The Stage
June 18, 1998
Opening Doors for new talent
Andy Isaac set up the Film Exchange after the arts funding system let him down. Lisa Martland reports on his scheme's increasing success.
Disappointment at the current state of arts funding could hardly be regarded as a rare dilemma. Debates about how much there is in the pot, and who is snaffling all the honey, must be more common in the television, film and theatre industries than gossip about the latest soaps. So when someone comes along with a bundle of new ideas, and the money men still say no, is the message simply give up and go back to the day job?
Not if Andy Isaac has his way - he, like so many others, has had enough of spending huge chunks of his time knocking on the doors of the Arts Council, TV companies and private firms, searching for a hint of encouragement. Hardly a man to mince his words, Isaac speaks frankly about what he believes to be a lack of support for new talent in this country, and has decided to sit on the fence no longer.
In the past he has tried to gain Lottery funding for a whole range of ideas, including a couple of projects which he hoped would be appropriate for Channel 4 or BBC 2's Short film seasons but without any joy. "Why? he asks, "Because they are not good enough? Or maybe it is because I am not a recognised name. The truth is only the 'fat cats' will end up getting funding, and that has been shown clearly over the past three years".
Isaac has consequently given up waiting, and instead has worked on turning all that frustration and disappointment into positive thinking. The result is his founding of the Film Exchange, an organisation he hopes in years to come will play a significant role in all areas of the arts - creating TV productions, feature films for TV and cinema, stage shows, commercials, corporate videos etc, as well as nurturing up and coming talent.
Despite Isaac's incredible enthusiasm, this proposal initially sounds somewhat idealistic, as he explains how both new and established writers, directors, actors, cameramen, producers, editors and lighting and sound engineers can join the network and work together on projects of their choice. And yet his commitment to the scheme and determination to make it succeed, are impossible to question.
"For example, new writers who join will get a chance to see their ideas come to fruition," Isaac explains. "The best thing is there will be no censorship, every piece will have the possibility of being produced as long as directors and performers and crew wish to give it a go. "We also want to set up a huge trainee section where those who wish to be in film, will work alongside professionals in our productions and gain hands-on knowledge of what is involved. "In all respects, there is a rotation system - for performers, cameramen etc - so the breaks don't always go to the same people."
Part of the money raised through annual membership fees will go towards buying equipment so all the schemes will stop simply being ideas, and begin to become a reality. Funds raised from those who have already joined - 300 and rising at the moment - have helped Isaac purchase Sony's latest state of the an camera equipment. Not only that, but Sony has said those members using the new technology will be shown the intricacies of how it all works by its own representatives.
Isaac is also very aware that artists are rarely able to sell themselves simply with a telephone call or letter, so everyone will be encouraged to film their own efforts at the network. If a writer or director has an idea for a TV game show, as one or two do, they will be encouraged to make their own pilots and those actors involved can also have a copy to promote themselves individually.
Occasionally, Isaac hopes to organise competitions, awards ceremonies and showcases, with different criteria so members projects can be viewed by an invited audience of high-profile figures from the relevant industries. As a writer and director himself, with big ambitions of his own, he realises what benefits such a venture would bring, and is fully aware that those members who do find success, will move on to pastures new.
'That is the point," he says, "I hope people will go on and do bigger and brighter things, but I also hope the network will gain a profile and reputation of its own. Then, we may be approached with projects by those already successful in the TV and film industries, or past members might return to the organisation to see what the next batch of talent is like."
So Isaac is going all out to "show the system which has trailed us that it has made a mistake". He wants as many writers, performers, editors, directors etc. to come on board, and not to be browbeaten by continually having the door-in-the-face treatment. "Nothing's impossible," he claims and as he throws out idea after idea, hardly taking a breath inbetween, you sort of begin to believe him.
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