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Greetings and welcome to It's My Shout. | 0:00:25 | 0:00:27 | |
Now, what is this? What is It's My Shout? | 0:00:27 | 0:00:30 | |
Basically, it's a summer training scheme | 0:00:30 | 0:00:32 | |
that has been running for the past nine years, | 0:00:32 | 0:00:34 | |
which has been producing quality short films that have been broadcast | 0:00:34 | 0:00:38 | |
and supported by the BBC. | 0:00:38 | 0:00:40 | |
-Slate 33, take one. -Just take two steps back. That's it. | 0:01:15 | 0:01:18 | |
It's My Shout has eyes and ears everywhere. | 0:01:19 | 0:01:21 | |
It works with people from all walks of life. | 0:01:21 | 0:01:23 | |
It visits schools and colleges. | 0:01:23 | 0:01:26 | |
It is always looking for new talent to be in front of, and also behind, | 0:01:26 | 0:01:30 | |
the camera, working in various production areas. | 0:01:30 | 0:01:32 | |
Here we go, camera set... | 0:01:32 | 0:01:35 | |
And...action. | 0:01:35 | 0:01:36 | |
My name is Simon Lee, from Dolgethly, | 0:01:36 | 0:01:40 | |
and I started working on It's My Shout back in 2009, | 0:01:40 | 0:01:44 | |
where I was a runner, just sort of at the bottom, doing anything I could | 0:01:44 | 0:01:49 | |
to help out, and watch as much things as I could, | 0:01:49 | 0:01:52 | |
to learn and get the most out of the experience. | 0:01:52 | 0:01:55 | |
Hiya, my name's Tannan, I'm from Bangor, | 0:01:55 | 0:01:57 | |
and I'm playing the role of Stacey in ABCDad. | 0:01:57 | 0:01:59 | |
'In college, I just focused more on my dancing than my acting,' | 0:01:59 | 0:02:04 | |
so I thought it would be something different that I could enjoy doing. | 0:02:04 | 0:02:07 | |
I'm Gavin Porter, from Butetown. I've lived here all my life. | 0:02:07 | 0:02:11 | |
I've shot some stuff and I've directed some short films, | 0:02:11 | 0:02:15 | |
but never really worked with a full crew and I realise I need to learn | 0:02:15 | 0:02:19 | |
the intricacies of how it works on set, | 0:02:19 | 0:02:22 | |
in order for me to take that next step, really. | 0:02:22 | 0:02:24 | |
-Cut! -Cut there. | 0:02:24 | 0:02:26 | |
Each summer, It's My Shout and a range of trainees work together | 0:02:33 | 0:02:37 | |
to produce and shoot six short films, | 0:02:37 | 0:02:41 | |
which will be broadcast on air - a fantastic opportunity | 0:02:41 | 0:02:45 | |
for anyone wanting experience in the media industry. | 0:02:45 | 0:02:48 | |
The participants work in conjunction with each other. | 0:02:54 | 0:02:57 | |
They work in all forms of areas, such as location, such as running, | 0:02:57 | 0:03:01 | |
make-up and costume, to name but a few. | 0:03:01 | 0:03:04 | |
Also, every year, | 0:03:30 | 0:03:31 | |
it welcomes new writers and new directors into the fold. | 0:03:31 | 0:03:34 | |
The film is about a 16-year-old girl. | 0:03:36 | 0:03:39 | |
It's on her birthday, so she's just turned 16, | 0:03:39 | 0:03:42 | |
and she writes a wish-list of all the things that she would like to do, | 0:03:42 | 0:03:45 | |
now that she has turned 16. | 0:03:45 | 0:03:47 | |
I've been involved in community projects, not just in Butetown, | 0:03:50 | 0:03:53 | |
but all of South Wales, really. | 0:03:53 | 0:03:55 | |
Butetown, as it's now known, | 0:03:55 | 0:03:58 | |
has been here for... | 0:03:58 | 0:03:59 | |
I've been part of that community all my life, since I was born. | 0:03:59 | 0:04:03 | |
All the directors meet on a regular basis, to go through scripts | 0:04:05 | 0:04:08 | |
and the pre-production process. | 0:04:08 | 0:04:10 | |
...kind of places that you want. He might have ideas in his head. | 0:04:10 | 0:04:14 | |
The script was set in a leafy suburb, | 0:04:14 | 0:04:16 | |
but me - as a person and a director - didn't really identify with the world | 0:04:16 | 0:04:21 | |
that the story was set in, so obviously, as a film-maker, | 0:04:21 | 0:04:25 | |
I would like to think that you tend to push some of your own personality | 0:04:25 | 0:04:30 | |
