EIFF aims to address the desires of audiences and the needs of the film industry in the digital age. EIFF has global credibility and a 65 year track record in innovative and excellent programming. Over this long lifespan EIFF has excelled in identifying, curating, showcasing and promoting new films and new talent from both the UK and across the world. Ongoing commitment to quality and excellence and passion for film and filmmakers are central to our work.
We aim to create space for thought and debate on the future of the film industry, supply opportunities for filmmakers and industry delegates to do business, and provide a focus on the UK’s film culture for local, national and international audiences.
The Centre for the Moving Image is a registered charity incorporating Edinburgh International Film Festival, Edinburgh Filmhouse and the Edinburgh Film Guild. It is dedicated to creating and sustaining a year-round film and moving image experience for the film industry and public. It will continue to form partnerships with other cities, festivals and venues throughout Scotland, the UK and internationally.
It will strengthen its relationships with exhibitors, distributors, educational establishments, private enterprise, audiences and members of the public, as well as collaborating with key partners and stakeholders including Creative Scotland. Importantly, it will expand its talent foundation programme as part of Edinburgh International Film Festival.
Kate is a feature film script editor who works on projects at all stages of development. At the moment she is working on projects for producers including Mia Bays at Microwave/Film London, Bob Last at Ink, Stewart le Marechal at Met Film, Peter Fudadowsoki at UKFTV, Rodar y Rodar in Spain, Mark Cooper, Karlene Page at Big Hug Productions, Neomis Films in Paris, Thomas Hoegh at Arts Alliance, North West Vision, Screen South, Screen West Midlands, Scottish Screen and the UKFC. She works with a wide range of talent, in all genres, on adaptations as well as original screenplays and on a handful of short films. She is often brought in to advise on projects in development with commercial producers (including DNA Films, Cloud 8, Slingshot and in the past Miramax); in the public sector she advises Media Plus Europe on slate finance applications, and the New Zealand Film Commission on feature finance.
She has been head of development at several companies including FilmFour, where she was based for 5 years and where she was part of the small team commissioning and developing some of the UK’s most successful feature films including FOUR WEDDINGS AND A FUNERAL, TRAINSPOTTING and THE FULL MONTY. She developed ORPHANS and brought in EAST IS EAST and GIRL WITH A PEARL EARRING, working with countless British writers and directors along the way. As head of development at Capitol Films she spotted LEAVING LAS VEGAS and THINGS TO DO IN DENVER WHEN YOU’RE DEAD, and worked with talent including Roman Polanski and William Boyd. She has commissioned at least one Oscar nominated film (SOLOMON AND GAENOR) and has also been involved in commissioning well over 100 short films. She was a film agent at Gillon Aitken Associates; presented & produced for BBC2′s The Late Show and Moving Pictures; was director of the Edinburgh Television Festival; and was Associate Director of Cinema at the ICA. In addition she has been a location caterer, a film festival programmer, a visiting lecturer in screenwriting, a film distributor and a cinema usherette.
Kate teaches script development to post graduate students at the National Film School, screenwriting to post graduate students at the University of London, and evaluates screenwriting courses for the UK Film Council via Skillset. She ran a project for Skillset last year to produce a Shortlist of the best graduating writers from all the key film schools in the UK. This year she is running DRAFTED, a feature development project working with experienced writers in the North West. She speaks regularly at festivals and industry events including the London Film Festival, the Screenwriting Festival, The Edinburgh Film Festival, BFI South Bank, the Skillset Fellowship Programme, the UKFC Breakthrough Brits, the New Producers’ Alliance, workshops for the digital shorts filmmakers for the UKFC and a series of workshops for the Script Factory. She is currently advising the Wellcome Trust. She was on the production committee at Scottish Screen for 7 years and has been a BAFTA member for 17 years.
Throughout 2010 Kate ran THE STORY WORKS with the Edinburgh International Film Festival, based on closed story masterclasses for screenwriters. Masterclasses to date have been run by Jane Campion, Mike Leigh, David Julyan, DV De Vincentis, Mogens Rukov, Sir Ronald Harwood, John Mathieson, Pietro Scalia and John Madden. Participating screenwriters include Amanda Coe, Alicia Duffy, David Farr, Cameron Fraser, Olivia Hetreed, Neil Jack, Mike Lesslie, Nathan Parker, Jon Ronson and Jack Thorne.
Holly is currently the Industry & Talent Development Manager at the Centre for the Moving Image (incorporating Edinburgh International Film Festival). Her remit includes the provision of all Industry Services and Events both during the Festival period and year round. She is also responsible for managing talent development initiatives run by the Festival which have included EIFF Talent Lab 2011, Composer Minilab 2011, The Story Works 2010 and Features Scotland 2010. See the EIFF website for more details of all initiatives: www.edfilmfest.org.uk/talentdevelopment.
Prior to this Holly worked as the Programme Manager at Moonstone International Screen Labs where she co-ordinated the residential bi-annual Screenwriters Labs and annual Filmmakers Labs, which took place in various European locations.
MENTORS
Ivana MacKinnon
Ivana MacKinnon is working with Hammad Khan on THE SILENT SUCCESSION OF QASIM ALI, Nicola Clayton & Mahalia Rimmer on THE FAHRENHEIT TWINS, Gabriel Robertson on DON’T SPEAK; SCREAM and Ronnie Mackintosh on BEST EVIDENCE.
