The Birds Eye View website offers the following statistics for Women working in Film: “Film is the most powerful medium of our time, but only seven per cent of directors are women, ten per cent screenwriters,” and very few are cinematographers or technicians.
Hardly surprising, but for women engaged in the difficult business of filmmaking the statistics are a cause for concern. And that’s without even examining the track record of other art forms such as theatre, opera and visual art. But perhaps, nowhere, except in the realm of film is the so-called, “glass ceiling” of gender, so painfully evident.
Rachel Millward founder of Birds Eye View provides the following statistics; “Out of the last 350 feature films produced in Britain only eight of those were made by women…The imbalance is quite obvious, and we want to address that.”
The aim of Birds Eye View (BEV) is to bring a new generation of talented women filmmakers from across the globe to new audiences. So, if you are weary of US-saturated visions of the world and male-dominated perspectives, then the Birds Eye View festivals, events and programmes, could well be the tonic you’re after.
Asked about the organisation’s potentially contentious name Millward said, “I think it’s quite good to call an evening promoting women’s filmmaking Bird’s Eye View. Obviously “birds” (can be)…a derogatory word for women. It’s very disarming for people who are fed up with women talking only about women’s issues. And we are presenting a woman’s perspective, it’s a fun and quirky name.”
Through their London-based and UK touring festivals and educational programmes, BEV is committed to introducing audiences to excellent and innovative shorts, features and documentaries, made by women. BEV is also committed to inspiring the next generation to express its concerns, in all its diversity. And most importantly to introduce new and fresh voices to our screens.
Joanna Lumley, Patron of Birds Eye View said, “This is a terrific initiative; and the films are all fresh, unexpected, skilful, professional and make the viewer think and feel new things (a considerable achievement). If this is what being a bird is, I’m proud to be one.”
Rachel Millward is now the Artistic Director of the Birds Eye View Festival. In 2001 Millward and Pinny Grylls, both emerging film directors, teamed up to form the company Invisible Films. Always aware of the lack of female role models, both women pledged to work towards the promotion of women’s film within the male-dominated industry. When it came to premiering their own work, Millward and Grylls also took the opportunity to build a platform for other female filmmakers. Gathering together a programme of short films, they launched the inaugural Birds Eye View at the Curzon, Soho at the end of 2002. Both women were united in their determination to provide an events-based framework within which women filmmakers could showcase their work.
Since then Millward has gone on to direct BEV and Grylls has taken creative control of Invisible Films. Following on from the success of the initial festival events, Rachel Millward re-formed Birds Eye View as a registered charity. Since then she has managed and curated all BEV events. Millward organised the tour to ten UK cities in November/December 2003. She also curated, directed and produced the 2005 film festival. Along the way she has garnered an impressive range of supporters, speakers, presenters, patrons, sponsors and press interest.
Speaking about the aims of BEV, Rachel commented, “I think it’s necessary to address the imbalance in the film world, without falling into the trap of being very exclusive… So there is a balance there somewhere, it’s wrong not to mention it at all, but we want to be flexible about it. There are other important imbalances like racial minorities…but we have to address this lack of chances for women filmmakers.”
Adding, “…By the way, we don’t just deal with female subjects in the films we show and make, only the directors are women. The old boys network still exists…so it seems the right time to build and nurture working relationships amongst women. At film schools there is very little imbalance, but in the industry it is undeniable.”
What others have to say about Birds Eye View:
“At long last! Birds Eye View is a fantastic idea…I’m delighted to give it my support. It’s wonderful to see such a range of talent amongst women filmmakers.” Sarah Radclyffe founded Working Title Films with Tim Bevan in 1984
” Birds Eye View is a unique platform to kick-start the careers of some very talented female directors, actors and writers. The work on show this year is as usual challenging and wildly creative. Those that bemoan the lack of fresh talent in the British film industry should look no further for the names of the future.” Greta Scacchi; Actor
The celebrated UK actor and patron of Birds Eye View, Juliet Stevenson stated in her address at the BEV 3 Launch at the National Film Theatre, London in 2003, that there is an overwhelming need for women’s filmic vision to enter the culture. In her speech Stevenson did not attempt to find answers, instead she asked many interesting and provoking questions about gender, priorities, and the obsessive capacity to hustle a film into being. And she also flagged the choices women often have to make about work and family life. As Madonna once famously quipped after her separation from actor, Sean Penn, “We both needed a wife.” Don’t we all!
