Quizzes & Puzzles31 mins ago
Parliament To Vote On The Brexit Deal Before Christmas.
It seems to be a deal that no one wants. Will MPs vote for it anyway?
If the Government lose the vote what would happen next. Would May have to resign?
If the Government lose the vote what would happen next. Would May have to resign?
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I'm a relatively old fart and some form of independence that keeps most of our personal, trade and workforce flexibility with Europe sounds eminently sensible.....as long as we get the flex to seek put new international relationships, skills and independence of our law system, the case-based system that we have has never gelled with Romanic law - period.
The attraction for the EU should be the counter-trade that we would bring into the EU in terms of the fact that we all rely on OEM 1 ,2 and 3 component manufacturers, both home and away......
The issues for me - fishing - can be defined by reducing quotas and swap deals
Gibraltar - create a 'Monaco' under GB defence, as the French protect Monaco, but they are independent to chose EU or us.
And take the Irish with us as they are 50% plus dependent on us for trade and excluding energy (90%)......
Define workers by skills needed and minimum local qualification days before a job is advertised in the EU or elsewhere - could be a day for a heart surgeon, two weeks for a veg picker or nurse and a couple of months for others -i.e the Brit gets a first pick at the jobs (and the French or Itais would welcome this in their south - been there, heard that).
The attraction for the EU should be the counter-trade that we would bring into the EU in terms of the fact that we all rely on OEM 1 ,2 and 3 component manufacturers, both home and away......
The issues for me - fishing - can be defined by reducing quotas and swap deals
Gibraltar - create a 'Monaco' under GB defence, as the French protect Monaco, but they are independent to chose EU or us.
And take the Irish with us as they are 50% plus dependent on us for trade and excluding energy (90%)......
Define workers by skills needed and minimum local qualification days before a job is advertised in the EU or elsewhere - could be a day for a heart surgeon, two weeks for a veg picker or nurse and a couple of months for others -i.e the Brit gets a first pick at the jobs (and the French or Itais would welcome this in their south - been there, heard that).
Why are we worried sick Talbot? Well in my industry we are seeing casting calls come through thick and fast now for IRISH actors ( MUST have an Irish passport) who can do flawless English accents for film and TV series filming in the EU from next year, to play English roles, because Production companies won't be arsed with all the potential hassle that it will cause our industry. Plus we are seeing filming cancelled here, people taking their money to Europe. I know you'll all huff and snuff about this because to you media isn't a 'real job' but it will have a devastating effect on the UK in terms of artistic endeavour.
I'm lucky I can work in the US but not so the majority of UK actors and allied creatives, they are now going to be stuck on a tiny rock adrift in the Atlantic.
Here are people who are cleverer than me have to say about it x
//The real impact of Brexit on the film industry may be felt by the sales and distribution sector. But if the UK leaves the EU’s Creative Europe programme after 2020, UK producers are bound to feel the pain too. “There will be a drop in the acquisition price of British movies if they don’t qualify for any [marketing or distribution] support [from Creative Europe],” predicts Bertrand Faivre, founder of London- and Paris-based production company The Bureau, whose recent credits include 45 Years and Lean On Pete.
If UK films are no longer classified as European by Creative Europe, it will mean a reduction in demand from European distributors who also co-finance UK features by putting up minimum guarantees or co-produce UK projects such as The Death Of Stalin (Gaumont) and The Happy Prince (Beta Cinema). These distributors will find it harder to sell the films on to their broadcasters, who have quotas for European films.
Opportunities for UK technicians to work on European co-productions may also decrease as producers looking to pass EU cultural tests will be wary about hiring them. Furthermore, VFX, post-production and animation houses express concern about their ability to continue hiring the best young talent from the EU. Some employers said they are already seeing Brexit clauses in contracts which required them to guarantee non-UK employees legal and financial protection in the case of a so-called ‘hard Brexit’.
Although the Creative Industries sector deal unveiled in March revealed the number of Tier 1 (exceptional talent) visas would be doubled, this has only allayed employers’ concerns very slightly. The figures were small — visa numbers will go up from 1,000 to 2,000 — and the bar to secure one of these visas is very high. The measure does nothing to address concerns about employing freelancers who make up such an important part of the workforce. The creative industries federation is lobbying for a more flexible ‘creative freelance visa’ to sit alongside the exceptional talent visa, but the government is yet to respond.
