Accessibility for Film Screenings

Read Helen Wright of Scottish Queer International Film Festival (SQIFF)’s presentation on making your film screenings and events accessible to everyone

At the July Scalarama Glasgow meet-up, Helen Wright (Scottish Queer International Film Festival) gave a presentation and led a discussion on accessibility for film screenings. Helen covered basic principles, and practical access measures for screenings and for marketing film events.

Helen has very kindly allowed us to host the PowerPoint (above), which formed the basis of her presentation. Material from all of 2019’s Scalarama meetings/workshops in Glasgow, including guides to licensing, venues, tech set-up and social media, here.


Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

Basic Tech Set-up for Film Screenings

Tips, specs and software for perfecting your DIY film screening

At the May Scalarama Glasgow meet-up, Eileen Daily (Duncan of Jordanstone College of Art & Design, Document Film Festival, Picture Window) gave a presentation and led a discussion on basic tech set-up for DIY/non-theatrical film screenings, covering film formats, how to prepare films to get the best presentation and what free software is available to help you do all of this easily.

We’re hosting Eileen’s PowerPoint (above), which formed the basis of her presentation and covers basic terminology, ideal technical specs and useful guides to that free software (plus hot-links to download it).


Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

A Basic Guide to Licences for Film Screenings

Ever wanted to screen a film? Our straightforward guide will tell you what licences you need to screen films in Scotland, how to get them and how to get started

When we started screening films we knew there was stuff we didn’t know, or assumed was probably wrong – whether through wilful ignorance or plausible deniability, we definitely didn’t do things correctly straight out the gate. This is true of a lot of film events, and usually in good faith. Briefly, we figured out what we needed to know and that one problem is that there aren’t necessarily straightforward/simple answers to some basic questions. Licensing for film screenings can be like traversing shifting sands from one event to the next.

However, there are basics and we learnt them and this, here, is the skeleton of a presentation we gave in March 2019 as part of Scalarama Glasgow’s Programming and Licensing event at Glasgow Short Film Festival. You can download it as a two-page PDF here.

Why confirm licences?

  • Legally, you have to (¯\_(ツ)_/¯)
  • Threat of fines (and your venue can be classed as a “contributory infringer”)
  • The greater good (exhibitors, film makers, distributors and everyone in between depend on each other to sustain the film industry)
  • Access to funding and other support to help keep doing what you’re doing

These are the licences venues need to screen films anywhere in Scotland:

  • Cinema Licence (from your local council)
  • Entertainment Licence (from your local council)
  • Performing Rights Licence (PRS) (from PPL/PRS)

Depending whether or not you want to plan your screening (e.g. if you want to advertise your screening anywhere outside your venue or online), you will also need one of two kinds of licence:

  • Single Title Screening Licence (STSL, for planned screenings, free or not)
  • Public Video Screening Licence (PVSL, an umbrella licence for unplanned and/or “ambient”, free screenings and/or members-only orgs)
  • NB Filmbank’s Licence Wizard is a handy way to figure out which you need

You can confirm most licences from ‘gateway’ distribution companies who manage large libraries on behalf of major studios, for example:

 Or sometimes licences are held by individual distributors, for example:

Some tips for finding elusive licence holders:

Useful + more detailed guides: 


F.A.Q.

Q: How much is a film licence?

A: Depending on the context and source, it can be anywhere from £60 + VAT to several hundred pounds. Some distributors demand a percentage (often 35%) of final box take versus a minimum guarantee (MG), meaning you pay whatever is more.

Q: Can I haggle/negotiate?

A: You can try. Haggling is more commonplace in Europe and North America than in the UK. And some distributors, e.g. Filmbank, operate an online portal that doesn’t allow for it.

Q: Who will know if I don’t get a licence?

A: Distributors, especially the bigger ones, do keep an eye on screening activity and if they’re made aware of unlicenced screenings of their films, they will investigate. Most commonly, they’ll simply chase you to book it in. Other local exhibitors, including cinemas, will likely notice screenings that seem to be unlicenced too => side-eye and/or bad blood.

Q: Do I need a licence if my screening is free or for charity?

A: Yes. Although on rare occasions you may be granted a licence for free, you still have to confirm permission to screen with the licence holder.

Q: Do I need a licence if the director/star is coming?

A: Most likely. Unless the director is also the licence holder and/or the film doesn’t have distribution, they probably won’t manage the screening rights for their own film.

Q: If I own the DVD, can I screen it?

A: Not without a licence. However, the licence fee most likely will not cover screening materials (i.e. DVD, Blu Ray), which you usually must provide yourself.

Q: If someone released the DVD/Blu Ray, can they grant a screening licence?

A: Sometimes, but not always. The rights to distribute a film for home entertainment and the rights to distribute a film theatrically or non-theatrically are not essentially the same.