on screen, and because I am from a council estate, Butetown, | 0:04:30 | 0:04:33 | |
it was, kind of, natural for me to set it here. | 0:04:33 | 0:04:36 | |
Now, everything normally happens down here, in South Wales. | 0:04:37 | 0:04:40 | |
This year, though, we are branching out, into Bangor in North Wales, | 0:04:40 | 0:04:44 | |
to film ABCDad. | 0:04:44 | 0:04:46 | |
All trainees and cast are sourced locally, giving students in Bangor | 0:05:14 | 0:05:18 | |
a unique opportunity to work in this environment. | 0:05:18 | 0:05:21 | |
-Open. -You promised, Gaz, | 0:05:21 | 0:05:23 | |
you promised you wouldn't disappear and you did - again. | 0:05:23 | 0:05:25 | |
-Just open the window. -Where have you been? -I've come to help ya. | 0:05:25 | 0:05:29 | |
'ABCDad is about' | 0:05:29 | 0:05:30 | |
a young lad who has got difficulties | 0:05:30 | 0:05:33 | |
'with writing and reading and he's really trying to get a job.' | 0:05:33 | 0:05:38 | |
-Read that. -No. -Just read it. | 0:05:38 | 0:05:42 | |
-I said no. -Why? | 0:05:42 | 0:05:43 | |
Can't you read or something? | 0:05:43 | 0:05:44 | |
He does try really hard and that's when he meets Ffion | 0:05:52 | 0:05:54 | |
'and Ffion helps him.' | 0:05:54 | 0:05:56 | |
I didn't know you couldn't read. I can help you learn, if you want. | 0:05:56 | 0:06:00 | |
It's a job interview. It's tomorrow, at two. | 0:06:08 | 0:06:11 | |
You need to go to The Castle pub, OK? | 0:06:11 | 0:06:15 | |
-What? -Don't be late for the interview. | 0:06:15 | 0:06:17 | |
Last chance, remember? | 0:06:17 | 0:06:19 | |
The character of Stacey, she's 16 years old, | 0:06:21 | 0:06:24 | |
she lives on a council estate. Her boyfriend was Gary, | 0:06:24 | 0:06:28 | |
who wasn't a very good boyfriend. They had a baby together, so she then became a single mother. | 0:06:28 | 0:06:33 | |
-What's she crying for? -Cos she still hasn't seen her dad. -Well, I'm here now. | 0:06:33 | 0:06:36 | |
-Yeah, until you piss off again. -Stace, I promise. | 0:06:36 | 0:06:39 | |
Whatever, Gaz. | 0:06:39 | 0:06:41 | |
BABY WAILS | 0:06:41 | 0:06:45 | |
It's My Shout teams up with various partners - | 0:06:48 | 0:06:52 | |
schools and colleges - | 0:06:52 | 0:06:53 | |
each year, to help push the training scheme further. | 0:06:53 | 0:06:56 | |
It's a work experience we can't give them. | 0:06:58 | 0:07:00 | |
It's a work experience where they can get out and really see | 0:07:00 | 0:07:03 | |
what the industry wants from them. | 0:07:03 | 0:07:06 | |
Slate 25, take one. At end. | 0:07:06 | 0:07:08 | |
-On the end. -On end. -Nearly! | 0:07:08 | 0:07:10 | |
It's just unbelievable. It's given us, as a college, | 0:07:12 | 0:07:15 | |
the opportunity to give our learners | 0:07:15 | 0:07:17 | |
real-life experiences working on a programme which they know | 0:07:17 | 0:07:22 | |
is going to be transmitted and that gives it that sense of reality | 0:07:22 | 0:07:25 | |
and a sense of belonging to an industry. | 0:07:25 | 0:07:27 | |
In fact, we opened it up totally, | 0:07:27 | 0:07:30 | |
to any of our students that wanted to do it, in creative media | 0:07:30 | 0:07:33 | |
and the art department. | 0:07:33 | 0:07:35 | |
-Art department! -Cheers! | 0:07:35 | 0:07:38 | |
'We didn't, sort of, say they had to be camera people. | 0:07:38 | 0:07:43 | |
'They came and saw the opportunity. | 0:07:43 | 0:07:45 | |
'The student might be on a media TV production course. | 0:07:45 | 0:07:49 | |
'Ashley chose to do something different, once they realised | 0:07:49 | 0:07:54 | |
'there was an opportunity for it.' | 0:07:54 | 0:07:57 | |
To get the shots that we wanted, | 0:07:57 | 0:07:59 | |
we've basically moved everything around. | 0:07:59 | 0:08:01 | |
Green here. So if you replace those. | 0:08:01 | 0:08:06 | |
We haven't bought any of these nappies. | 0:08:06 | 0:08:08 | |
We're not allowed to actually leave them as they are, | 0:08:08 | 0:08:12 | |
'so we have to make sure that they go back exactly as we found them. | 0:08:12 | 0:08:15 | |
