Eight of the most promising early stage producers will take part in training and networking sessions from industry speakers and will be matched with a carefully selected mentor..
Producer Accelerator is a new intensive training programme for early stage producers from Short Circuit.
The programme, led by producer Lauren Lamarr, will take participants through the whole journey of deciding whether a producer should take film on, thinking about IP and rights, budgeting scheduling and working with the crew and creative team all the way to sales and festival tours.
In early October 2021, Short Circuit invited applications from producers across Scotland who are ready to take the next step into the industry and would benefit from support to further their knowledge of the industry and expand their skillset and gain confidence in seeking funding for their next projects.
The programme features a variety of well-established producers and industry experts, including Brian Coffey (Our Ladies, Get Duked!, Outlaw King), Ivan MacTaggart (Loving Vincent), Jenny Parker, John Letham, Ludo Smolski, Rosie Crerar (Run, Irene’s Ghost) and Stephen Woolley (Carol, The Crying Game).
You can find out more about our participants in our PDF booklet.
If you would like to know more about our Producer Accelerator development programme, click here.
We also host events throughout the year to inspire, connect and inform filmmakers across Scotland.
As always, please do get in touch with any comments or suggestions, and please keep an eye on our website for further announcements.
Featured image: Still from Sharp Shorts funded film Go Home – Writer/Director: Razan Madhoon
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
As soon as I realised films didn’t grow on trees, I was obsessed with the filmmaking process which seemed to me to be indistinguishable from magic. I had always wanted to write books, and film directing shared that god-like appeal – not in a dictatorial sense, but in the sense of being able to create a world to hide in that was far away from housing schemes and alcoholism. The irony is, now all those things are central to the stories I tell.
What made you want to apply for Sharp Shorts?
While I’d been building as much experience as I could to help support any funding application I could, Sharp Shorts seemed to be most interested in story, and that really excited me, because the story is what I felt was my strongest asset.
Tell us a bit about your Sharp Shorts-supported film.
Too Rough is essentially about two young men in a relationship that has reached an impasse. Then they’re thrown into a bedroom that they can’t leave, surrounded by danger, whilst also very hungover. Nick, my hero, is a character I love, portrayed incredibly by Ruaridh Mollica. Nick’s an incredibly sensitive soul who has been hardened by his environment – and he’s finally presented with the opportunity to open his heart.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
This is the first time I’ve ever worked with producers, Alfredo Covelli and Ross McKenzie, rather than having to produce myself. It was an incredible relief, for instance, to find a stationery box on set that had appeared with no effort on my part! For the first time, I was able to focus almost entirely on the creative decisions, without the distraction of organisation. We received support from the Short Circuit team every step of the way, from story to editing. Having such a diversity of opinions to consider is an asset to a director, because you’re able to interrogate your creative convictions. It was a very collaborative process, and a kind, human environment – rather than overtly corporate one. Being able to work with Simone Pereira-Hinds casting was also an absolute delight!
“What I love about all art is its ability to invite people to soften, rather than harden. To open, rather than close. To make friends of others, rather than enemies. If I can do any of those things even in a small dose, then I’ll be very proud!”
What was your creative process? How did you get ready to make your film?
I’d love to say I had a chart and a plan, but a lot of the creative process this time was tackling problems as they arose (thanks COVID-19!), and trying to constantly follow the north star of the very first feeling that came to me with the idea – the feeling of containment, of heat, and of melting into vulnerability with a loved one. My creative process is mostly just constantly working, inverting my sleeping pattern, and being a believer.
Why do you feel stories like this are important?
All of the time and everywhere, I see people hardening to love and to relationships, and denying themselves and their hearts the nourishment they need. This is a natural response to the pain and the trauma we experience growing up, and what we learn from previous relationships. Nick, the hero of this story, is victim to this from the beginning – he hides from the love he needs, until he can’t hide any longer. The importance of this story to me is being honest about the difficulties of love and intimacy, when your relationship with love is damaged from the beginning.
What are you hoping for audiences to get out of your film?
What I love about all art is its ability to invite people to soften, rather than harden. To open, rather than close. To make friends of others, rather than enemies. If I can do any of those things even in a small dose, then I’ll be very proud!
