The Good, the Bad and the Western

Cowboys chasing Indians, a betrayal, a gunfight or redemption. That smells like a Western. How do you like yours?


We at Boostyourfilm love the Western, that’s why it’s the theme of our Boostyour15pages competition

It’s the defining genre of America. The actor and director Clint Eastwood once said: “I always thought there were really only two American art forms: jazz and the Western.”

For me, the quintessential Western features John Wayne swaggering around the screen with his classic drawl, or a John Ford movie, such as The Searchers or The Man Who Shot Liberty Valence. But this genre is not limited to the big screen. I remember Sunday afternoons watching TV series such as Bonanza, Rawhide and Little House on the Prairie.

Plots were rarely complicated and involved cowboys fighting Indians, the construction of a railroad, outlaw gangs or revenge stories featuring a chase and-or somebody who has been wronged.

The genre has a grand scope and comes in many shapes and sizes. There is something for everyone. There’s the epic, which emphasizes the story of the American Old West on a grand scale. A great example of this is Once Upon a Time in the West, starring John Fonda and Charles Bronson.


Then there’s the classic Western, typified by films such as How the West was Won, a film following a family through several decades of Westward expansion in the nineteenth century – including the Gold Rush, the Civil War, and the building of the railroads. It won three Academy Awards.

If that’s not your bag there is the Curry Western – films made on the Indian subcontinent. Or even a sub-genre called the Meat Pie Western, sometimes called the Kangaroo Western. This is used to describe films made in an Australian setting.  If that’s not to your taste, there’s the Spaghetti Western.

But there’s no need to limit yourself to oldies. The genre lives. Remember Quentin Tarantino’s The Hateful Eight, much detested by the Boostyourfilm president Daniel Anton? In contrast to this you have modern classics such as The Revenant, which won three Academy Award in 2015.

Simply the Best
For me, the best ever Western to come out in the cinema is The Good, the Bad and the Ugly. It was directed by the great Sergio Leone. It features a super script and has a kickass backing track. It is all set to the background of the American Civil War.  The cinematography is amazing. And it features cracking performances from Lee Van Cleef, Clint Eastwood and Eli Wallach. What’s not to like? Here are my top five favourite Westerns.

The Good the Bad and the Ugly

A bounty hunting scam joins two men in an uneasy alliance against a third in a race to find a fortune in gold buried in a remote cemetery.

Butch Cassidy and the Sundance Kid

westernTwo Western bank and train robbers flee to Bolivia when the law gets too close.

True Grit

westernA drunken, hard-nosed US Marshal and a Texas Ranger help a stubborn teenager track down her father’s murderer in Indian territory.

Blazing Saddles
In order to ruin a western town, a corrupt politician appoints a black Sheriff, who promptly becomes his most formidable adversary. OK, this may not be a classic in your eyes but it never fails to make me laugh.

Django Unchained
With the help of a German bounty hunter, a freed slave sets out to rescue his wife from a brutal Mississippi plantation owner.

So over to you, what’s your best ever Western?

The Three Burials of Melquiades Estrada
Once Upon a Time in the West
Top three of
Daniel Anton, president of Boostyourfilm

For a Few Dollars More
The Three Burials of Melquiades Estrada
The Hateful Eight
Top three of Boostyourfilm’s


Crowdfunded community – ‘Paris est Une Fête’ about to crash the party

Two million views on a teaser in three weeks and €50,000 raised by crowdfunding. Can this idea to make a film with little or no money change the rules of the game?

paris est une fête

In three weeks the trailer-teaser of this project has had more than 2.5 million views. Paris est Une fête is the big buzz right now. It’s impossible to ignore the event and the small revolution that has hit the independent cinema in France and independent cinema in particular.

It’s been three years in the making but the anticipation shows no sign of waning.

The film is about Anna, who misses the flight she should have taken to meet Greg in Barcelona. The plane crashes. Overwhelmed by the shock of a death that has been narrowly avoided, she moves away from reality and the present. As her marriage breaks up, Paris begins to mirror her distress.

But the real story behind the story is the one where a dozen young film buffs decide to embark on what seemed like a crazy project a little over four years ago. This group of actors, directors, producers all wanted to change the codes of the cinema. And they wanted to prove to themselves that they could make a film from idea to silver screen without funding. History appears to be proving them right.