'We try and abide by the rule, if someone lets you' | 0:08:15 | 0:08:18 | |
use their place, you leave it better than you got it. | 0:08:18 | 0:08:21 | |
Some trainees find themselves | 0:08:21 | 0:08:23 | |
helping out in more than one department. | 0:08:23 | 0:08:25 | |
Simon's colleague Steve, for example, | 0:08:25 | 0:08:28 | |
worked in both the art department and locations. | 0:08:28 | 0:08:30 | |
It was a really good experience to look for these places, | 0:08:31 | 0:08:36 | |
'to use local areas and find catering also, | 0:08:36 | 0:08:41 | |
'and sort out all the locations, really.' | 0:08:41 | 0:08:45 | |
Basically, we are setting the design here for the bus stop scenes. | 0:08:45 | 0:08:49 | |
It is printed on waterproof vinyl, | 0:08:49 | 0:08:52 | |
but just putting it over, just in case. | 0:08:52 | 0:08:54 | |
These are for the bus stop scene, | 0:08:54 | 0:08:57 | |
when Gary is waiting for a bus. | 0:08:57 | 0:09:03 | |
But because he can't read, | 0:09:03 | 0:09:05 | |
he doesn't realise that the bus is not actually coming. | 0:09:05 | 0:09:09 | |
And...action! | 0:09:09 | 0:09:12 | |
As a director, | 0:09:37 | 0:09:38 | |
Gavin has the responsibility | 0:09:38 | 0:09:40 | |
to cast his actors and create his overall look. | 0:09:40 | 0:09:43 | |
He, too, finds his characters within the local area. | 0:09:43 | 0:09:46 | |
'Charlie, as a person, in my head I see her as, kind of, a dreamer. | 0:09:46 | 0:09:50 | |
'She's 16. Obviously, she's written a list of what she would like to do.' | 0:09:50 | 0:09:54 | |
I've got a few ideas. | 0:09:54 | 0:09:56 | |
# Everybody's wishing | 0:09:56 | 0:09:58 | |
# Me a happy birthday | 0:09:58 | 0:10:00 | |
# Everybody's wishing | 0:10:00 | 0:10:03 | |
# Me a real good time | 0:10:03 | 0:10:06 | |
# Everybody wishing... # | 0:10:06 | 0:10:07 | |
'I see her and it's, like,' | 0:10:07 | 0:10:10 | |
I'm trying get the idea of, like, Beauty and the Mundane, I guess. | 0:10:10 | 0:10:13 | |
'I see her as a colourful character that I want to cast. | 0:10:13 | 0:10:16 | |
'Butetown is a colourful place, | 0:10:16 | 0:10:18 | |
'so she's fits in with...' | 0:10:18 | 0:10:21 | |
in with her surroundings, really. | 0:10:21 | 0:10:23 | |
'Emily is from Radnor. She had the innocence that we were looking for' | 0:10:23 | 0:10:29 | |
to play a 16-year-old - someone who has only just turned 16. | 0:10:29 | 0:10:32 | |
'I felt Emily fitted the character, visually, how I imagined it,' | 0:10:32 | 0:10:38 | |
and also she married well | 0:10:38 | 0:10:40 | |
with the other people that I had in mind to play the other parts. | 0:10:40 | 0:10:43 | |
My initial instinct was to cast people from the Butetown area, | 0:10:45 | 0:10:48 | |
to play the parts. | 0:10:48 | 0:10:49 | |
'There are creative people in the area, | 0:10:49 | 0:10:53 | |
'but there is not necessarily a go-to organisation.' | 0:10:53 | 0:10:56 | |
Oh, you want a real gamble? | 0:10:56 | 0:10:58 | |
Try internet dating. | 0:10:58 | 0:11:00 | |
'I've know him all my life, I guess, really. He's from the area.' | 0:11:00 | 0:11:04 | |
I think that he's an unearthed gem. | 0:11:04 | 0:11:06 | |
He's multi-talented, but he just... | 0:11:06 | 0:11:09 | |
I don't think has either had the opportunity | 0:11:09 | 0:11:12 | |
or had the belief in himself | 0:11:12 | 0:11:15 | |
that he can do things creatively. | 0:11:15 | 0:11:17 | |
What's wit' all this gambling, anyway? | 0:11:17 | 0:11:20 | |
If you want to gamble, how about mining in Bolivia | 0:11:20 | 0:11:22 | |
or eating a blowfish's liver? | 0:11:22 | 0:11:25 | |
Don't bother... Machine broken. | 0:11:26 | 0:11:29 | |
Won't be fixed till Thursday. | 0:11:29 | 0:11:32 | |
-Happy with that? -Yeah. | 0:11:36 | 0:11:38 | |
Both cast and crew spend the time before shooting begins | 0:11:42 | 0:11:45 | |
preparing for their roles, in order to have everything perfect | 0:11:45 | 0:11:48 | |
for their time on set. | 0:11:48 | 0:11:50 | |