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
COVID-19 itself was the greatest hurdle. I wanted the film to feel confined, icky, warm, infectious. Not great things to feel right now! Just about every single decision was affected by COVID-19, and the budget had to grow several arms and legs to keep the film standing. My Uber drivers were very suspicious of me. “Filmmaking is still legal, I promise” was my morning taxi mantra. We had to constantly improvise and find solutions and compromises, without damaging the creative expression. Luckily, all key cast and crew were able to take COVID-19 tests, and everything was done to reassure everyone that the workplace was safe, and the vision would remain intact.
What piece of advice would you give to someone applying for Sharp Shorts?
Don’t forget what excited you about the idea when it first arrived. That’s your north star – let it guide you. If you believe a great film is there, feed your belief – not your doubts – and chip away until you get there. Also, use a nice font in your treatment!
In April 2021, we invited writers, writer/directors or filmmaking teams of writer, director and producer to submit a one-page outline of their film idea. After a rigorous selection process, 16 ideas were selected to take part in further development, supported by industry experts and the Short Circuit Talent Executives, to take their project from idea to script.
The sixteen teams then pitched their project to the Short Circuit panel, for the chance to receive production funding to make their film.
The following nine films are today announced as the selected projects:
Black Wool – Writer/Director: Eubha Akilade; Producer: Tara Trangmar
Candy – Writer/Director: Sarah Grant
Jubilee – Writer/Director: Wilma Smith; Producer: Carol Brown
Living With It – Writer/Director: Holly Summerson; Co-writer: Niki Rooney; Producer: Reece Cargan
Milkgum – Writer/Director: Marcelle Nuke; Producer: Ciarán Charles
The Air We Breathe – Writer: Zoë Bullock; Director: Lucas Chih-Peng Kao; Producers: Mark Lacey, Marilyn Edmond
The Singer – Writer/Performer: Jamie Rea; Writer/Director: Cora Bissett; Producer: Laura McBride
Revert – Writer/Director: Miranda Stern; Exec Producers (LS Productions): Sarah Drummond and Paul Sng
You Land – Writer/Director: Debora Bottino; Producer: Katie Mallinder
Each team will each receive up to £15,000 to produce their film. Teams will also take part in intensive production training, and will be paired with an established Producer, Director or Writer who will mentor the team to help them to deliver their final film.
If you are talent looking for support, our First Features development programme enables Scotland-based filmmakers primed to take that career-defining step towards making their debut feature.
We also host events throughout the year to inspire, connect and inform filmmakers across Scotland.
As always, please do get in touch with any comments or suggestions, and please keep an eye on our website for further announcements.
Featured image: Behind the scenes of Victoria Thomas’ Sharp Shorts 2020 funded film A Birthday Party – credit to Matt Towers
Producers – we need you! We’re partnering with GMAC Film to put together a database of experienced producers that are looking to collaborate with Scotland-based writers and directors.
As we gear up for another year of supporting up-and-coming filmmakers in Scotland through our annual short film scheme – Sharp Shorts – GMAC Film are also nurturing new talent through their micro-budget short film commissioning scheme Little Pictures.
Sharp Shorts supports writers, directors and producers to create inspiring, engaging and boundary-pushing short films (live action and animation) that resonate with audiences worldwide.
16 projects have been selected for the development phase of the scheme, leading up to the opportunity to pitch for production funding. You can find out more about the shortlisted filmmakers here.
Little Pictures nurtures new talent to make their first funded film in fiction, documentary, animation or experimental genres. It encourages new filmmakers to develop their voice, take creative risks and will help to kick start and develop film talent from across Scotland.
We’re now looking for producers who are interested in working with the Sharp Shorts or Little Pictures teams to help bring their projects into production.
The form will ask you for a short biography, personal statement, CV, examples of your previous work and links to your channels/social media platforms (where relevant).
We’ll use this information to gather a better picture of producing talent in Scotland and to help us identify what scripts and projects might be a good match for you.
After you’ve completed the form, your details will be kept on file and we’ll reach out when producing opportunities become available through Sharp Shorts or Little Pictures.
To be eligible for upcoming producing opportunities through Short Circuit or GMAC Film, you must:
This call out closes on Wednesday 11th August 2021.