One subject back on the agenda is whether or not the UK should rejoin Eurimages, the Council of Europe’s co-production fund, having left in 1995. After more than 20 years out of the organisation, UK producers have mixed feelings about returning. “People have fallen out of the habit of co-producing,” argues O’Brien. “What you don’t see, you don’t know. That’s the problem. People are blinkered as to what the options are. Once you’ve done one co-production, it’s easier to do lots. I’ve continued to co-produce throughout my career. Eurimages would actually make a difference.”
Ireland is thriving as an English-speaking Eurimages member with a strong appetite for co-production. Canada is also set to join while the perception grows that the UK — as Perry puts it — is “even more distant, an offshore island drifting towards North America”.//
I'm lucky I can work in the US but not so the majority of UK actors and allied creatives, they are now going to be stuck on a tiny rock adrift in the Atlantic.
Here are people who are cleverer than me have to say about it x
//The real impact of Brexit on the film industry may be felt by the sales and distribution sector. But if the UK leaves the EU’s Creative Europe programme after 2020, UK producers are bound to feel the pain too. “There will be a drop in the acquisition price of British movies if they don’t qualify for any [marketing or distribution] support [from Creative Europe],” predicts Bertrand Faivre, founder of London- and Paris-based production company The Bureau, whose recent credits include 45 Years and Lean On Pete.
If UK films are no longer classified as European by Creative Europe, it will mean a reduction in demand from European distributors who also co-finance UK features by putting up minimum guarantees or co-produce UK projects such as The Death Of Stalin (Gaumont) and The Happy Prince (Beta Cinema). These distributors will find it harder to sell the films on to their broadcasters, who have quotas for European films.
Opportunities for UK technicians to work on European co-productions may also decrease as producers looking to pass EU cultural tests will be wary about hiring them. Furthermore, VFX, post-production and animation houses express concern about their ability to continue hiring the best young talent from the EU. Some employers said they are already seeing Brexit clauses in contracts which required them to guarantee non-UK employees legal and financial protection in the case of a so-called ‘hard Brexit’.
Although the Creative Industries sector deal unveiled in March revealed the number of Tier 1 (exceptional talent) visas would be doubled, this has only allayed employers’ concerns very slightly. The figures were small — visa numbers will go up from 1,000 to 2,000 — and the bar to secure one of these visas is very high. The measure does nothing to address concerns about employing freelancers who make up such an important part of the workforce. The creative industries federation is lobbying for a more flexible ‘creative freelance visa’ to sit alongside the exceptional talent visa, but the government is yet to respond.
One subject back on the agenda is whether or not the UK should rejoin Eurimages, the Council of Europe’s co-production fund, having left in 1995. After more than 20 years out of the organisation, UK producers have mixed feelings about returning. “People have fallen out of the habit of co-producing,” argues O’Brien. “What you don’t see, you don’t know. That’s the problem. People are blinkered as to what the options are. Once you’ve done one co-production, it’s easier to do lots. I’ve continued to co-produce throughout my career. Eurimages would actually make a difference.”
Ireland is thriving as an English-speaking Eurimages member with a strong appetite for co-production. Canada is also set to join while the perception grows that the UK — as Perry puts it — is “even more distant, an offshore island drifting towards North America”.//
No OG, that isn't how it works in this industry. Everything is on a super fast turn around, so they will cast for supporting roles in a TV series for example from about 4 weeks to a couple of days before shooting. I have been brought in the same day I got the casting through ( which was a Thursday) to shoot in Eastern Europe on the Monday, that's how it works. Only for starring and heavy supporting roles is there any time and yes then studio will sort it out like they did with me and my US Visa, but I'd never have got it on my own, and UK actors won't for Europe either. i'm fortunate I can work UK because I was born here, Europe in theory because my father has an Irish passport and the US because I have an O1 Visa, but that's unusual, most English actors will be able to only work on the mainland for the most part and that severely limits what we can do, never mind about the way the film industry here will shrink as well. It's dreadful.
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