Can I please have this job forever?

Source: http://giphy.com/gifs/gNAfPN8Uzp1kY, taken from 'The Devil Wears Prada' (2006), directed by David Frankel

I begin to realise that working in a warm, friendly and creative environment such as the one of EEFF is probably one of the best things that happened to my short professional career. It is indeed really important to find a job that gives you pleasure, especially if you plan to do this job for a lot of years to come. My parents worked in jobs that they never liked, and I could see how exhausted they were from the endless routine of their jobs that did not give anything back to them apart from a relatively good salary. I am glad that they always pushed me to pursue my dreams, since now I am realising that having a job that fulfils you is crucial. After all, you spend 1/3 of your day working, you might as well do something that you feel like it is worth it. 

Working at EEFF does not feel like a burden to me. Obviously, it can be really stressful some times, mostly because I want to make a good impression through my work, but at the same time I am enjoying it so much that it feels like I am not even working. What saddens me though is that working at film festivals is rarely a stable job. Like most of the jobs in the Cultural and Creative Industries, at least according to Gill's research (2011), it is a project based job that you do for up to 6 months per year (if you are lucky), and then you have to seek other projects for the rest of the year. Some people work here part time, while having another stable job all year through. Most of them though are not that fortunate. The CCIs are ruthless and demanding. And, especially in the film business, based on what we discussed in the office the other day with people that are more experienced than me, if you do not make a big name for yourself (or work in the top organisations in the field like the BBC or the BFI) it is highly unlikely that you will ever make enough money so that you could afford a flat on your own, especially in a city like London. That is why networking is such an essential part of our industries. On the other hand, as I said to my father when he told me that my life is going to be really difficult if I choose to follow this path, I prefer to starve than have a job that makes me miserable.

At this point, a montage of inspirational speeches from movies seems like the key to lighten the mood and regain confidence:

References:

• Gill, R., 2002. Cool, Creative and Egalitarian? Exploring Gender in Project-Based New Media Work in Euro. Information, Communication & Society, [online] 5:1, pp. 70-89. Available at: http://dx.doi.org/10.1080/13691180110117668 [Accessed 24 April 2014].

Money makes the world go round

Money cannot buy happiness but it can buy practically everything else. Today EEFF launched its crowd-funding campaign, in order to keep on offering free parallel activities, along with its main programme. A few months ago, the festival became constituted as a non-for-profit Community Interest Company (CIC). CICs, according to the official website of the UK government, are social enterprises that use their surplus for the public good; they reinvest any profits they have in their business instead of taking advantage of it by dispersing it among shareholders.

That, of course, puts limits to what activities the festival is able to organize and what kind of films it can attract. In other words, financial deficiency puts restrictions into EEFF's creativity. However, EEFF wants to stay independent, which is an honourable choice, and for this reason, a crowd-funding campaign seems like a rational venture. It is a smart move, as EEFF takes pride in being a festival for and of the people. Headline sponsors and stakeholders are unnecessary.

Source: http://xmedia.ex.ac.uk/wp/wordpress/what-your-uni-years-will-be-like-a-filmic-narration-through-gifs/, taken from 'Bridesmaids' (2011), directed by Paul Feig

All this brings in mind some of the main issues we discussed in one of my optional modules, Art of Management: Management of Art. According to Justin Lewis 'Art, Culture and Enterprise' (1990, p.5), art is a 'cultural practice' that entails the production of a particular object, which functions 'as a self-conscious, personal, or collective expression of something'. On the other hand, economics is a science which analyses social behaviour 'as a relationship between ends and scarce means which have alternative uses' (Robbins, 1945, p.16). For me, the combination of these two is the essence of what my job and every job in the Cultural and Creative Industries ensues. Even though profit might not always be the purpose, the cultural industries, as all other industries, need an financial basis on which to prosper (Frey, 2003).

Source: http://xomeli.tumblr.com/, taken from 'The Wolf of Wall Street' (2013), directed by Martin Scorsese

What do all of these mean in a practical level? Relentlessly negotiating screening fees and trying alternative deals with sales representatives, venue owners, and so on. Insufficient funds can sometimes lead you to deadlocks. It is true that the commercialization of art can degenerate it, and undermine its value and its mission (Austin and Devin, 2009). However, as Jonathan Swift said 'a wise person should have money in their head, but not in their heart'. And that's EEFF's mentality in a sentence.

References:

• Austin, R., Devin L., 2009. It Is Okay for Artists to Make Money. No, Really, It's Okay. Harvard Business School: Cambridge.
• Frey, B., 2003. Arts & Economics: Analysis & cultural policy. Springer Verlag: Berlin.
• Gov.UK, n.d.. Community Interest Companies. Available at: https://www.gov.uk/government/organisations/office-of-the-regulator-of-community-interest-companies [Accessed 16 April 2014].
• Kickstarter, 2014. East End Film Festival. Available at: https://www.kickstarter.com/projects/eeff/east-end-film-festival [Accessed 16 April 2014].
• Lewis, R., 1990. Art culture & enterprise. Routledge: London.
• Robbins, L., 1945. An Essay on the Nature & Significance of Economic Science. Macmillan and Co: London.