In April 2021, we invited writers, writer/directors or filmmaking teams of writer, director and producer to submit a one-page outline of their film idea. After a rigorous selection process, 16 projects have been selected for the development phase of the scheme, leading up to the opportunity to pitch for production funding.
The following 16 projects have been shortlisted:
The filmmakers and projects – shortlisted from 248 applications – will receive training and development support over a three-month period to take their initial short film idea to a script.
In early autumn 2021, up to 9 teams will be selected to receive up to £15,000 of funding to get their film made.
Sharp Shorts launched in May 2020 with a call for short film ideas. 16 projects were selected for an intensive development phase, and 9 were awarded funding through Sharp Shorts at the end of August 2020. You can read about the awarded projects here.
Featured image: Behind the scenes of Victoria Thomas’ Sharp Shorts 2020 funded film A Birthday Party – credit to Matt Towers
July’s edition of Short Circuit Film Club is a watch-along screening of Billie Piper’s feature debut Rare Beasts. The screening will take place on the Glasgow Film at Home platform at 7pm on Wednesday 14th July.
Rare Beasts is the dark, funny, failed love story of Mandy and Pete. Mandy (Billie Piper) is a modern woman in a crisis. Raising a son, Larch (Toby Woolf) in the midst of a female revolution, mining the pain of her parents’ separation and professionally writing about a love that no longer exists, she falls upon a troubled man, Pete (Leo Bill),who is searching for a sense of worth, belonging and ‘restored’ male identity.
Tickets are available with sliding scale pricing – you can choose to pay full price at £4.99, a discounted ticket at £2.99, or a complimentary pass depending on what you can afford.
You will receive your discount code once you have registered for the event. We will be starting the watch-along at 7pm on Wednesday 14th July, with a digital meet-up to discuss the film directly afterwards on GatherTown.
Short Circuit Film Club is a monthly film event for filmmakers (or those looking to enter the industry) and is your chance to engage with films from around the world, and network with other like-minded professionals. Each month will feature either a specially programmed screening of short films, or a debut feature film – local, national and international – chosen to inspire and connect our Scottish filmmaking community. Screenings will be accompanied by an event to give you a chance to meet other filmmakers, discuss the films, share advice and be inspired!
Please note that the post-screening session will take place via GatherTown. You will receive the link to attend in advance of the session. If you have not previously used GatherTown, we encourage you to read our GatherTown Instructions here.
The film has closed captions and live captions are available on Gathertown.
Will you be joining us to watch the film?
Let us know on Twitter, Instagram or Facebook.
We will be talking about their careers to date, their collaboration on the highly acclaimed Saint Maud and what they plan to do next. There will be plenty of time for audience questions which can be submitted ahead of time or during the live event.
BIFA winner of Best British Independent Film and BAFTA nominated Saint Maud is the story of live-in nurse Maud who arrives at the home of Amanda, a famous dancer now frail from illness and trapped in her grand, isolated house. At first Amanda is intrigued by this religious young woman, who provides distraction from her failing health. Maud, in turn, is bewitched by her new patient. But Maud is not all that she seems.
Join us for this event on Tuesday 15th June from 12:30-14:00.
About Oliver
Escape Plan is a genre focused production company, founded by producer Oliver Kassman. The company’s first movie was Rose Glass’s 2019 debut feature Saint Maud, produced with Andrea Cornwell, starring Morfydd Clark and Jennifer Ehle, backed by Film4 and the BFI. Saint Maud premiered in Midnight Madness, TIFF 2019 to rave reviews, selling out worldwide to A24, Studio Canal, Diaphana and Sony, going on to garner many awards nominations and wins.
Previously, Oliver was Head of Production and Development for eminent producer Michael Kuhn’s Qwerty Films. There he scouted and developed many of the company’s projects, including Stephen Frears’ Florence Foster Jenkins, starring Meryl Streep and Hugh Grant, on which he worked as Associate Producer.
Oliver was named as one of BAFTA’s Breakthrough Brits in 2019, and Escape Plan was granted the BFI’s Vision Award in 2020.
