annibynnol a’u timau mewn perygl. Mae’r daith ymlaen yn hir ac fe fydd sinemau angen cefnogaeth barhaus. Rydyn ni’n gobeitho y gall cronfa gwytnwch FAN BFI ddechrau’r daith tuag at ailagor.”
Dywedodd Ben Luxford, Pennaeth Cynulleidfaoedd BFI:
“Mae ailgyfeirio cyllid y Loteri Cenedlaethol a Maer Llundain i roi grantiau argyfwng i’n harddangoswyr annibynnol wedi bod yn llinell bywyd, gan alluogi ein lleoliadau, sinemau a gwyliau gwych ar draws y DU i aros mewn busnes yn y tymor byr. Ond, mae’n amlwg bod y cyrff hanfodol ac unigryw yma, sydd yn hollbwysig i wead diwylliannol cyfoethog eu cymunedau lleol yn parhau i fod mewn argyfwng. Pan fyddan nhw’n cael ailagor, fe fydd gweithredu canllawiau cadw pellter cymdeithasol yn ddiogel yn amhosibl o ran logisteg i rai, a hefyd fe fydd nifer yn annhebygol o allu talu eu costau wrth weithredu ar gapasiti llai. Fe fyddai colli’r arddangoswyr yma yn golled diwylliannol enfawr i gynulleidfaoedd y DU ac felly rwyf yn falch bod FAN wedi gallu eu helpu i gadw’r goleuadau ymlaen tra mae pawb ohonom yn wynebu’ sialensau i ddod.”
Ychwanegodd Rhys Roberts, Cydlynnydd Sinema yn CellB:
“Mae digwyddiadau yn y gorffennol yn sinema CellB Blaenau Ffestiniog ar adegau wedi cystadlu gyda’r ddrama a welir fel rheol ar ein sgin sinema. Rydyn ni wedi gweld ein cymuned a sêr Hollywood yn cefnogi dyfodol llachar i’r ased mwyaf gwerthfawr yn ein cymuned.
“Yn ddiweddar rydym wedi wynebu bygythiad swreal y pandemig Covid-19, a diolch i gefnogaeth Canolfan Ffilm Cymru a FAN BFI rydyn ni’n gweld y sinema bach dewr yma yn ymladd yn ôl unwaith eto gan gamu i fyd newydd a gwahanol sydd yn cael ei yrru gan ein pobl ifanc creadigol, yr ydym yn eu galw yn ‘Quaran-teens’. Rydyn ni’n barod am y bennod nesaf yn ein drama.”
Dywedodd Lauren Orme, Cyfarwyddwraig Gŵyl Animeiddio Caerdydd:
“Mae Covid-19 wedi cael effaith enfawr ar Ŵyl Animeiddio Caerdydd, fel ag ar cymaint o gyrff celfyddydol. Roedd gorfod gwneud y penderfyniad i ohirio ein gŵyl dair wythnos yn unig cyn ein dyddiadau gosod wedi gallu bod yn ddiwedd arnom ni fel corff.
Mae Canolfan Ffilm Cymru wedi bod yn eithriadol o gefnogol drwy gydol y cyfnod yma. Mae’r cyllid newydd yma yn llinell bywyd a fydd yn ein galluogi i gefnogi gweithwyr llawrydd a chontractwyr, datblygu gwaith newydd a chyffrous i wasanaethu’r gymuned sydd wedi’i hadeiladu o gwmpas ein gweithgaredd dros y pum mlynedd a hanner diwethaf, a helpu ein cynulleidfaoedd i deimlo’n gysylltiedig drwy animeiddio annibynnol tra rydyn ni ar wahân."
Mae’r gronfa gwytnwch ar gael drwy gyllid y Loteri Cenedlaethol, a ailbwrpaswyd gan Y Sefydliad Ffilm Pryfdeinig BFI drwy ei Rwydwaith Cynulleidfa Ffilm (FAN). Mae’r gronfa yn cynnig rhyddhad hanfodol a pharhad busnes i arddangoswyr ar draws y DU gyfan.
Gweinyddir cronfeydd yng Nghymru gan Ganolfan Ffilm Cymru drwy Chapter fel y Corff Arweiniol Canolfan Ffilm. Fe fyddan nhw’n cael eu defnyddio tuag at gostau na ellir eu hadfer, i ddarparu gweithgareddau creadigol ar-lein yn ystod y cyfnod cloi ac amser staff i gynllunio tuag at ailagor yn ddiogel.