Their crowdfund appeal was initially for €30,000 but raked in €50,000. And now they’ve raised the barrier to €85,000.

With the money raised the group is clear about its major objective: independence. With this money we do not have to compromise, says Elisabeth Vogler.

We are in charge of the ship’s direction and in our bid to bring it to the big screen, she added.  The group intends to record the background music using a local orchestra of 40 young musicians from Île-de-France. “We are doing it here rather than from Eastern Europe (as is often the case)” it says.

The city of Paris is a fully-fledged character in the film. Filming embraced the state of tension of the capital. A €4,000 budget meant the crew was forced to use events such as the demonstration in support for Charlie Hebdo or Nuit Debout as backdrops.

The community is king

While many focus on the money raised by the crowdfunding, we at Boostyourfilm are convinced that the real gem is the community that has been created by this phenomenon.  

This mirrors the opinion of William Page, co-founder of Filmdoo in a Clermont Ferrand Short Film Festival forum: the money raised by the crowdfunding is not the important issue here, he says. The community is what will push this project to bigger and better things.

With 2.5 million people having seen the teaser, it is likely that many will watch the film when it comes out at the cinema. And after they have watched it, they will tell their friends. And this is crucial, says Page, in this brave new world of cinema.

Paris est une fête – Introduction

Une autre façon de faire des films est possible. On vous raconte comment on a tourné un long métrage à Paris pendant les trois dernières années. Soutenez-nous sur Kickstarter :

Publié par Paris est une fête sur vendredi 19 Janvier 2018

Translated from an article written by Philippe Mathieu

How will your amateur film stand out in a crowded market? Boost your community

How do you get your amateur or short film out to an audience and be seen? That’s the question we posed to a buyer at the Clermont Ferrand short film festival


Building a community is crucial to a film’s success, a subject that we at Boostyourfilm has been extolling for a while. But we are not the only ones who are passionate about this subject.

According to William Page, the chief executive of Filmdoo: “Not only have you got to be a kickass filmmaker nowadays, you’ve got to be really good marketers.”

Page was speaking at a forum at the Clermont Ferrand Film Festival to promote his VOD platform, which focuses on helping people to discover and watch great films, short films and other content from around the world.

Unlike other VOD platforms, Filmdom is building a thriving global film community that it hopes will empower users to drive social recommendations and to help bring films to their region, many of which are festival award-winning movies that may not have received a traditional mainstream distribution.

Not only have you got to be a kickass filmmaker nowadays, you’ve got to be really good marketers


Page says as a filmmaker you now also have to consider yourself a marketer. And to do this, you have to build a community. It’s absolutely crucial, he says.

“When you are thinking of making a film or writing a script you have to ask yourself: who is my community, who is going to watch this movie, who is going to be passionate about this topic, who is this going to appeal to?

“If you are going to have a successful crowdfunding campaign you need to tap that community. So whether it’s Facebook, or Twitter or an awareness group or an issues-based group, it does not matter. As a small filmmaker, it’s all about community. The main objective of a crowdfunding campaign is not to raise money. It’s to raise the profile of the film.

“If you have 1,000 who put money into a film, Page asks, what are they going to do when the film comes out? They are going watch it and then they are going to tell their friends.”

Page referenced a film called Dreaming against the World about the life of Chinese artist Mu Xin.

The makers of this 37-minute documentary came to Filmdoo asking if the Vod platform would put its film online.

They asked for it be streamed for about four or five dollars. Page says he agreed but was skeptical that anyone was going to pay that amount of money to watch this movie. The film was put online and nearly crashed the platform, such was the demand.

Why? Because there was a community of people who were passionate about seeing this film because they loved the artist. So build your community.

Everton Gayle

How can I protect my screenplay?

The best way to protect your work is to leave it at the bottom of the drawer. But if you are going to submit it for the appreciation of others, you need to take certain steps to protect yourself.


Boostyourfilm cannot protect your screenplay. It’s up to you to do this: protecting your scenario means proving that your article existed before you send it to Boostyourfilm, or anyone else.

This is not sufficient to prove plagiarism.  

To protect your work, there is a simple technique: send yourself the script in a registered letter. Be aware, this letter must never be opened. Keep it in a safe place.

In the digital age, you can protect your screenplay via the internet.