He is currently in post-production on The Origin, a palaeolithic horror from breakout director Andrew Cumming and writer Ruth Greenberg.
About Andrea
Andre Cornwell is an award-winning film and television producer. She is currently shooting an adaptation of the acclaimed novel The Essex Serpent for AppleTV+, starring Claire Danes and Tom Hiddleston, and is in post production on Into Dust the fiction debut of Oscar-winning director Orlando Von Einsiedel. Her released films include the multiple BAFTA and BIFA nominated Saunt Maud, directed by Rose Glass (Film4, BFI) and was released in 2020 by A24 (USA), Studiocanal (UK), and Sony worldwide. It received its world premiere at Toronto Intl Film Festival in 2019.
Other previous work includes Apostasy directed by Daniel Kokotajlo (BFI, BBC Films) which also received its world premiere in Toronto, and was nominated for a BAFTA for Outstanding Debut, six BIFAs, and won Best British Film at the Screen Awards.
In documentary she produced the feature Seahorse directed by Jeanie Finlay (Tribeca Film Festival 2019, UK release in September 2019) and Bruce Lee and The Outlaw, directed by Joost Vandebrug (winner of eleven international awards).
Andrea’s previous producing credits include Suite Française starring Michelle Williams, Kristin Scott Thomas and Margot Robbie; Last Days on Mars starring Liev Schreiber and Olivia Williams (world premiere at Directors’ Fortnight in Cannes), The Scouting Book for Boys, and comedy drama Micro Men for the BBC.
Short Circuit Film Club is a monthly film event for filmmakers (or those looking to enter the industry) and is your chance to engage with films from around the world whilst networking with other like-minded professionals.
May’s edition of Film Club is a screening of Bassam Tariq’s fiction feature debut Mogul Mowgli. The film is also actor Riz Ahmed‘s debut writing credit. Short Circuit attendees can register here for the Gathertown networking event and will receive a discounted code to watch the film for £2.99.
This month’s Film Club event will take place on Thursday 27th May from 16:30-18:00 where you will be able to discuss the film and network with other filmmakers across Scotland.
This film is now available to rent on the Glasgow Film At Home platform here.
Bassam Tariq’s visceral directorial debut, co-written with Riz Ahmed, finds a British-Pakistani rapper’s life spiralling out of control when, on the cusp of success, he succumbs to a debilitating illness.
Although his cutting lyrics speak provocatively about identity politics, it is not until Zed (Riz Ahmed) returns home after two years on tour that he is called by his real name: Zaheer. But it is the vulnerability of illness and his decreasing mobility that brings both focus and fragmentation.
Memories and hallucinations merge to the beat of Qawwali music and are haunted by fervent apparitions of a masked figure, conjuring the unspoken spectre of Partition, which looms large in his father’s unspoken words. Further bruising Zed’s ego is his nemesis, RPG, a young rapper whose face tattoos and crass lyrics bewilder him.
Both a paean to the importance of cultural heritage and a sharply observed reflection on muscle memory, the richness of Tariq’s achievement lies in the details of this heady mosaic.
Please note: this film contains a scene of flashing images which may affect photosensitive viewers.
Will you be joining us to watch the film? Let us know on Twitter, Instagram or Facebook.
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
My interest in storytelling began in childhood. We didn’t own the home-video camera lots of kids start out on, but consuming TV and film was the way my family adapted to life in the UK, and so it’s deep rooted for me. I trained as an actor, but I’d always written – collaboratively in theatre, sketches and wee plays. I also worked at the Cameo Cinema, Edinburgh, when I was a young adult, surrounded by artists and filmmakers. This was the first time I got my head around the idea of filmmaking as a career and starting at shorts. Those notions of filmmaking were still just gestating in me though – really, it was through acting on screen that I first fully learnt about film and TV production. Being on a film set, with a passion for visual storytelling really pushed me to bring my own stories to screen.
What made you want to apply for Sharp Shorts?
I had mothballed this short film idea. It had some development through the previous funders Scottish Film Talent Network’s Scottish Shorts programme in 2017, but, it was a competitive round and we didn’t get the funding. On the other side of that I decided to concentrate on writing for TV and parenting my two kids. Something about the new energy of Short Circuit made me and producer, Alysia Maciejowska, feel we were ready to unearth the project – it’s a ghost story that was still haunting us both.
