Yesterday I published one of our most popular interviews yet, a discussion with Scottish writer/director John McKay, who has seen success with his work on TV series such as Psychos, Life on Mars, Robin Hood and Lip Service.
McKay also wrote and directed 2001 film, Crush, while his latest TV film, We’ll Take Manhattan airs on BBC Four this Thursday and his next feature, Scottish indie movie Not Another Happy Ending, is in development.
He’s in a good position to comment on how film and TV production in Scotland compares to that in England and other countries, and his overwhelmingly positive views of where our industry could be headed struck a chord with readers, as evidenced by comments on Twitter.
I’m now interested in reading the views of other creatives currently working in Scotland on how McKay’s ideas can be implemented.
How can Scotland compete with BBC Wales’ drama department? Where is Scotland’s big budget, globally successful, version of Doctor Who? Should Scottish broadcasters be creating Scottish dramas specifically for Scottish viewers, like the Danish makers of The Killing did for their audiences? Should we be trying to sell to Burbank or TV Centre in London?
If you have a view on any of the above, please leave your comments below.
About Jonathan Melville
As writer, I often come across writing competitions funded or sponsored by some Scottish body or other whose main remit seems to be to encourage the promotion of Scotland and Scottishness rather than the promotion of the country’s talent.
Why not simply encourage filmmakers to create anything they like so long as it is brilliantly dramatic/funny/scary, set in Scotland and made using Scottish talent?
As John says – “What was so very Welsh about Doctor Who”?
The Scottish Doctor Who will remain unmade as long as its development is dependent on the regional commissioning process and the “positive discrimination” therein. A commissioning process which insists programmes must “celebrate the cultural identity” or “reflect the social diversity” of a modern Scotland, risks encouraging a modern parochialism. Filmmakers, in an attempt to avoid the gentle Whiskey Galore-ness of Bens, Glens and Tunnock’s Teacakes, all too often go too far towards the other end of the twee spectrum and create films/TV which portray all the ills of the nation – knife crime, persecuted immigrants, and abuse, whether it be drug, alcohol or domestic (or preferably all three).
Why do films made in Scotland need to be ABOUT Scotland or Scottishness? Why can’t we just make a film about neurotic, middle class people, and how they mess up at work and in love? And why shouldn’t that film just HAPPEN to be set in Glasgow?
I think we need to concentrate less on making “Scottish films” and more on making “films in Scotland”.
As a short film maker who has recently moved over to Glasgow I fully agree with Keith. It seems that so many funding bodies may not put a theme on their commissions but always suggest films of a Scottish theme will be preferred. It gives film makers such little scope as they try to pigeon hole their films to meet a theme they may have no interest in.
I think Scotland film needs to get away from the stereotypes in the same way I feel northern Irish film is slowly trying to move away from notions of the “troubles” as it really is sending out an old image of the country that is not reflected in the current culture.
Here is hoping that this year can be a true break through for Scottish film.
Scotland needs to produce a diverse selection of films. However all I seem to hear are complaints from journalists about and social realism. Scotland (as well as the vast majority of European Countries) excel at these topics because the makers understand the subject material and do them tremendously well. Drama depends on conflict, and this field has it in spades, is powerful and affecting. The ‘Scottish Miserablism’ tag is a sloppy and lazy kicking target. Other forms have to step up to the mark. Social realism isn’t getting commissioned any more than genre works.
I agree wholeheartedly with Keith Storrier, who comments above. The drive towards making Scottish films be ABOUT Scotland and Scottishness is stifling the Industry in the Country.
I can tell you that I have multiple really exciting projects in development, which have nothing whatsoever to do with Scotland. They would ALL benefit from being Produced in Scotland, by Scottish talent (both indigenous and imported)… But, I’ve felt seriously discouraged by the kinds of films being given match funding by the public bodies. So, much so that I’ve avoided seeking that kind of assistance in the assumption that all they are after is Social Realism or Social Dramedies.
I have little to no interest in making Social Realist Dramedies. My interest is in producing Thrillers, Horrors, Science-Fiction and Period Drama (and mixtures thereof).
Without a real drive to encourage Producers such as myself, to seek financial assistance for these kinds of Productions, the Scottish industry is going to go nowhere fast.
Another issue is that I am building a Film, Animation and Effects Studio. I wanted to build my Studios in Scotland… But the property prices, and business rates are so astronomical, that I eventually decided that the only way to get my Studios started, would be to build them in Denmark.
So, now I’m in Denmark. And, I’ll build my Studios in Denmark. And, I’ll produce my high-production-value Genre films in Denmark. And, I’ll develop my new approaches to practical and stop-motion creature effects in Denmark. And I’ll hire people who are willing to come and work with me in Denmark… Many of whom will be Scottish Associates of mine. My friends and workmates from the Home Country.
This is what the Scottish Industry has led to.
I fully intend to return one day, with a Scottish expansion to my upcoming Studios… But, not before things SERIOUSLY change. I didn’t feel welcome in my own Country. So, now I’m making my career take off somewhere else.