SABAM (Société d’Auteurs Belge) has launched a free online deposit service for a first deposit. The site is secure and you can register your masterpiece in just 30 seconds! Just fill out a form to describe your scenario, to add four attached files, to receive a certificate.
Cost: Free (first deposit)
Protection: five years (renewable for €20).

In France, the SACD has finally launched its “e-filing”. Once you have created an account, fill in a short form and attached your file – document word, pdf or archive containing several files.
Cost: €20
Protection: five years renewable.

The United States has its own equivalent service for registering your script. The Writers Guild of America (there are two, east and west allow you to upload your script in minutes. This applies to overseas applications also.
Cost: $10 members, $25 for non-members
Protection: ten years

The United Kingdom
UK Copyright Law deems that an original piece of work is automatically under copyright once the creator has written, designed or drawn it in some physical form, however, in the event of a copyright dispute, proving exactly when copyright was established, and by whom, can be difficult. It is generally accepted that the best way to establish a verifiable date of creation is to register your work with a third party. Copyright Registration can prove invaluable in the event of copyright infringement, copyright theft or plagiarism.

In the UK, the writers’ union (WGGB), however, does not believe that registering a script gives you any significant protection from copyright infringements in this country.

However, if you wish to register your script The Script Vault offers such a service in the UK.

Caution: These methods protect you in your country and in most countries that have signed the Berne Convention. But there are some exceptions, especially the United States. To be protected, you must also deposit your work with the Copyright Office (

In conclusion, it makes sense to protect your scenario! In five minutes you can register your work online. So do not take any chances and especially do not forget to put your registration number on the first page of your scenario.

Philippe Mathieu

– For more information: the advice of a copyright lawyer

The Clermont Ferrand Film Festival is a treasure trove for budding amateurs

If you want to be involved in making films, what can the Clermont Film Festival offer you?


clermont Ferrand

The Clermont Ferrand Film Festival is the biggest short film festival in the world and the second largest in France, after Cannes.

It boasts more than 150,000 attendees annually with an additional 3,500 professionals.

Situated in the heart of France’s Auvergne region, it screens 450 films from 14 venues.

So it’s not a two-bit show. So why should you go there? If you are a budding screenwriter, cameraman, makeup artist, photographer or filmmaker what can it offer you?

Well, quite a lot actually. There are workshops and masterclasses aplenty to keep your interest peaked.

L’Atelier | Temporary film school

Young visitors of the festivals and the general public can watch and learn from a dozen ongoing workshops. Each workshop highlights one aspect of filmmaking, from make-up to photography, from recording sound or a film score to CGI or VFX, from acting to animation or augmented reality.

This event is organized and coordinated by Sauve qui peut le court métrage, the Clermont-Ferrand School of Architecture, the Groupe ESC Clermont School of Management and ARFIS Villeurbanne. The workshops are from Monday, February 5 until Friday, February 9. You can find more information here.

Expresso | Meet the directors

Every morning during the festival the directors of the films in competition speak about their films.

Documentation center

Clermont-Ferrand has a unique documentation center devoted to cinema and short films in particular: nearly 100,000 short films are held on its video server and can be watched throughout the year.


The Clermont festival will be hosting four classes:

    • As part of the Face Forward retrospective this year, a master class is hosted by French film journalist Laurent Weil (Canal+) with Franc Bruneau, Laurent Lucas, Vimala Pons, Laetitia Spigarelli and André Wilms. In French only. 5 February 15:00
    • South Korean director Na Hon-Jin (The Murderer, The Strangers) gives advice on scripts. 6 February 16:00
    • Rodolphe Chabrier (Splice, Asterix et Obelix, 3 Days to Kill)  and director Olivier Mégaton (Le Transporteur 3, Colombiana, Taken 2) impart their knowledge on VFX. In French only. 7 February 10:00
    • A meeting with the Swiss director Georges Schwizgebel, one of the most renowned film directors in the animation world. Hosted by Antoine Lopez. In French only. 8 February 13:00

Developing my short film project:

Directors, screenwriters, students will be able to receive advice and guidance for the development of their short film projects from a dozen producers and recognized experts in project support. 7 February.

You can find more on what’s happening on and the Clermont Ferrand Film Festival here.

There are a ton of industry-related event and you can find out more about them here.

For the definitive guide on the festival check out the website here.

Everton Gayle

Copyright: what the lawyer says about protecting your work

Frédéric Tort, a lawyer specialising in the protection of intellectual property and copyright answers our questions.