Tell us a bit about your Sharp Shorts-supported film.
BAHAR literally translates as Spring from Farsi, but it’s the name of the central character, Narges’ daughter, who died 10 years previously. The story explores old grief – when the public face of mourning has faded and you’re left alone with private, long buried loss and regret. Narges’ son has also left for university, so there’s also an examination of the loss of identity some women feel when their “nest” has emptied and life begins again. The film plays with genre – it’s a psychological drama with supernatural elements. I like to play with the allegorical ambiguity of the supernatural as it opens up Narges’ interior world.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
The short list development stage was really helpful for us all I think because of the peer to peer support. We’d read each others work and get feedback from the other teams. It was informal and super supportive. We also had some valuable masterclasses – including with Ben Sharrock, and all of these unlocked something in our own creative process. I learnt loads from the other shortlisted filmmakers.
Working with the short circuit team was good for me. Mar and Alice, and later Brian Coffey were really invested in the project. One crucial element the Talent Executives facilitated was getting me a mentor who has really gone above and beyond in supporting me navigating this process. He is an Iranian/British filmmaker and this brought a valuable angle to both script development and story logic from a Farsi language perspective.
“I want the film to rock [the audience] sensorially but to also ask questions about the amorphous quality of grief and the pressure to move on/move forwards when the anchors of our identity – family, motherhood, nationhood – have slipped, particularly as women burdened by generations deep projections of gender roles.”
What was your creative process? How did you get ready to make your film?
I guess everyone has a process, but it feels like a dirty secret. For me – as a writer/director – I had to work hard on the script, going deeper into the heart of the themes to help economise (and get that page count down). Then work the script as a director. Then develop my shooting vision as a director. Then collaborate with my awesome DOP Laura Dinnett on our shot list.
Then I had to tear it all up because of budget, COVID and confirmed location. By then, our brilliant central cast were in place – Nathalie Armin and Armin Karima – and them inhabiting the roles interrogated and elevated the writing.
Crucially, compartmentalising my two roles as writer and director saved me some headaches. On relaxed days, watching films to spark me was always helpful – as was exploring colour and light on ShotDeck.com.
Why do you feel stories like this are important?
Because they’re intimate, private and in the living rooms of people most often marginalised in mainstream stories.
What are you hoping for audiences to get out of your film?
I want the film to rock them sensorially but to also ask questions about the amorphous quality of grief and the pressure to move on/move forwards when the anchors of our identity – family, motherhood, nationhood have slipped – particularly as women burdened by generations deep projections of gender roles. As a bi-lingual Farsi/English film, I also hope it offers some insight into homes where families speak/listen in different languages simultaneously.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
Unsurprisingly – the weather. Our 1st AD Ted Mitchell helped steer that – but our DOP Laura had a brilliant idea to adjust the action in one rained-on scene, which meant a dialogue change for the previous scene which we thankfully hadn’t shot yet. Our very experienced Script Supervisor Kirsty Auld helped keep those threads together.
We also had the added complexity of SFX and VFX mould both on the walls and on skin in the film. This we mitigated for by planning the heck out of it. With support from Dawn Elrick, our pre-production ‘mould coordinator’ – we researched a lot and spoke to a mould expert. Then our SFX make up artist Michelle Watson, Mould Art Director Kieran McCruden and VFX artist Scott McCartney collaborated to develop a coordinated a mouldy shared vision and plan. I’m really proud of how producer Alysia, production designer Grace Edge, production manager Marcy Paterson and I integrated this design so early on to ensure we were on track for the shoot and post.
How easy was it to navigate the COVID-19 situation? What support did you have?
The COVID situation was one slippery eel. We just kept moving along to keep up with it. Short Circuit secured some contingency budget and this meant we had the funding for COVID protocols – but testing in early December was still expensive. We had an excellent COVID supervisor/Production Assistant Rosie Gallagher on the shoot – but we all had to learn to be responsible for ourselves and our colleagues.
The majority of the team were already so experienced in best practice from different productions so everyone was willing to adhere to that. But it’s exhausting – long days, sweating behind a mask trying to navigate small spaces and give each person access to the set. I’m so grateful to the extraordinary crew and cast who grafted in this climate to make our film.