Mae Canolfan Ffilm Cymru wedi dyfarnu cyllid Loteri Cenedlaethol o £100,000 i 16 o sinemau annibynnol a gwyliau ffilm yng Nghymru sydd wedi cael eu heffeithio’n ddifrifol gan Covid-19. Wedi gorfod cau eu drysau ar ddechrau’r cyfnpd cloi yn y DU, mae’n debygol mai’r lleoliadau hyn fydd rhai o’r cyrff olaf i ailagor wrth i’r pandemig gilio.
Cyfarfod y bobl ymroddedig sydd yn gweithio tu ôl i’r llenni yn y sinemau a’r gwyliau lleol, sydd yn ceisio dod â chymunedau yn ôl at ei gilydd drwy ffilm:
BFI Chief Executive Ben Roberts sets out how the task force is working to secure screen sector recovery.
There is a huge amount of work being done across the sector in response to the COVID-19 crisis and it’s been brilliant to see the way everyone has come together. I just wanted to express my own thanks for the support I have had and also to give you an update on the progress of the Screen Sector Task Force and our work with Government as we turn attention to the recovery phase. The Task Force is convened by the BFI and brings together organisations from across the full breadth of the UK”s screen industries, to develop a co-ordinated response to the COVID-19 crisis and shape how to get the sector back up and running quickly and safely.
The Task Force has been split into five sub groups (inward investment, independent film production, TV production FAN BFI a broadcasting, distribution and exhibition FAN BFI a video games) where immediate priority has been given to the following three cross-cutting issues – health and safety codes of practice; insurance; and the knock on impact on the cost of production. The drafting and evidence gathering work on each of these strands is being led by a specialist group and then shared with the other Task Force groups and beyond. We are working to ensure that recommendations from the Task Force to Government are well evidenced and scalable to meet the needs of different parts of the screen eco-system, and also work together to ensure that no part of the sector or its workforce is left behind and that all specificities are considered.
With a focus on health and safety, the sub groups have been developing codes of best practice that are endorsed by the Health & Safety Executive (HSE) to ensure that film and TV productions of all sizes and cinemas can get back up and running as quickly and as safely as possible.
The inward investment group led by the British Film Commission (BFC) has drafted a set of codes of practice for film and high-end television drama production. These have been out to consultation and shared with Government and the hope is to have them completed and rolled out for productions by the end of May and provide detailed and comprehensive guidance for returning to work and resuming production as safely as possible. They have been developed to meet the needs of both studio and independent production, although productions will still need to make sure they satisfy any requirements put in place by insurers, financiers or completion bonders. The codes of practice are designed to act as a resource for productions based in each nation of the UK as lockdown is eased in each of them respectively. They will also read across to the guidelines developed for television produced and published by the broadcasters and Pact today and which you can read here.
Bydd UKCA FAN BFI a FDA have led a working group for Distribution and Exhibition to develop plans for the reopening of cinemas. The Government’s recovery strategy states that cinemas in England will potentially be able to open on 4 July at the earliest and the Task Force is working with the DCMS to ensure this change to lockdown rules is introduced at the best possible time for all venues. At the same time it is gathering evidence to propose what additional support might be needed specifically for the exhibition sector.
Cover for COVID-19 is an issue for both film and TV productions and could be a barrier to the Government’s return to work plans. A specialist insurance sub-group is looking at potential solutions to this problem (led by Pact as part of the TV and broadcasting group). The Task Force is working hard to ensure that the scale of the problem is evidenced for Government and that the sector is represented on any wider insurance conversations across Whitehall. Insurance is also an issue to be considered with regard to Distribution and Exhibition.
The working groups are calculating how much it could cost to implement codes of practice for returning to work in their respective areas. Different budget production levels are being costed out and in the case of exhibition, the anticipated reduced audience capacity as well as unknown levels of audience anxiety are being factored in. This will allow us to understand the financial viability of a return to work for productions and exhibitors of all sizes and will inform Task Force discussions with Government regarding support for this process.
The BFI are updating information regularly on our website about working in the industry during COVID-19, support packages and further sources of information can be found here.
Thanks to a bursary from Film Hub Wales, on September 2019 I was able to attend the 76th Biennale del Cinema at the Lido in Venice. The Biennale runs for about 10 days and I was able to attend it for four full memorable and productive days. As managing director and artistic co-director of the Italian Film Festival Cardiff, my main objective in attending one of the most important (and oldest) international film festival in the world was to promote the IFFC as well as to increase its visibility in both Italy and Europe. In this short span of time I managed to achieve quite a lot of my objectives, no doubt helped by my a dose of two spritzes and five espressos a day to keep me going through the film marathons and razzmatazz.
Through a number of personalised meetings and impromptu encounters at the Lyon’s bar, centrally located in the festival, to see and be seen, I managed to entice a couple of the Italian Regional Film Commissions to agree to participate in the festival in Cardiff.
Both the Apulia and Campania Film Commissions are interested in joining the Sardegna and Calabria Film Commissions to support the screenings in Cardiff with films they have produced.