Party time!

As I already said before, EEFF moved its offices recently to 3 Mills Studios, one of the most important film and TV studios in the UK, that have hosted the London Olympic Opening and Closing ceremonies, and provided spaces for filming for movies like Attack the Block (2011), 28 Days Later (2001), Lock, Stock and Two Smoking Barrels (1998), and The Reader (2008), among others. Moreover, lots of film and TV companies are located inside 3 Mills Studios, like Moviescope Magazine, Talent Talks casting agency and London International School of Performing Arts. It is like a small creative cluster of its own.

Source: http://www.moviescopemag.com/featured-editorial/3-mills-studios-appoints-ad-mel-nortcliffe-as-bookings-manager/

In order to celebrate EEFF's addition to the 3 Mills Studio family, they threw a little party at a very fancy, although somehow alternative, bar close to the canal at Hackney Wick, with free drinks and pizza! Perfect opportunity for networking, and also an ideal chance to get closer with the EEFF staff. It seems that most of the people working here are volunteers and they have been added recently in the group. We are a constantly growing team that includes no less than 30 people; maybe even more, I have lost track, it seems like everyday a brand new face pops up!

Source: http://www.bite.ca/bitedaily/2013/12/10-things-i-learned-from-home-alone/, taken from Home Alone 2: Lost in New York (1992), directed by John Hughes

Highlight of the party: the Head of the Programming team and the Director of the festival (aka, my bosses), thanked me for my help and contribution to the team and proposed that I take even more responsibility in the weeks to come, with assisting the curation of some parallel events of the festival, like Grits 'n' Gravy (an all-day-long event with screenings of films from the Southern US, with live music and free Bloody Marys), the Masonic Temple screenings [a two-day event with screenings of films about witchcraft and magic - from classic Italian giallo horror films to contemporary masterpieces like The Prestige (2006) and Pan's Labyrinth (2006)] and a fortnightly film event at Red Gallery. Nothing feels better than positive feedback. Moral boost: check.

Let's get down to business!

First day at work! Well, this is my first job that involves me speaking in a different language, which was not really a problem for me but that does not mean that it was not weird at the beginning. I was greeted by a very welcoming team of people and got introduced to the Head of Programming. The first day was quite enlightening about what my job entails. As a Programming Assistant I will have to look at the programmes of other film festivals that host bold, independent features and check out which of the films hosted there are actually eligible for EEFF. Apart from that, I will have to look at old programmes from specific film festivals and track the work of then first time directors, who are now finishing or have already completed their second features. The research procedure is quite open, so I can use my own resources, knowledge and connections in order to discover films that would fit in EEFF's mentality and aesthetics.

Source: http://developedsociety.wordpress.com/

I will also be responsible for contacting the sales representatives, distributors, directors or producers of each film, so that I will request a screener in order for the Programming Team to watch and review the film, and decide whether or not it is suitable for the festival. What is good about that is that I also get the opportunity to watch films that are not accessible to the public due to lack of distribution and exposure. Plus, the Head of Programming seems to trust my taste in films and encourages me to express my opinion.

Source: http://www.huffingtonpost.com/2013/10/01/signs-its-time-to-quit-your-job_n_4018629.html, taken from Bruce Almighty (2003), directed by Tom Shadyak

Moreover, I even got my own '@eastendfilmfestival.com' email address, and a pass to get in and out of 3 Mills Studio - yes, the offices of EEFF are situated inside 3 Mills Studio! How exciting is that?

Overall, I am very satisfied with the environment and my responsibilities. It's friendly but not relaxed, and even the more time-consuming duties are enjoyable. I personally research for films all day long anyway, and now, as a plus, I get to contact directors and producers with whom I would potentially like to work with in the future. Fingers crossed.

Mission accomplised: Interview 'successful'

Well, apparently I was more like Ted Kramer and less like Borat! I just got an email from the Director of East End Film Festival and even though I did not get accepted for the position that I applied for (that of the festival assistant), she proposed a different position that she feels like it fits better to my personality, my qualities and my career goals: that of a Programming Assistant.

Source: http://www.wnff.net/index.php?topic=29065.0, taken from 'Singing in the Rain' (1952), directed by Stanley Donen and Gene Kelly

I feel like I wanna go out into the street and start dancing like Gene Kelly in 1952's Singin in the Rain (the weather will totally help to recreate the original environment of the movie, as it is pouring outside). Even though after the interview was over I felt quite confident, I never expected that I will get a job that is even better than the one that I applied for!

Programming a film festival is the equivalent of curating an art exhibition. You are responsible for researching for films that fit with the ethos of the festival, putting the festival's programme together in such a way so as to create an exciting, entertaining but also educational and intriguing experience for the festival's audience. It's the heart of every film festival and an essential part of film culture. 

