The film is a unique journey in someone else's shoes

Director of the British Film Institute, the largest public film fund in Great Britain, director and producer Mia Bays for "Vijesti" conveys her impressions from the prestigious Medici program, during which she stayed in Montenegro, talks about film, activism, culture, with recommendations for visibility and the success of Montenegrin cinematography

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Mia Bejs, Photo: Đorđe Cmiljanić
Mia Bejs, Photo: Đorđe Cmiljanić
Disclaimer: The translations are mostly done through AI translator and might not be 100% accurate.

Being visible on the international film scene through attendance at various conferences and events, supported by unique and interesting stories, is the formula for the success of smaller cinemas, such as Montenegro. This is what the director and producer of the British Film Institute, the largest public film fund in Great Britain, says in an interview with "Vijesti". Mia Bays (Mia Bays).

In September, she visited Montenegro and stayed in Budva as part of a prestigious event in the field of film and film project financing, "Focal MEDICI: The Film Funding Journey 2022" (Medici), which was held for the first time in Montenegro. Bays considers it important, both for Montenegrin film and authors, and for potential collaborators coming from larger countries.

At the end of September, around 50 representatives of film funds and centers from Europe and the world gathered in Budva. High-ranking public financiers and decision-makers were guests of the Film Center of Montenegro, and during a few days they discussed and exchanged opinions on various segments of the film industry through a series of activities and workshops.

Base has been present in the film industry for more than 30 years, she has worked on more than 150 films, both documentaries and feature films, as a producer, sales agent, manager, distributor. Among others, she produced the Oscar winner and received a BAFTA nomination for Best Debut for her work on the iconic musical film “Scott Walker - 30th Century Man”. She is an activist in the field of culture and gender equality through various programs, and for "Vijesti" she talks more about the film and her involvement.

The Medici program, which was organized this year in Budva, is a big deal for Montenegro and the local film industry. What are your impressions after your stay in Montenegro, is our country (was) a new destination for you?

Yes, I am very grateful that everyone who is wondering made the decision to hold the conference in Budva, and it is especially important that the initiative came from the Film Center of Montenegro. As I understood, the decision to hold this conference in Montenegro was made at the last minute. By the way, it was mentioned that the original location was supposed to be Hamburg, which is the complete opposite of Montenegro and Budva. So, in a way, it is beautiful that a complete, quite significant number of people from the film industry and funds around the world gathered in Montenegro.

A large number of people, not only from Europe, but also from other countries important in the field of film and financing film projects, such as Canada and Israel, got the opportunity to see your beautiful country, hear about it and explore more. So, yes, staying in Budva during this year's Medici conference was inspiring for me, I am delighted with the efforts and persistence of the organizers to ensure that every element is in its place, to allow us time to walk around the city and enjoy the gastronomic specialties in the hotel and outside in restaurants.

Summa summarum, I really appreciate this stay in Montenegro, because it is likely that I would never have been able to afford it myself, and there were probably others similar to me at the conference in that regard. That's exactly why it's nice to realize some big and important event here and to be invited to your place. I will now, and both I and the other participants, remember this place, city and country for something very striking.

Did you know anything about films and filmmakers from Montenegro before?

Not really. Honestly, I didn't know anything about Montenegrin cinematography before, but I am quite interested to find out more now and to provide the help that would be needed to improve the system here, the work and thinking of the authors and the like...

You have been in the film industry for about 30 years. I saw that you worked in different spheres, from production, distribution, direction, and you are also involved in the organization of film festivals... Based on all that, what would you say, how important is film and how much power does it have?

I think there are two different answers to that question. As for the audience, I think we all have to start being spectators, first and foremost. I believe that, like me and all the other conference participants who were in Budva, I am all in love with the film and fascinated by what it brings. Also, we often look at our movies like children. We have a very special and emotional connection and connection with the film as a work, achievement, result... Because walking in someone else's shoes is a unique way of traveling without leaving your home or city. It's a movie.

Also, the film is important from an educational, educational, emotional, activist, psychological, spiritual point of view... On the other hand, I think there is also an artistic side of observation that is very important. It is very important to express yourself, to present yourself, to share culture, opinion, problems, and in all this to cooperate with others, to discover new talents, to find new voices, to listen to them and in some way to contribute to life and art. Certainly, things are changing and have already changed quite a bit... The change happened in the context that today anyone can make a film. The industry has become such that you don't need a license to do or make anything.

Is that good or bad?

I think that is very good. Certainly, it is difficult for members of older generations to keep up with everything in this business, but also to understand all these changes. Regardless, I think it's good that it's happening, because people can come from different fields and business spheres and work in film. For example, I did not attend any film school.

Of course, there can be those, it's good to have them, but it's also good to have those who haven't already been educated, because school isn't always necessary for a film, and it's not a guarantee for anything. Certainly, depending on the person, it is very important that everyone leaves a part of themselves if they have a need, but also that they can gain practice.

Considering the topics you deal with, primarily in the field of gender equality, women's rights and position, and then your engagement in this industry, the conclusion would be that, in a way, film is your tool for activism, the language you use to express yourself. .. And the media often characterize you as an activist in culture...

