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  1. In terms of Europe it seems like the Rudolf Nureyev foundation is the only one solely dedicated to funding Ballet works. Unless I’m mistaken ?
  2. It's about a film role, so I wouldn't want to just ambush her in person first. I've spoken to ROH about using some of their dancers before, the fee is astronomical if you go through them. Does anyone know if she can speak decent English though? I've tried watching her via the official Youtube channel but she doesn't seem to speak much and when she does interviews, it's in Russian.
  3. She has these accounts apparently but I'm not sure if they are fanpages or official. https://twitter.com/natosipova?lang=en https://www.instagram.com/nataliaosipova86/?hl=en Also, does anyone know how good her English is? Thanks,
  4. I've written a short film centred around ballet which has already got industry feedback. The ballet professionals and film industry experts I've spoken to about the film, love the idea. Me and my producer will be approaching some renowned dancers for the lead part. In terms of raising money for it, I know what to do. But I'm slightly in the dark about the approach. I know that there a patrons / donors who fund the theatres, ballet companies and other dance causes that would most likely fund the project but we don't currently know any at the moment so it would be a completely cold approach. Cold email. And most likely, we'd be directly asking them for a donation upfront which isn't ideal. Most contacts only have their email listed but I don't think I'd cultivate a relationship that way. But I don't see any other way of approaching them?
  5. Thanks a lot, Viv. Yeah, utilising ambassadors is definitely one thing we're going to do. Ideally we some of the funding to come privately and then the rest crowdfunding.
  6. So we posted in here a few months back whilst researching for a film we're doing with the help of one of the big dancewear brands. We're looking for further funding to start the project and the idea of connecting with patrons came up. A lot of the ballet companies we've researched, leave the patron's full name on their list. Any advice?
  7. Some seem not to have one, and some do. Is it a case of the preference of the director is there another reason?
  8. I was going to go with that but there already is a short film about that. Yeah definitely no wide shots. Audience will shot with close ups.
  9. No, not for this one. This is more of a personal project of mine as director but Capezio are backing it.
  10. The team prefers this idea as it's something that can be shown better within a short period of time. The Ballet exec is more something for a feature film. You can't believe the fee as it's very high or very low ? They told me it's usually £18K for show days. £5-8K is just for space alone. Tbh, I'm not the biggest fan of how the wells looks. We we may be able to cut costs if we do use a regional theatre for the auditorium but exterior of maybe the London colliseum or royal opera as we're cheating the audience shots anyway. To be fair, even the staging of the nutcracker can be cheated too if we never show a wide angle.
  11. So as some of you may know I've been trying to figure out the plot for a short film my production company is producing. I've finally got one. A ballerina-turned-thief and her bungling, ballet-trained accomplices are hired by a crooked art dealer to steal her former ballet company's prized Nutcracker costume on opening night. Based on the story in America where $30K worth of costumes were stolen before a Nutcracker show. It got me wondering what type of person would actually steal ballet costumes? Anyway, I've enquired so far and I can get hire the Sadwell's Theatre's main auditorium for £5-8K for the day. As it's a heist film, we would need a good deal of the theatre to shoot in so we'd probably need access to a lot more of the theatre than just auditiorium. This includes entrance, backstage, auditorium and maybe few corridors in between. However, there are a few elements we'd have to cheat or come up with an alternative otherwise the budget needed for this will start to get a bit crazy. > the live orchestra - I reckon I can get a recording of an orchestra and just never actually show one on film >costumes - I'm not too worried about this. As I know many costume places in London wouldn't mind offering them for free considering this is supported by Capezio and other backers. >the staging - I think this will be the most difficult. The Nutcracker's staging from what I've seen looks quite substantial. We would need staging up until the first reveal of the Nutcrakcer within the show ALSO, I must forget about the audience. I have no intentions of filling out a 2,000 capacity room. So I'm thinking possibly up to 100 extras, pre recorded audience sound and never showing the audience in a wide shot should have me get away with it. Anyone have experience in this at all? thanks
  12. I like that a lot. The stakes are high and it would be a realistic reason for her to fill in.
  13. So I've finally got a concept for my short film. **Summary**: A famous retired ballerina has her career prematurely amidst controversy. She now lives life in anonymity as a creative director at an advertising agency. To help win the biggest pitch of the year, she must somehow use her ballet skills without risking her new found anonymity. This is loosely based on a true story about this woman who was a former soloist and now CEO of big advertising agency in London. The film will be a story about the transition from ballerina to a job in the 'real world'. Something that I don't think has been portrayed in film. So the majority of the film will focus on her struggling in her new role however I need her to dance somehow. In a real life situation that would be linked towards an advertising / corporate role. I'm not even sure about the 'biggest pitch of the year' ending yet. I just need the film to climax with her performing at least part of a routine for some reason. So I'm posting here for brainstorm ideas. Has there even been a situation that required you to use ballet?
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