Each festival has its own aesthetics and deals with specific types of films or themes. Festival programmers are responsible for staying true to the festival's ideals and promote its ideology. Moreover, as Julian Stringer mentions in his book 'Neither One Thing nor the Other: Blockbusters at Film Festivals' (2003), film curatorship is also influenced by (and it also affects, respectively) financial strategies that occur when various deals take place between the industry and the festival.

Source: http://hackneycitizen.co.uk/2013/03/25/east-end-film-festival-2013/

Now, regarding East End Film Festival, it was founded at the beginning of the 21st century and it is one of the biggest film festivals in the country. According to its website, it is held annually in London where it attracts more than 30,000 film lovers per year. It showcases novel and daring films from all over the world, but mostly focuses in the work of first or second time directors. It also has a vast variety of partnerships and sponsors that include the British Film Institute, Amnesty International, Film London, The Barbican, 3 Mills Studios and Shooting People. What is even more impressive is its list of patrons, that includes the Academy Award winner and film legend Danny Boyle, director of 'Trainspotting' (1996) and 'Slumdog Millionaire' (2008), the brilliant Joe Wright, director of 'Atonement' (2007) and 'Hanna' (2011), as well as the renowed composer Michael Nyman,nominated for three Golden Globes for his work in 'The Piano' (1993), 'Gattaca' (1997) and 'The End of the Affair' (1999).

Next Wednesday is the day that I will officially become a member of the East End Film Festival team. I cannot wait!


References:

• East End Film Festival, n.d.. About us. Available at http://www.eastendfilmfestival.com/about-us [Accessed 23 February 2014]
• East End Film Festival, n.d.. East End Film Festival partners and supporters. Available at http://www.eastendfilmfestival.com/sponsors [Accessed 23 February 2014]
• East End Film Festival, n.d.. Our Patrons. Available at http://www.eastendfilmfestival.com/patrons [Accessed 23 February 2014]
• Stringer, J., (2003). Neither One Thing nor the Other: Blockbusters at Film Festivals. In J. Stringer, ed. 2003. Movie Blockbusters. London/New York: Routledge. pp. 202–213.

First Interview

After 9 unsuccessful applications (for which I either got a negative response or none at all), I finally got an interview invitation from the East End Film Festival. This is beyond exciting but, I will not lie, it also makes me feel a little tense. I have not been interviewed for a job for a very long time, and I am afraid that I might be a little rusty. Thankfully, the Careers Service of King's College have been quite helpful. I went there to get some advice the day after I received the positive reply from the East End Film Festival (which, by the way, was my second choice for an internship, as I mentioned in my Internship Plan) and the lady that I met reminded me of the basic dos and don'ts:

1) Learn as much as you can about the company. It always helps if you look interested in their works and know what they have been doing in the past. That way they feel that you have a personal connection with their organisation already.

2) Don't hide your weaknesses but make them look like they can turn into assets for the company. For me that is the most difficult part as I always found the question 'What is your weakness?' ridiculous. The obvious answer is 'I am a perfectionist' but if you really want to stand out you need to be more creative.

3) Be relaxed and confident, but do not exaggerate. Do not act like you own the place but try and show that you really want to work there and that you have everything it takes.

My interview is in 4 days, which gives me a lot of time to prepare. For now, I am just looking at cinematic examples of job interviews. I will try to avoid looking like this ...

... and be more like this ...

Applications mode on

When the very stressful weeks of essay writing (for my optional module "Art of Management: Management of Art") got over, and the essay was successfully submitted, it seemed like the right time to resume my quest for an internship. After visiting the Careers Centre, I earned valuable advice on how to write my CV and covering letter, and I incorporated their corrections and suggestions in the latest version of my CV. I, then, started communicating with the companies that were at the top of my list. 

Source: http://gifs-for-the-masses.tumblr.com/post/20887519814, taken from 'Mulan' (1998), directed by Tony Bancroft and Barry Cook

My first attempt was fruitless, as, after all, it seems that Sundance Film Festival London is not looking for interns. However, that does not mean that I cannot apply for a position as a volunteer, which will at least fulfil my goal of enhancing my CV by adding experience gained in the UK. As for the rest of the companies (DNA, See-Saw, Recorder Picture Company), none of them has replied yet, which either means that they rejected me or that they are taking their time. I choose to keep positive and believe the latter; after all, it has been just 10 days since I emailed all of them. I guess I should be more patient.

Source: http://stuffpoint.com/harry-potter/image/52955/i-dont-like-to-be-kept-waiting-picture/, taken from 'Harry Potter and the Deathly Hallows: Part 2', directed by David Yates

From now on, I will open up my research to more possibilities. My essay for "Art of Management" was focusing on the problems that the film distribution industry is facing nowadays, in an era of digitisation and financial crisis. During my research on the subject, I realised that distribution is an aspect of film that is also quite intriguing. It might not be a bad idea to explore my options in that field as well. I randomly came across a distribution company named Peccadillo Pictures, which is the main distributor of LGBT movies in the UK, and has actually distributed some of my most favourite queer films of all time. I was lucky enough to find out that they are currently looking for interns. My next move will be to get in touch with them, and try and find even more distribution companies, in order to broaden my horizons as well as my opportunities for an internship.