'I prepared for my character' | 0:11:52 | 0:11:54 | |
of Stacey by speaking to my sister, as she was a single mother. | 0:11:54 | 0:11:59 | |
'Everyone, my whole family and my friends, have all been supportive | 0:11:59 | 0:12:02 | |
'and they have all helped me' | 0:12:02 | 0:12:03 | |
learn my lines and go over it with me, so I can do my action. | 0:12:03 | 0:12:08 | |
'Stepping on the set for the first time was really weird, | 0:12:08 | 0:12:11 | |
'because I had never, ever seen anything quite like it before. | 0:12:11 | 0:12:14 | |
'I'd never seen loads of lights and cameras and so much people. | 0:12:14 | 0:12:17 | |
'It was, like, a really good experience,' | 0:12:17 | 0:12:20 | |
but it was also quite scary, just knowing that, when you are acting, | 0:12:20 | 0:12:23 | |
everyone is, like, staring at you, | 0:12:23 | 0:12:25 | |
but, after about five minutes, it was fine and everyone was so nice. | 0:12:25 | 0:12:29 | |
Once on set, | 0:12:30 | 0:12:32 | |
trainees are thrust into how professional film-making works. | 0:12:32 | 0:12:34 | |
There are many departments involved, | 0:12:34 | 0:12:36 | |
so each individual focuses on their own role. | 0:12:36 | 0:12:39 | |
This one is, basically, about Gary's, sort of, | 0:12:39 | 0:12:45 | |
struggle with being able to read and write... | 0:12:45 | 0:12:47 | |
..or even understanding things. | 0:12:49 | 0:12:51 | |
And this is, kind of, his little way | 0:12:51 | 0:12:53 | |
of being able to, sort of, understand things, | 0:12:53 | 0:12:56 | |
like telephone numbers. He links them with symbols. | 0:12:56 | 0:13:00 | |
Like using the ATM machine, he knows he's got to put his card in first, | 0:13:00 | 0:13:03 | |
pop his PIN in and then he gets the money out. | 0:13:03 | 0:13:06 | |
The script itself is quite specific, in what it wanted, | 0:13:06 | 0:13:10 | |
especially the...name "Gary". | 0:13:10 | 0:13:16 | |
The writer even said how she perceived it. | 0:13:16 | 0:13:19 | |
So that was quite easy to do. | 0:13:19 | 0:13:20 | |
What's that? | 0:13:22 | 0:13:23 | |
You ready? | 0:13:32 | 0:13:33 | |
'In terms of preparation,' | 0:13:40 | 0:13:41 | |
I spent about two weeks, possibly, going through every shot. | 0:13:41 | 0:13:46 | |
'When I went on set, then I had an idea of exactly what I wanted to do. | 0:13:46 | 0:13:50 | |
'I didn't want to waste time. I knew time was, kind of, precious. | 0:13:50 | 0:13:53 | |
'When I went onto the set on the first day, | 0:13:53 | 0:13:55 | |
'I felt if I didn't know the answer to things | 0:13:55 | 0:13:58 | |
'it would reflect badly on me, so I was, | 0:13:58 | 0:14:01 | |
'kind of, for the first morning, | 0:14:01 | 0:14:03 | |
'I thought, "I need to know the answer to things." | 0:14:03 | 0:14:05 | |
'But as the day wore on | 0:14:05 | 0:14:07 | |
'I realised I was probably one of the ones with the least experience | 0:14:07 | 0:14:11 | |
'and I had a good crew around me and it would be' | 0:14:11 | 0:14:13 | |
to my benefit to, erm, listen to what they had to say and be happy | 0:14:13 | 0:14:18 | |
and, kind of, work as a team. | 0:14:18 | 0:14:20 | |
Throughout the process, and as filming begins, | 0:14:21 | 0:14:24 | |
friends, families and communities show their support for the scheme. | 0:14:24 | 0:14:27 | |
I haven't seen anything like this before. I think it's really good. | 0:14:27 | 0:14:31 | |
Everyone's looking and watching and wanting to know what it's all about. | 0:14:31 | 0:14:35 | |
Things like this are instrumental in getting young people involved. | 0:14:35 | 0:14:38 | |
In terms of self-esteem, I don't think you can do | 0:14:38 | 0:14:40 | |
better than the media. | 0:14:40 | 0:14:42 | |
'Based on what I've seen from your initiative,' | 0:14:42 | 0:14:46 | |
encouraging youth to get into media, I think it's a very good thing. | 0:14:46 | 0:14:50 | |
'When I grew up, my street was always' | 0:14:50 | 0:14:53 | |
full of kids and it was always a busy place. | 0:14:53 | 0:14:56 | |