Here follows an excerpt from Stevenson’s marvellously candid and thought-provoking address to the audience: For the full transcript go to the BEV website.
“…So I’m just interested in what this means. What is this ceiling about? Who put it there? Who sustains it? Does it really exist? Is it placed there by circumstances and influences that we need to identify and understand? Or is it to do with self-selection from women themselves? I’m just interested in these questions and I wish this could be a…conversation because I’d love to hear your thoughts.
…To get a film made requires scads and scads of hustling and jostling, then is it that men are better at hustling than women are? … Maybe the male psyche is more prepared to go into that territory and bullshit their way through…? I don’t know, I don’t know! …Is it to do with total immersion? The making of a feature film generally takes three years from the beginning to the end of the process and requires absolute obsession. Is it more difficult for women to obsess?
Or, is it that there is still some kind of invisible club, with an invisible bouncer at the door. And to get into the club you have to be recognisable to the bouncer …For example, the received wisdom that drama must be about conflict…But a woman dreaming up a film may not perceive her form in that way. Or if she does, her notion of what conflict is may be very different. A woman may live all her life in conflict and never raise her voice, or hit anybody…or be involved in a car chase. Her notion of conflict may feel very different, but it may not be recognised in that way by the club member who is financing her…
Listen, I don’t know the answers to these questions…I’m just interested in the “ceiling” and what it means…”
…I think the world needs films made by women, shaped by female perception. Cinema is the most powerful medium of our age and with the world the state that it’s in I think we need films that are shaped by women’s ways of seeing, women’s ways of exploring and resolving conflict… shaped by their own self images, their own sexuality, humour and vision. So let’s hope that what we’re seeing tonight is the dawning of a golden age of women’s cinema.”
The work of Birds Eye View is invaluable in terms of making conscious and audible the need to develop specific pathways for women to enter the field of filmmaking. Women like Juliet Stevenson, Rachel Millward and a host of wonderfully talented and experienced women (who support BEV) will make a deep impression on emerging and established women filmmakers. They are playing a vital role in changing perceptions and ensuring that women filmmakers will never be short on role models, advocates or screening opportunities.
Filmmakers comment on Birds Eye View:
“The prestige for getting a film into BEV is huge… You really made me feel like a film-maker with something to say.” Susan Jacobsen, director Bushido 2005
“Good exposure in a well publicised Festival… As BEV’s reputation is growing so fast, this is a great event to be part of.” Magali Charrier, director Tra la la 2005
“I thought it was great. My screening was sold out, the audience was very appreciative, the Q&A was enjoyable. It was excellent.” Vesna Cudic, director I’m Not Going 2005
BIRDS EYE VIEW UPCOMING FILM FESTIVALS 2006
June 1st- 4th: International Shorts & UK Features, Apollo West End
September 14th-16th: International Documentaries, ICA
…STOP PRESS… Calling international women filmmakers: BEV is still accepting films from International women filmmakers for the September Documentaries Festival.
BEV will be showing features in their June festival, but are currently not taking submissions for these. However, if you think you have a particularly strong project of interest, please email deborah@birds-eye-view.co.uk with details.
For detailed information about Birds Eye View and the upcoming film festivals visit the Birds Eye View website at:
Birds Eye View www.birds-eye-view.co.uk
Women in Film and Television www.wift.org.uk
Directors Guild of Great Britain www.dggb.org.uk
Filmmakers Association www.filmmakers.org.uk