What is a copyright-protected?
A work is an artistic creation, (literary, artistic, sound, visual or audiovisual). It is more than just a simple idea. The work must be original. Obviously, it is not easy to define originality. It can be considered to be the “personal imprint of the author”. The author must be able to demonstrate that his creation is different from others.

How do you protect a work?
In many countries, a work is protected, “for the simple fact of having been created by its author”. To have the copyright, in principle, it is not necessary to register it or do any procedure. In countries such as the United States, you have to register your work.

How can you enforce your copyright?
Just certain simple precautions are enough. If it is a written work, in France, like the UK, all you need to do is send the screenplay to yourself by registered mail. But you must not open it. In other countries, the Ministry of Culture will register a submission for a minimum fee.

What guarantees does a copyright have?
The author has the following rights over his work: Patrimonial law – He may reproduce and communicate his work to the public by all means; Moral right –  he can demand that his work is respected and if he gives the right for his work to be used, that his name is mentioned. You also have the right to suspend the exploitation of your work at any time.
What do I do if my work is copied without my consent or plagiarised?
A work is protected by the fact of existing, so the author has the right to demand from the person who has plagiarised the work to cease all exploitation of it. In case of rejection or not receiving a response, a lawsuit can be imposed through the courts.

How to know if I am plagiarising a work?
An author may plagiarise a work without realising it, or deliberately (borrowing ideas, appointment, “homage” or “inspiration”). He must take responsibility for that fact and correct that situation. Therefore, great care should be taken when citing previous works of others, when taking up similar works, and even when using names or images of people.

What can do to avoid plagiarising a work?
Above all, you must not use somebody’s work (fragment or entire) without authorisation. Nor create a work that is flagrantly similar to another already created by another author.

What rights do foreign authors have in France?
Foreign authors can assert certain rights guaranteed by French law, as was the case with the heirs of John Huston against the “colouring” of the film “Asphalt Jungle“. They can avail themselves of the provisions of French laws, even if they do not exist in their country of origin. The Berne Convention stipulates the rights of the author in all the signatory countries.



The Shape of Water – Guillermo del Toro shares the keys to his success

Del Toro opens up on what worked in “The shape of water” and how the film is more than a sum of its parts.

Guillermo del Toro

In addition to being a director on the rise, Guillermo del Toro is not shy nor guarded in sharing on different forums and conferences his techniques, motivations and difficulties in making a film and how to solve them in a personal way.

We present a summary of the key elements of “The Shape of Water.”

Good management of how the drama progresses: First, he suggests, you lay the “conventional” foundations of the story, and little by little take it along the paths of your creative universe. His starting point is “the beauty and the beast”  and of monsters and humans. Del Toro then reverses the roles, where the “monsters” become “the good guys” and certain humans “the bad ones”. In short, a story well told with original elements.

Guillermo del Toro

Strict control of the sound and music design of the film: Guillermo del Toro confesses that in his previous films, he used to outsource the sound part to composers, sound artists, etc. This time he has strictly supervised the soundtrack and has been working alongside composers, musicians and sound designers.

Keep your personal universe above the mainstream:  While this film sticks to the “mainstream” path and complies to the “standard” demands of the industry, he has managed to stick to his own style of dark stories, with a touch of perversion, and this perhaps in a more sophisticated way, is more consistent in all its elements.

Guillermo del Toro

Create atmospheres and codes within the film. Del Toro speaks of a chromatic coding, according to the moments and characters of the story. The blue for the aquatic presence not only of the monster but of the protagonist. The green is present in the scenes where we talk about a possible future for the couple and for the resolution of the story. Finally, red marks the most passionate moments of the film: love, pain, death and rebirth.

Create a coherent assembly of the constituent elements of the film:
1. Get personally involved at all levels in the writing and re-writing of the story. That means being involved on an emotional level.
2. Use the “conventional” bases to create a personal universe.
3. Comprehensive care of the visual elements with the sound elements and use them accurately in the service of the story.


More on the Shape of Water by Guillermo del Toro

Get your short film made in our Boostyourfilm competition

Follow the official Boostyourfilm launch where you have the chance to enter our short-film competition and make your movie



Its official. Breaking news. Your social network dedicated to independent film will be officially launched on February 1.

Boostyourfilm invites you to join us at our official launch ceremony in the city of Lyon, France, in which it is based.