'There's nothing like that happens in my street, | 0:14:56 | 0:14:59 | |
'because it's got a bad reputation. And it was weird | 0:14:59 | 0:15:01 | |
'filming there, cos everyone I knew came out in the street' | 0:15:01 | 0:15:04 | |
and everyone was asking me what was going on and stuff like that. | 0:15:04 | 0:15:07 | |
It was just weird. | 0:15:07 | 0:15:09 | |
"..hope you're not too disappointed in us both. | 0:15:11 | 0:15:13 | |
"I'll send you postcards of our adventures. Love, Gruffy." | 0:15:13 | 0:15:17 | |
This training opportunity can also open up the chance | 0:15:17 | 0:15:20 | |
for young actors and actresses to work alongside | 0:15:20 | 0:15:23 | |
a range of experienced and well-known performers. | 0:15:23 | 0:15:26 | |
An invaluable chance to learn from some of the best. | 0:15:26 | 0:15:31 | |
I think that the It's My Shout series of shows is a fantastic idea | 0:15:31 | 0:15:35 | |
to give experience to young people | 0:15:35 | 0:15:37 | |
trying to get into the business, | 0:15:37 | 0:15:39 | |
all aspects of the business - camera, lights, editing, | 0:15:39 | 0:15:44 | |
you name it. | 0:15:44 | 0:15:45 | |
Even young actors. | 0:15:45 | 0:15:47 | |
-Yeah, yeah. -You're going to leave, are you? | 0:15:52 | 0:15:54 | |
-Yeah, got to go now, so that's... see you. -My wife left me. | 0:15:54 | 0:15:57 | |
We're not just helping this generation, | 0:15:58 | 0:16:00 | |
the upcoming generation, but we're skipping future generations | 0:16:00 | 0:16:05 | |
to create a greater future for our industry. | 0:16:05 | 0:16:07 | |
To pick up six scripts and get them organised | 0:16:07 | 0:16:12 | |
and to use all the kids | 0:16:12 | 0:16:15 | |
that you've got from schools and the universities, | 0:16:15 | 0:16:19 | |
to give them the experience of a few old professionals like me | 0:16:19 | 0:16:23 | |
I think is a marvellous achievement. | 0:16:23 | 0:16:25 | |
Did you know, in the 18th century | 0:16:25 | 0:16:27 | |
you could take out insurance against going to hell? | 0:16:27 | 0:16:29 | |
Do you have insurance, Bruce? | 0:16:31 | 0:16:33 | |
Working with the trainees today has been amazing. | 0:16:36 | 0:16:39 | |
I haven't really known who's a trainee and who's a professional, | 0:16:39 | 0:16:42 | |
which I think is the way it's meant to be. | 0:16:42 | 0:16:44 | |
They seem to have mixed both of them together, | 0:16:44 | 0:16:46 | |
so I'm none the wiser about who is actually | 0:16:46 | 0:16:49 | |
doing this for a living and who isn't. | 0:16:49 | 0:16:52 | |
The value of It's My Shout is that it teaches hands-on experience, | 0:16:52 | 0:16:55 | |
because you can go to any number of media courses around the country, | 0:16:55 | 0:16:59 | |
and you'll never have the hands-on experience of working | 0:16:59 | 0:17:01 | |
on a film set, which is the only way you learn. | 0:17:01 | 0:17:04 | |
I think the scheme is a good entry point | 0:17:04 | 0:17:06 | |
for people coming into the industry | 0:17:06 | 0:17:08 | |
and just getting an idea about what it's all about, how it all works. | 0:17:08 | 0:17:13 | |
Aargh! | 0:17:13 | 0:17:15 | |
Come on, now. Oh. Er. | 0:17:15 | 0:17:17 | |
Oh. Erm. | 0:17:17 | 0:17:20 | |
Am...Amber. | 0:17:20 | 0:17:21 | |
-Mike! -Amber! | 0:17:21 | 0:17:23 | |
Some of them have never done anything like this before. | 0:17:23 | 0:17:25 | |
It's great that they are all coming together | 0:17:25 | 0:17:28 | |
to create art, hopefully, | 0:17:28 | 0:17:31 | |
and just gain... well, take what they can from it, | 0:17:31 | 0:17:34 | |
and it's one of the very few opportunities in Wales | 0:17:34 | 0:17:37 | |
for that to happen. | 0:17:37 | 0:17:39 | |
I think it's important, | 0:17:39 | 0:17:40 | |
especially in this day and age, to turn a key, | 0:17:40 | 0:17:44 | |
perhaps, in young people who want to get into the business | 0:17:44 | 0:17:49 | |
and just give them a little taste maybe of | 0:17:49 | 0:17:53 | |
what it holds for them | 0:17:53 | 0:17:55 | |