Pointing out that the IFFC is the only Italian Film Festival in the UK to officially offer prizes to Italian cinema was a trump card to win over some of the smaller distributors and producers. My meeting with Emera Production director, Rebecca Bassi, resulted in her submission of their documentary, Bassil’ora, which won the very first Canfod Prize for Best Documentary at the Festival.
Being present at Venice as representative of the IFFC was vital also to attend screenings of Italian/International films that had not yet been released in the UK. Francesca Archibugi’s Vivere (Living) and Alessandro Rossetto’s Effetto Domino (Domino Effect) had their world premiere in Venice and I managed to secure both films as UK premieres for our Festival. It would not have been possible without meeting both directors and producers at the Lido.
The big day for me though was Saturday 31 August. I was a guest speaker in a panel organised by the Sardegna Film Commission to promote its International partners. I introduced the Italian Film Festival Cardiff to the public at the prestigious Italian Pavilion sitting next to Adrian Wootton, director of Film London!
There is no doubt that the five days at the Biennale were intense and tiring and that it takes quite a lot of stamina to be always there, queueing to watch a premiere of a film, be present at the launch of a book or a film-related event, while looking smart at dinner or production parties. However, these events proved to be very successful. My meeting with director Laura Lucchetti, resulted in her participation at the Q&A session after the screening of for her film, Fiore Gemello (Twin Flower), whose protagonist, Kalill Kone, won first prize in the Best Actor category at the Festival; that with journalists from ‘Cinecorriere’ resulted in IFFC having a featured article in their September issue.
All and all a grand and successful adventure that I hope to be able to repeat this year as well!
Luisa Pèrcopo, managing and artistic co-director of Italian Film Festival, Cardiff
Efallai bod cyfyngiadau symud wedi gorfodi gohirio Cardiff Animation Festival 2020 yn y cnawd ond mae’r tîm wedi bod yn brysur tu ôl i’r llenni. Er cyflwyno cyfyngiadau symud mae’r tîm wedi bod wrthi fel lladd nadredd yn symud digwyddiadau i YouTube Live, Slack a Zoom i ddiddanu cynulleidfaoedd a chdaw animeiddwyr mewn cysylltiad wrth gadw pellter cymdeithasol. Nawr mae gan Cardiff Animation Festival bedwar digwyddiad newydd ar gyfer ffans animeiddio ym mhob cwr o’r byd – dosbarth meistr ar-lein gyda Chyfarwyddwr Animeiddio Cartoon Saloon Lorraine Lordan, gweithdy ar-lein gyda’r animeiddiwr o Gymru Kyle Legall, a chyfle i weld rhai o’r ffilmiau annibynol o bedwar ban ar cyfer teuluoedd ac oedolion wedi’i ffrydio dros y we.
Bydd Cardiff Animation Nights, noswaith rad ac am ddim o ffilmiau byr bob deufis, yn dychwelyd i YouTube Live am yr eildro ar ddydd Iau 30 Ebrill am 8.15pm, gydag 11 animeiddiad gwych arall. Pan aeth y tîm â Cardiff Animation Nights ar-lein am y tro cyntaf yn gynharach yn y mis ymunodd rhyw dair gwaith yn fwy o bobl nag arfer - dros 500 o bobl o bob cwr o’r byd - i wylio ffilmiau byr gyda’i gilydd, ar wahân.
Ar fore sadwrn gall y plant anghofio am y cartŵns arferol a mwynhau awr o animeiddio anibynnol i’r teulu cyfan. Bydd Cardiff Animation Kids yn ffrydio’n fyw ar ddydd Sadwrn 2 Mai am 10.30am, gan gynnwys dangosiad ar-lein cyntaf o ffilm stop-motion anibynnol Sum of its Parts wedi’i chyfarwyddo gan Alisa Stern.
Ar brynhawn dydd Sadwrn 2 Mai am 4pm, bydd y Cyfarwyddwr Animeiddio Lorraine Lordan yn ymuno â Cardiff Animation Festival yn fyw o Iwerddon mewn dosbarth meistr i roi o’i phrofiad helaeth yn y byd animeiddio rhyngwladol, wedi’i gyflwyno ar y cyd â ScreenSkills. Mae Lorraine wedi treulio mwyafrif ei gyrfa gyda’r stiwdio Wyddelig enwog Cartoon Saloon, gan gynnwys fel Goruchwylydd Animeiddio ar y gyfres deledu a enwbwyd am wobr Annie Puffin Rock, Goruchwylydd Animeiddio Cyfres ar The Breadwinner a enwbwyd am Oscar, ac fel Cyfarwyddwr Cynorthwyol ar ffilm hir newydd Puffin Rock. Mae ei gyrfa wedi mynd â hi i bob cwr o’r byd i stiwdios yn Cechia, yr Almaen, Kuala Lumpur, Malaysia, Cambodia a’r DU. bydd Lorraine yn trafod bywyd dan gyfyngiadau symud, sut mae wedi llwyddo i gynhyrchu ffilm fer tra’n arwain gwaith ar ffilmiau hir, ac yn rhannu’r hyn mae wedi dysgu yn ystod ei gyrfa drawiadol.