What piece of advice would you give to someone applying for Sharp Shorts?
I am someone who has applied and been rejected so many times by various schemes, schemes, schemes. The main thing is apply. Rejection is part of this industry – don’t fear it, it will hold you back. It always stings but it will always be there, wherever you are in your career.
The second main thing is – can you distill your story down to a single sentence? What is at its heart? Application word counts are brutal but they help you interrogate and articulate what you are trying to say. Try not to use vague terms in your application. Your idea will almost certainly evolve as you develop your concept – let the readers feel secure in what you’re starting from.
And the third most important thing – as naive as it sounds, apply with something that means something to you. Whether it’s a personal story or something that ties into your lived experience – short filmmaking is long, hard work, and if you get the funding you’ll be living with that story for a long time – make sure it’s something you love and believe in.
When did your interest in filmmaking start and what were you doing before you became a filmmaker?
I knew as a kid and made films as a past-time, recreating everything 007, mostly with my Dad who is a big cinephile. However, I trained as a lawyer, because my parents did not consider writing a ‘proper job’ and they were paying. I worked in house for a few years in the legal sector, then quit after an opportunity arose to do news camera for the BBC and ITN in the West Midlands. That gave me the courage to apply to film school and I relocated to Edinburgh in 2006 to do an MFA in Film. Since graduating from both Screen Academy Scotland and NFTS, I have worked as a producer, specialising in international co-productions between Europe and Africa.
What made you want to apply for Sharp Shorts?
I decided to focus on developing work as a writer/director after spending years producing, because that was why I came into the industry. I wanted the opportunity to make a short drama prior to directing a feature.
Tell us a bit about your Sharp Shorts-supported film.
A Birthday Party explores the concept of home and questions whether it is a place or a feeling. The story juxtaposes a day in the life of twin sisters, who have a different relationship with some elements of their cultural identity.
What did you learn through taking part in Sharp Shorts? How was your experience working with the Short Circuit team?
The workshops were great and the script evolved a lot during the feedback sections with Mar and Alice. Since making the final selections, Sharp Shorts has been a great exercise in navigating the process of working as a writer/director and developing the soft skills to survive in the long run.
“I am interested in exploring narratives that reflect the diversity of experiences of the African diaspora. I believe that we have a lens that is unique because of our cultural duality and we do not see enough of those across the breadth of output in the European cinema space.”
What was your creative process? How did you get ready to make your film?
I have been prepping to make this film for the past three years quite intensely with Tania the DOP and Ellen, one of the actors, and that continued once we had the funds to make it a reality. There were a lot of late night conversations and once the actors came on board, it was a Zoom fest because we were all very aware that we did not have the luxury of time to prep and rehearse .
It was important to me that the actors were comfortable with each other and me so that by the time they arrived on location, the ice was broken. Personally, I added more meditation than normal, to keep my focus and stay sane.
Why do you feel stories like this are important?
Speaking specifically as a British citizen of African descent, I am interested in exploring narratives that reflect the diversity of experiences of the African diaspora. I believe that we have a lens that is unique because of our cultural duality and we do not see enough of those across the breadth of output in the European cinema space. I also centre female protagonists because I am one.
What was the greatest hurdle you encountered whilst shooting, can you tell us how you overcame that?
The lack of racial diversity and inclusion behind the scenes was the greatest hurdle that I never overcame but it opened up my eyes to the amount of work that needs to be done to make that a reality. So I guess the education was the bonus.
How easy was it to navigate the COVID-19 situation? What support did you have?
I have spent the past few years working in documentary where crews are small, so honestly even in a post-COVID world I would probably try to not have too many people around. Of course there are additional costs but there was additional funding for this and the crew was slim. Plus everyone was in masks and we had a great COVID supervisor on set, Jamie, who kept everyone on their toes.
What piece of advice would you give to someone looking to apply for Sharp Shorts?
Team work makes the dream work, so choose the right collaborators. You want to enjoy and feel comfortable in the process.
Interested in applying for Sharp Shorts? Applications are now open until 10am on Monday 17th May.