if they decide to do it on a professional level. | 0:17:55 | 0:17:58 | |
Danielle! | 0:17:58 | 0:17:59 | |
APPLAUSE | 0:17:59 | 0:18:01 | |
'We've done it, we've won. | 0:18:04 | 0:18:05 | |
'We...defeated the monster.' | 0:18:05 | 0:18:08 | |
Yeah, I don't want to sound...soppy, | 0:18:14 | 0:18:17 | |
but, yeah, there was a really good atmosphere on set, I felt, | 0:18:17 | 0:18:23 | |
and the whole crew were really great. | 0:18:23 | 0:18:26 | |
It was good working with other trainees, | 0:18:26 | 0:18:30 | |
cos I was a trainee myself. | 0:18:30 | 0:18:32 | |
'I think they all done a really good job. | 0:18:32 | 0:18:35 | |
'I must admit, some of the trainees did' | 0:18:35 | 0:18:37 | |
impress me with the skills they had. | 0:18:37 | 0:18:39 | |
Smile and wave for the camera... | 0:18:39 | 0:18:42 | |
'Geraint, first AD.' | 0:18:42 | 0:18:43 | |
He was instrumental in helping me, really. | 0:18:43 | 0:18:46 | |
Just picking up a series of shots we missed from the other day. | 0:18:46 | 0:18:49 | |
I'll talk you through what we want | 0:18:49 | 0:18:51 | |
and what we're doing each time as we go through, OK? | 0:18:51 | 0:18:54 | |
'We met beforehand. I told him I really lacked experience,' | 0:18:54 | 0:18:57 | |
so he guided me along the way, | 0:18:57 | 0:19:00 | |
from simple things as "do I say 'cut'?" | 0:19:00 | 0:19:04 | |
I left 'cut' to him. I didn't even leave 'cut' to him, | 0:19:04 | 0:19:07 | |
it was his job to say 'cut'. | 0:19:07 | 0:19:08 | |
'Yeah, he was firm but fair, | 0:19:10 | 0:19:12 | |
'I guess is a good way of describing his style.' | 0:19:12 | 0:19:15 | |
Obviously vastly experienced, | 0:19:15 | 0:19:17 | |
and he helped the whole process keep on time. | 0:19:17 | 0:19:22 | |
Got a lot to achieve in the first couple of days. | 0:19:22 | 0:19:25 | |
I've hit the ground running, but yeah, | 0:19:25 | 0:19:27 | |
it's going very well, actually. | 0:19:27 | 0:19:29 | |
Quite clear, quite concise. Pushing him hard, but he's reacting well. | 0:19:29 | 0:19:35 | |
It's My Shout has been a huge help to me building my confidence up. | 0:19:37 | 0:19:41 | |
'It's been a great help for that. | 0:19:41 | 0:19:44 | |
'Also it's been a huge help for me getting contacts with | 0:19:44 | 0:19:47 | |
'people who actually work in the industry | 0:19:47 | 0:19:50 | |
'and learning valuable tips from people, being able to' | 0:19:50 | 0:19:54 | |
progress as a person and progress as myself to where I'm aiming to go. | 0:19:54 | 0:19:59 | |
It's made me more confident | 0:19:59 | 0:20:01 | |
and it's given me an experience of how films | 0:20:01 | 0:20:05 | |
actually get made and how long they take. | 0:20:05 | 0:20:07 | |
Hopefully, from this here I can carry on and possibly get | 0:20:07 | 0:20:11 | |
some work in the film industry. | 0:20:11 | 0:20:13 | |
It's been a good experience. I enjoyed it. | 0:20:13 | 0:20:15 | |
Once the filming is finished, screening preparations start. | 0:20:16 | 0:20:20 | |
This gives the participants experience in marketing, | 0:20:20 | 0:20:23 | |
publicity and arranging the events, and all this culminates... | 0:20:23 | 0:20:27 | |
here! At Porthcawl's Grand Pavilion. | 0:20:27 | 0:20:30 | |
After each film has been completed, | 0:20:47 | 0:20:49 | |
all participants are invited to view, | 0:20:49 | 0:20:51 | |
celebrate and be awarded for their work. | 0:20:51 | 0:20:54 | |
It's great for them, and a night like this is | 0:20:54 | 0:20:57 | |
great for them too, because they get some recognition | 0:20:57 | 0:21:00 | |
for the work they've done and to get to play showbiz. | 0:21:00 | 0:21:03 | |
You're marvellous. Marvellous. | 0:21:03 | 0:21:06 | |
Fantastic. | 0:21:06 | 0:21:08 | |
The standard would be very high. | 0:21:12 | 0:21:13 | |
I mean, there's been a lot of talented people working on these. | 0:21:13 | 0:21:17 | |
I'm looking forward to seeing the ones I haven't seen | 0:21:17 | 0:21:20 | |
very much indeed, yeah. | 0:21:20 | 0:21:22 | |