Ivana has been working in the film industry since 2000. Starting as a reader for numerous companies including Miramax, Working Title and Pathe, Ivana joined start-up company Celador Films in June 2002, working with producer Christian Colson. Becoming Head of Development in April 2005 and Head of Creative Affairs in July 2008, she oversaw development for the company alongside Associate Producing THE DESCENT, EDEN LAKE and SLUMDOG MILLIONAIRE.
In 2008 Ivana Produced two features. THE DESCENT 2 was directed by Jon Harris and realeased by Pathe in the UK and Lionsgate in the US in 2009. THE SCOUTING BOOK FOR BOYS was written by Jack Thorne, directed by Tom Harper and starred Thomas Turgoose and Susan Lynch. It premiered at the San Sebastian film festival, Won ‘Best Newcomer’ at the London Film Festival, and was released by Pathe in the UK in 2010.
Ivana joined Christian Colson as Head of Creative Affairs at Cloud Eight in 2009, where she worked as Associate Producer on Neil Marshall’s Centurion.
In March 2011, Ivana left Cloud Eight to produce her own material. She remains attached to a number of C8 projects as Producer/Associate Producer, including CHEERLEADERS 3D, a culture clash dance movie to be directed by Tom Harper. Presently she is developing a slate of film and TV projects, and producing Kibwe Tavares’ (ROBOTS IN BRIXTON ) next short. Ivana works as a freelance story consultant and mentor for Northern Film and Media, Film4, and is currently execing a slate of dance shorts for C4′s Random Acts.
Peter Ettedgui
Peter Ettedgui is working with Hannah Robinson & Wendy Griffin on TESLA GIRL, Alex Smith on A BOY NAMED KEITH and Leigh Campbell and Lindy Heymann on HAMMER.
Peter began his career in film in the art department, production office and cutting rooms before working for Ken Russell as director’s assistant and music editor. He went on to write VIGO for director Julien Temple, ONEGIN for Martha Fiennes and a television film, THE DOUBLE LIFE OF FRANZ SCHUBERT for Peter Webber which starred Simon Russell Beale as the composer. He also penned many other screenplays commissioned by companies in the UK, Europe and the US.
Since 2005, Peter has been working as a producer, developing projects in association with UK-based companies including Harbour Pictures and The Bureau, under the aegis of financiers such as Disney, Miramax, Film4 the UK Film Council and its successor the BFI. In 2007, KINKY BOOTS, his first film as producer (with Suzanne Mackie and Nick Barton) opened the Sundance Film Festival. The warm-hearted comedy went on to win audiences world-wide. Peter returned to Sundance in 2009 with UNMADE BEDS, directed by Alexis Dos Santos, which he produced with Soledad Gatti-Pascual at The Bureau.
Beyond his career as screenwriter and producer, Peter has worked extensively as a development consultant and script editor on feature films and TV drama alike, including a long-standing association with Bond producer Barbara Broccoli on her non-007 slate at Eon Productions. He continues to freelance in development, as both a consultant, and ‘script doctor’, most recently (2011)
on CONFESSIONS with producer Peter Carlton at Warp Films; and for Eran Creevy’s visceral London thriller WELCOME TO THE PUNCH with producers Ben Pugh and Rory Aitken. He is also currently co-developing the script for MGM’s 50th anniversary feature documentary about James Bond for Passion Pictures and Red Box Films.
An alumnus of Inside Pictures, the UK film industry’s executive training programme, Peter has himself worked regularly as a visiting lecturer and tutor on the screenwriting MA at University of Westminster and London International Film School, and on industry schemes such as iFeatures, SOS, Hothouse and Microwave, where he has mentored participants both on the Microschool development programme and on individual projects such as Eran Creevy’s SHIFTY.
His work as educator also includes the Screencraft book series, which he devised with publisher Rotovision. Featuring some of the greatest living practitioners of the various film-making disciplines, Peter authored the first two titles in the series, ‘Cinematography’ and ‘Production Design and Art Direction’. The books have been translated and published globally, winning awards and garnering best-in-class reviews on their way to becoming set texts in film education.
Clio Barnard
Clio Barnard is working with Sam Firth on THE STORY OF ME AND YOU.
Clio Barnard is an artist filmmaker whose work has screened in cinemas, international film festivals and galleries including Tate Modern, Tate Britian and MoMA, New York. Her work has been screened on Channel 4 and had several international broadcasts.
Her most recent work, THE ARBOR, won The Grierson Trust Award for Best Cinema Documentary 2011, The Guardian First Film Award 2010, Best New Documentary Filmmaker Award at the Tribeca Film Festival 2010, The Sutherland Award and Best British Newcomer at LFF 2010, The Innovation Award at Sheffield Documentary Festival 2010, The Douglas Hickox Award (BIFA) 2010, Best Screenplay at Evening Standard Awards 2010, Jean Vigo prize for Best Director – Punto De Cista 2011, Doc Art Award at Planete Doc Film Festival and was nominated for a BAFTA 2010.
Clio Barnard’s work is concerned with the relationship between fictional film language and documentary. She has often dislocated sound and image by constructing fictional images around verbatim audio. In The Arbor actors lip-synch to the voices of real people, questioning documentary’s aspiration to collapse the distance between reality and representation. Barnard is also one of the winners of the Paul Hamlyn Award for Artists.