Yes, you are right. It definitely is. We don't talk about it that much in that way, and that makes it extra and interesting to me. I can definitely relate to being called a cultural activist because it automatically reminds the industry and the audience that actually the person telling the story is incredibly important, whose story is being told at all, as well as who is in the frame or who out of frame and such... All in all, perspective is really important. We all want some universal and at the same time unique stories, so that the whole world can see itself represented through some individual in the film. That is why a boring film is only one that is told only from one point of view, from one angle, one perspective and does not offer another. That's why perceptions matter.

I understand that society and culturally different countries are actually different subjects in that conversation about the film or in the film, but the UK, the United States, especially “Me Too” and “Time's up” happened because of Weinstein because Harvey Weinstein enough said. You know we don't want to accept any of the conditions in this industry or life that are imposed, but also women are exclusive to women. In that context, most of them are allowed to be actresses, but they are not allowed to (and) tell the story, and for me all of that is really important. And this is not only the case when it comes to women, but also all other marginalized groups of people for whom it is important to be recognized, visible, presented and represented, either in film or in life, for the sake of equality...

Are women visible in film today, is society aware of the existence of many strong and powerful women in this type of industry? Also, are we aware of their importance for our lives and human rights in general? Because, for the most part, these stories are mostly told by women, but little is said about it...

Yes, I think things have definitely changed from before, especially in countries like Great Britain and the USA, and also certain parts of Europe, like France, Germany... I would say there are a lot of powerful women directors. For example, more and more of them are in the competition for the award of the American Academy of Motion Picture Arts and Sciences, the Oscar. New Zealand director Jane Campion she won this year's Oscar for the best director for the film "The Power of the Dog", and yet she is only the third woman in history to receive this award.

Also, the Palme d'Or in Cannes was awarded to a woman last year, so she is a director Žulija Dukorno became only the second woman to receive this award (and the first woman to win the Palme d'Or independently)... These are some indicators that things are changing, but it's still slow. In some countries, this change is almost not noticed, in some it has not started at all, I think that the situation here in Montenegro is similar in this regard. As you said here, it hasn't been talked about enough yet, but we hope that at least each of our works will go in that direction to inspire people from your generation and younger to start a conversation on that topic and open it up, and I congratulate you on your observation .

Thank you for that. Considering that since last year you have been at the head of the largest public fund for financing films in Great Britain, the BFI, would you like to say something more about how these public funds function and what is the main criterion for financing film projects?

Being interesting to the audience. The British Film Institute is a cultural organization that focuses on the film industry in various ways. We have one of the largest film archives in the world, but what we also do is exactly what you said, which is we fund films by using lottery money.

So, our fund is not based on taxpayers' money, but rather lottery money that is invested in feature films, mostly by debutant directors who are working on their first or second feature film. We also provide support for the production of short feature films, we develop programs that help finance school projects, plays, we also shoot documentaries and finance programs that help young talents. That's the point. I would recommend that to you in Montenegro, find their voice, find stories, organizations that are not many, that are unique and interesting, but also fun...

In addition to all that, it is important to be aware that cinemas and the distribution of films in cinemas have recently had many problems. I have acquired many different professional skills and knowledge in many countries, especially in Great Britain and France, which I use now. In addition, the British Film Institute is like an extended arm of the government, that is, a government body, a state institution, because the government finances the fund. At the same time, we also have a network of cinemas, some of which are in London, so there is an interesting one on the south bank of the Thames... All in all, we are an organization that covers the whole aspect of the industry which is incredibly valuable, so we are also an important one institution in our country.

Considering that Montenegro is a small country with a small budget for the film industry, do you have any advice for our authors or even for the Film Center?

I think it is important to be present and noticed at places and events like these conferences where you can meet your international colleagues and help the local film industry. It is important to establish cooperation that might help your filmmakers to travel, study and improve abroad and open new horizons, expand different perspectives.

It really helps, and it takes small investments that will pay off in other significant ways later. That would be my advice. Certainly, I can understand that when you are a territorially small country, you feel that the big ones take up a lot of space in this business and that you may not be interested in them, but that is not the case. Trust me, the interest and curiosity is there, and all you need to know is that sometimes you just have to knock for the door to open.

It's important to try different roles

Are you currently engaged in a new project, as a screenwriter?

That's right. I wrote the script for that project myself. I was a co-director on the documentary “The Backstreet Boys” and then I wrote the script and yeah, for me, being a producer and working as a creative producer, I think it's really important to try different roles so you can really understand yourself and your role in that job. I haven't produced a film since 2017, and I didn't do that because I realized that I had other jobs to do... Certainly, my mother was a writer, so I think that's also something that directs and obligates...

One has to choose

Is it difficult to balance all engagements and interests?

Yes, it can be like that sometimes. It is clear that a person has to choose what he can and cannot achieve, because sometimes you have to try to achieve many things at once. It can be confusing - both for other people and for yourself, because there can be a (small) identity crisis. I realized that the main thing is to choose and enjoy that choice, commit to it, and then I applied it. I really enjoy what I do, with an emphasis on helping other people find colleagues in a project, a job, to find a way to get things done. At some point, perhaps, I will return to the author's work...

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