It's a... I'm quite excited, really. | 0:21:22 | 0:21:25 | |
I'm so nervous to see the film, | 0:21:25 | 0:21:26 | |
just because I don't know what to expect, so... | 0:21:26 | 0:21:29 | |
it's just going to be so... | 0:21:29 | 0:21:31 | |
it's going to be weird seeing myself on telly, I think. | 0:21:31 | 0:21:34 | |
So I'm really nervous, but I'm excited. | 0:21:34 | 0:21:36 | |
Got a job. | 0:21:41 | 0:21:43 | |
-Nice one! -Yeah. | 0:21:43 | 0:21:46 | |
-Where is she? -She's sleeping. | 0:21:48 | 0:21:51 | |
There's a thing on it, you know, like a little tag thing. | 0:21:51 | 0:21:56 | |
Really daunting and scary right now, | 0:21:59 | 0:22:01 | |
and all we're doing is just sitting here, well, standing here | 0:22:01 | 0:22:04 | |
having some glasses of champagne, you know? | 0:22:04 | 0:22:06 | |
I feel like I'm prolonging it. I just want to see it already | 0:22:06 | 0:22:09 | |
and see if I enjoy it. | 0:22:09 | 0:22:11 | |
'I'm just enjoying myself tonight,' | 0:22:12 | 0:22:14 | |
I'm just enjoying the feel, really, | 0:22:14 | 0:22:17 | |
and being down in South Wales for once. | 0:22:17 | 0:22:19 | |
Just looking forward to seeing the final product of the films | 0:22:19 | 0:22:22 | |
and how everything looks. | 0:22:22 | 0:22:24 | |
RADIO: '...the Shipping Forecast, issued by the Met Office | 0:22:28 | 0:22:31 | |
'on behalf of the Maritime and Coastguard Agency. | 0:22:31 | 0:22:34 | |
'The general synopsis - low, German Bight...' | 0:22:34 | 0:22:36 | |
CLOCK TICKS | 0:22:36 | 0:22:38 | |
'He seems fine in himself.' | 0:22:41 | 0:22:43 | |
King Dai could hear the screams | 0:22:43 | 0:22:46 | |
coming from deep within. | 0:22:46 | 0:22:48 | |
Once he had saved them all, he would be loved by the townspeople. | 0:22:48 | 0:22:52 | |
'A glance they hold, a story told, | 0:22:52 | 0:22:55 | |
'without the need for words. | 0:22:55 | 0:22:58 | |
'A moment spent, her smile, | 0:22:58 | 0:23:00 | |
'her scent. | 0:23:00 | 0:23:02 | |
'Hearts flutter now like birds.' | 0:23:02 | 0:23:03 | |
Come on. | 0:23:18 | 0:23:19 | |
-Whoa. -I know. | 0:23:24 | 0:23:26 | |
It makes me feel... | 0:23:28 | 0:23:30 | |
alive. | 0:23:30 | 0:23:31 | |
FEEDBACK SQUEALS | 0:23:39 | 0:23:41 | |
Anyway, here we are. | 0:23:41 | 0:23:43 | |
This is the moment you've all been waiting for. | 0:23:43 | 0:23:47 | |
And the winner is... | 0:23:47 | 0:23:51 | |
Once the films have been shown, | 0:23:53 | 0:23:55 | |
awards are given out to the trainees | 0:23:55 | 0:23:57 | |
who have excelled during the process. | 0:23:57 | 0:24:00 | |
I really, really hope Gavin or someone wins something, | 0:24:00 | 0:24:03 | |
because they all just did so amazingly. | 0:24:03 | 0:24:05 | |
I'm kind of scared if I win something, | 0:24:05 | 0:24:07 | |
because the heels I've got on are ridiculously high | 0:24:07 | 0:24:10 | |
and I'm afraid I'll fall when I walk up to the stage. | 0:24:10 | 0:24:12 | |
Apart from that, it's quite exciting! | 0:24:12 | 0:24:14 | |
Well, it's the first time I've seen myself | 0:24:14 | 0:24:16 | |
on a screen like this, you know? | 0:24:16 | 0:24:19 | |
It's mad, like, you know? | 0:24:19 | 0:24:21 | |
It's wicked. Hollywood next! | 0:24:21 | 0:24:23 | |
APPLAUSE | 0:24:25 | 0:24:27 | |
Tonight, we want to once again recognise the talent | 0:24:27 | 0:24:29 | |
that has emerged this year both in front of and behind the cameras. | 0:24:29 | 0:24:33 | |
Steven Mason for ABCDad. | 0:24:33 | 0:24:36 | |
APPLAUSE AND CHEERING | 0:24:36 | 0:24:37 | |
How do you feel? | 0:24:40 | 0:24:42 | |
Oh, it feels amazing. It's just... | 0:24:42 | 0:24:44 | |
I just really wasn't expecting it. | 0:24:44 | 0:24:46 | |
Lucy Gallagher. | 0:24:48 | 0:24:49 | |
APPLAUSE AND CHEERING | 0:24:49 | 0:24:51 | |
I'm really quite shocked. | 0:24:51 | 0:24:55 | |
Christopher Jacobi for camera. | 0:24:55 | 0:24:58 | |
I'll stop there, cos I'll talk about bacon, so, sorry! | 0:24:58 | 0:25:01 | |
LAUGHTER | 0:25:01 | 0:25:02 | |