Q: What do I do if I’ve exhausted every avenue and explored all possibilities of finding a licence holder?

A: In the very unlikely chance you have (see Sophie Brown’s Point Break saga), there is the option to self-indemnify, meaning you make a record of your attempts to source the licence, reserve the box office take and prepare for the licence holder to eventually come forward. No-one recommends you do this.

Q: Which films are in the public domain?

A: There isn’t a definitive answer or resource for this. Websites that claim to be definitive are not and in any case are often based in the US, which is a different distribution territory that also has different copyright laws. On top of this, the legal status of films often changes over time. All you can do is research.


Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any more questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

 

 

Matchbox Cineclub vs Scalarama

ThisIsScalarama_web

Scalarama is just around the corner and we have some of our biggest and best events lined up for it this September. First, we team up with Video Namaste for an event inspired by Everything Is Terrible, the Found Footage Festival and Adam Buxton’s Bug. Then we have a very special event celebrating the 20th anniversary of Chris Morris’ landmark TV comedy Brass Eye. Our Glasgow events culminate on our regular date at CCA with our very first live score commission. Finally, we’re using Scalarama to launch our first ever tour, bringing back John Paizs’ masterpiece, Crime Wave for its theatrical debut across the UK.

07/09: Video Bacchanal at Nice N Sleazy 

The ‘90s in cinema were an amazing nightmare. A sugar-syrup throb of VHS scanlines, dire fast food tie-ins and probably the weirdest time in Arnold Schwarzenegger’s life. Come join the Video Namaste boys in a wee trip through the weird videoshop hellscape of 90s cinema and all the amazing stuff that orbited it. Have a drink, gawk at us forgetting to remember and then have a wee dance with us as we play some Exxtra Special ‘90s soundtrack songs afterwards.

supermanlives

17/09: Oxide Ghosts: The Brass Eye Tapes with director Q&A at CCA

Made from hundreds of hours of unseen material from his personal archive, director Michael Cumming’s film shares insights into the process of making the legendary TV series Brass Eye. Michael directed both the pilots and the series and, over a two-year period, witnessed the highs and lows of Brass Eye from a very personal perspective.

Part documentary, part artwork – the film is designed solely for live screenings and is made up almost entirely of never before seen footage. Oxide Ghosts carries the blessing of Chris Morris and provides a rare glimpse of his extraordinary working practices.

Michael will be doing a Q&A after the film – spilling beans, shattering myths and letting a few cats out of the bag. Celebrating 20 years since Brass Eye’s transmission in 1997, this film and Q&A session are a must for fans of the series but will appeal to anyone with a curiosity about how great comedy is made.

Oxide Ghosts_poster

21/09: Cowards Bend The Knee with live score by Ela Orleans at CCA

Guy Maddin is one of the most distinctive and idiosyncratic directors currently working. The Canadian auteur has mined and subverted the imagery and style of late silent and early sound cinema in such films as The Forbidden Room and The Saddest Music In The World to disorientating, often hilarious effect. Cowards Bend The Knee is one his greatest, but least-known films. Originally conceived of and presented as a peephole show, the film’s ten chapters concoct an alternative cinematic biography for Maddin, torn between the influence of his hockey star father and his attraction to Meta, the beautiful girl from the local beauty salon / illegal abortion clinic.

This is Guy Maddin in purest form, the most concentrated and probably craziest film of his career. Never have hockey, hairdressing, homophobia and hand amputations collided to such dizzying effect, in perhaps the most authentically surrealist film of the 21st century. For Scalarama, Matchbox Cineclub have commissioned Ela Orleans to write a new score.

Ela Orleans has gained an international cult reputation for her haunted, noir-inflected torch songs. She recently came to more mainstream attention when her magnum opus Circles of Upper and Lower Hell was nominated for the SAY Awards. However, the Polish-born musician has a parallel career, scoring film soundtracks having studied composition under David Shire (The Conversation, The Taking of Pelham 123) in New York. She has composed new soundtracks for films as diverse as Frank Borzage’s Lucky Star, Carl Dreyer’s Vampyr and Jack Smith’s Flaming Creatures.

After the screening, journalist Brian Beadie will discuss Ela’s work and approaches to film scoring.

Cowards-Bend-The-Knee_web

September and beyond: Crime Wave DCP tour at various UK venues

One of the greatest and yet most perversely overlooked debuts in Canadian movie history, writer-director John Paizs’s Crime Wave announced the birth of a new genre in Canuck cinema: what cultural critic Geoff Pevere dubbed “prairie postmodernism.” Crime Wave’s recent restoration by TIFF debuted to a rapturous reception during Glasgow Film Festival 2017, programmed by us. Still unavailable on DVD, VOD or streaming, Paizs’ lost classic now comes to UK theatres for the first time. Dates are confirmed at DCA (Dundee), Castle Cinema (London), Hawick and HOME (Manchester).

Disney


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