Gall animeiddwyr newydd neu unrhyw un sydd angen ymarfer ymuno â gweithdy dylunio cymeriadau ar-lein gyda’r animeiddiwr a’r artist amlgyfrwng o Gymru, Kyle Legall ar ddydd Mawrth 5mai am 6pm, wedi’i gyflwyno ar y cyd â Cinema Golau. Dechreuodd Kyle ei yrfa’n gwneud ffilmiau animeiddio byr am hanes pobl dduon a’i filltir sgwâr yn Butetown, Caerdydd, gan gyfarwyddo, dylunio ac animeiddio ffilmiau byr ar gyfer Channel 4 ac S4C. Wedi gweithio mewn amryw gyfryngau gan gynnwys gair llafar, cerddoriaeth fyw, celfyddyd berfformio, graffiti a dylunio dillad, mae’r Kyle amryddawn yn dychwelyd at animeiddio. Bydd cyfle i animeiddwyr sy’n dechrau ar eu taith fraslunio wrth i Kyle roi cyngor ar ddefnyddio dylunio cymeriadau i gyfleu emosiwn.
Noddir Cardiff Animation Festival gan Gyngor Celfyddydau Cymru, Ffilm Cymru Wales, a Canolfan Ffilm Cymru fel rhan o Rwydwaith Cynulleidfa’r BFI Film (FAN), BFI NETWORK Wales, ac Ymddiried drwy Gronfa Ysgoloriaeth Owen Edwards, gyda nawdd ychwanegol gan Cloth Cat Animation, Picl Animation, Creative Europe Desk UK – Cymru, Prifysgol De Cyrmu, Prifysgol Fetropolitan Caerdydd, Jammy Custard Animation, Gwobrau Animeiddio Prydain, S4C a Chronfa Sgiliau Animeiddio ScreenSkills gyda chyfraniadau gan gynyrchiadau animeiddio o’r DU.
Am y wybodaeth ddiweddaraf, dilynwch Cardiff Animation Festival ar Twitter, Facebook FAN BFI a Instagram a chofrestru i dderbyn ein cylchlythyr e-bost.
As well as continuing to learn all about the programming at Cineworld, and even creating the schedule for a film myself, I was also given the opportunity to encounter other aspects of the exhibition sector. Something I was especially looking forward to discovering more about was social media scheduling/marketing as this is an area I could picture myself working in in the future.
After meeting the member of staff who runs the social media, I was briefed about his role each week which involves scheduling the Facebook posts for the following week and putting up posters throughout the building. As this doesn’t tend to take him more than a day to complete, and similarly to the staff working on programming, he also works on front of house on the other days serving customers at the tills and checking tickets before customers enter the screening room.
I never quite realised how much thought had to go into the planning process of the social media. Because of the Facebook algorithm, for example, they aim to only post 3 statuses at peak times (between 10:00am and 2:00pm) throughout the week to ensure as many people as possible are seeing the posts.
If any events are coming up or a new film release, he tries to make sure these feature on their social media. And sometimes head office make specific requests about what should be promoted that week. Together we undertook the careful research task to discover which film poster was the most appropriate to use, being an official poster instead of a fan-made one, for example. Precision and an eye for detail were required when ensuring that we attached the correct link to take customers straight onto Cardiff Cineworld when booking tickets.
The layout of the post tends to include: the film/event title, a brief synopsis of the film/event, the link to book tickets and the film/event poster.
Learning about the attention to detail and thought that has to go into each and every Facebook post as well as how to use Facebook as a marketing tool was interesting. Although I did get to help with this role and learnt a new side of marketing, I believe I already had some pre-existing knowledge on the subject.
What I really developed from this experience on social media was my professionalism in terms of language skills when marketing online to customers and attempting to entice them into booking tickets and why Cineworld should be the place they choose to go to.
Once the social media posts had all been scheduled, myself and the social media programmer went for a walk around the building to see what posters needed to be taken down and if any new ones had arrived to be put up. He explained how Cineworld’s policy was to take down the posters as soon as the film has been released so a new poster promoting an upcoming film could go in that space. The staff are then allowed to take posters that are no longer in use. I even got to take a Little Women (Gerwig, 2019) poster home for my flat..