Anthony "Wella" Carrea for Sweet Sixteen. | 0:25:02 | 0:25:06 | |
APPLAUSE AND CHEERING | 0:25:06 | 0:25:08 | |
I just said to the man there... I don't know what to say! | 0:25:08 | 0:25:11 | |
LAUGHTER | 0:25:11 | 0:25:12 | |
Well, I'd just like to say thank you to everyone who voted for me, | 0:25:12 | 0:25:17 | |
like, you know, and I'm just speechless about this award. | 0:25:17 | 0:25:22 | |
Thomas Herbert... | 0:25:22 | 0:25:24 | |
APPLAUSE AND CHEERING | 0:25:24 | 0:25:25 | |
..for King Of The Castle. | 0:25:25 | 0:25:29 | |
I'm very, very happy. | 0:25:29 | 0:25:31 | |
Thank you very, very much. | 0:25:31 | 0:25:32 | |
APPLAUSE AND CHEERING | 0:25:32 | 0:25:34 | |
Emily Burnett | 0:25:34 | 0:25:37 | |
for Sweet Sixteen. | 0:25:37 | 0:25:38 | |
APPLAUSE AND CHEERING | 0:25:38 | 0:25:40 | |
Er, Emily Burnett? Whooo! | 0:25:41 | 0:25:44 | |
APPLAUSE AND CHEERING | 0:25:44 | 0:25:46 | |
Thank you to Gavin, | 0:25:46 | 0:25:48 | |
who was an amazing director. | 0:25:48 | 0:25:51 | |
He did so...he was just amazing. | 0:25:51 | 0:25:53 | |
And thank you for this. | 0:25:53 | 0:25:54 | |
APPLAUSE AND CHEERING | 0:25:54 | 0:25:55 | |
Best Senior Actor is, | 0:25:55 | 0:26:01 | |
for ABCDad, | 0:26:01 | 0:26:02 | |
Michael Sanderson. | 0:26:02 | 0:26:04 | |
APPLAUSE AND CHEERING | 0:26:04 | 0:26:07 | |
And the winner of Best Film... | 0:26:07 | 0:26:09 | |
Sweet Sixteen. | 0:26:09 | 0:26:11 | |
APPLAUSE AND CHEERING | 0:26:11 | 0:26:13 | |
HE MOUTHS | 0:26:20 | 0:26:23 | |
I didn't expect nothing like this, | 0:26:28 | 0:26:30 | |
but I am really happy that I got it, you know? | 0:26:30 | 0:26:32 | |
Happy, over the moon... | 0:26:35 | 0:26:37 | |
obviously, I said it earlier, it was a genuine team effort, really. | 0:26:37 | 0:26:42 | |
It's been great to just be recognised, | 0:26:42 | 0:26:45 | |
sort of like they've been keeping an eye on sort of who's good. | 0:26:45 | 0:26:49 | |
I couldn't get up off my chair! | 0:26:51 | 0:26:53 | |
And I can't believe I got up! Actually, I did it without falling! | 0:26:53 | 0:26:56 | |
Let's just see what happens from here now, really. | 0:26:56 | 0:26:58 | |
It's really a good event, I think, to...you get socialising | 0:27:00 | 0:27:03 | |
and meet everyone again, and just have a good time, really, | 0:27:03 | 0:27:07 | |
and celebrate everything that's been done. | 0:27:07 | 0:27:09 | |
Looking around, there's many, many people here in the industry | 0:27:09 | 0:27:13 | |
that actually do this professionally, | 0:27:13 | 0:27:15 | |
that I can actually speak to and go up to them | 0:27:15 | 0:27:18 | |
and say "hello" and say who I am. | 0:27:18 | 0:27:20 | |
I hope I'll keep doing stuff like this. | 0:27:20 | 0:27:22 | |
I'll quite happily live my life doing short films like that, | 0:27:22 | 0:27:25 | |
cos it was so much fun doing it. | 0:27:25 | 0:27:27 | |
To kind of get the experience at a young age in particular, | 0:27:27 | 0:27:31 | |
it's invaluable, and it's exciting, | 0:27:31 | 0:27:34 | |
and it allows you to be creative and to do what you want | 0:27:34 | 0:27:37 | |
and have the opportunity to do it. | 0:27:37 | 0:27:39 | |
And as I say, a lot of people don't have that, so, as they do have it, | 0:27:39 | 0:27:43 | |
they'd better make the most of it. | 0:27:43 | 0:27:45 | |
If I could do this as something... | 0:27:45 | 0:27:47 | |
as my career, or whatever, I'd love it. | 0:27:47 | 0:27:50 | |
I can't even put it into words. It'd be amazing. | 0:27:50 | 0:27:53 | |
The award ceremony brings this year's scheme to a close. | 0:27:53 | 0:27:56 | |
However, many will take away the skills and the experience | 0:27:56 | 0:28:00 | |
they have learnt to forge future careers in the media industry. | 0:28:00 | 0:28:05 | |
It's My Shout wishes them all the best. | 0:28:05 | 0:28:07 | |
Take one. | 0:28:31 | 0:28:32 | |
..25, take one... | 0:28:43 | 0:28:45 | |
Subtitles by Red Bee Media Ltd | 0:28:58 | 0:29:01 | |
E-mail [email protected] | 0:29:01 | 0:29:04 |