But if you can’t make, it don’t worry. You don’t have to be there to take part in our BoostYour15Pages competition.  The six award winners will have their work produced and made into one long film.

The juries of the contest, which comprises producers and directors, will be presented on the night. If you want to know how to participate, follow us on Facebook and on our website where we will be giving the full details.

The main event of the launch will be a roundtable of distinguished guests with the theme of the subsidised audiovisual production and the emergence of new talent.

In attendance will be a panel comprising directors, producers, distributors. They will be tackling questions such as:

  • Does the independent cinema really exist?
  • Can an independent cinema be profitable?
  • How to define independent cinema?

If you are a writer, director, producer or simply interested in filmmaking, share, tweet and spread the word of the boostyourfilm launch.

Everton Gayle

Kino London and the short but sweet art of filmmaking

“Do well with nothing, do better with little, and do it now.” That’s the motto of this band of amateur filmmakers in London.

Photo: Brandon Butterworth

Kino is a group of enthusiasts who have banded together to make short films with virtually no budget. Their motto: “Do well with nothing, do better with little, and do it now!”

It was born in Montreal in 1999, the brainchild of Christian Laurence and friends. Ten years later, a London group formed. Another nine years on and it has mushroomed to include regular screening events, scriptwriting workshops and Kino London Films, a production company.

Kino cells can now be found worldwide with more than 100 groups springing up across North America, Europe, Africa and Australia.

Boostyourfilm spoke to Jonny Evers, the organiser of Kino London.

Jonny Evers at Kino London. Photo: Brandon Butterworth

Boostyourfilm: Kino hosts London’s longest-running short film nights. How did it get started?

Jonny Evers: Kino London began life in 2009 as a partner to the Kino International movement, which has been active since 1999. Initially, Kino London ran ‘Kabaret’ sessions, which were three to four-day-long intensive filmmaking workshops. Later, we moved to regular screenings and special events with corporate sponsors such as Sony and Tate Modern. In 2017, we incorporated scriptwriting workshops and production days into our offer. Currently, we are the only organisation in London to offer filmmakers this type of ‘end-to-end’ opportunity to write, shoot and screen their films.

BYF: Why was the impetus for getting Kino London started?

Jonny Evers: Sadly, the truth of filmmaking in the UK, as in many countries around the world, is that there are few opportunities for filmmakers to develop their skills and knowledge while making the films they dream of making.

Film schools and courses in London are generally too expensive for the average person and scholarships are hard to come by. People looking for a career in filmmaking, therefore, need a platform to collaborate and network with others. Films are a collaborative art, yet, even now, there aren’t enough ways for filmmakers to meet, discuss their ideas, recruit people to their projects and have a place to share what they have made. The aspiration of Kino London is to be exactly that type of focal point.

You can check out a couple of their films below. For more see their Youtube channel here

Photo: Brandon Butterworth

“Platforms like Vimeo and YouTube are fantastic for getting your film seen globally. But there is no comparison to screening your film with a live audience.” – Jonny Evers, organiser of Kino London

BYF: Who are the people who go there?

Jonny Evers: What is really great about the people who come to Kino London is their diversity. We get everyone from first-time filmmakers to professional film and TV crew. For example, in the last six months, we have screened films made by a 14-year old screenwriter, a well-known radio personality, a mother of three and an actor who previously worked with Stanley Kubrick. It’s always been a strength of Kino that we are ‘open-mic’, and anyone is welcome to attend our events.

BYF: With the rise of Youtube and Vimeoo, it’s really easy to make and upload your film. Is Kino still relevant?

Jonny Evers: I’m very happy to say that it is. Digital distribution and live screenings are very different things. Platforms like Vimeo and YouTube are fantastic for getting your film seen globally. But there is no comparison to screening your film with a live audience. Seeing, hearing and feeling an audience react to a piece of cinema you have made is truly one of the most inspirational experiences for a filmmaker. Additionally, all our events are a great opportunity to network and collaborate with other filmmakers.

Brandon Butterworth

BYF: As there is a greater focus on independent films these days, do you think Kino can be a stepping stone?

Jonny Evers: I think the film industry is continually evolving, and trying to find new ways to entertain whilst making a profit. The platforms and delivery systems for a film have changed radically in just 20 years or so, allowing anyone with almost no equipment or experience to put their ideas in the same realm as films made by people with a $200 million budget and decades of experience. The real difference then is the quality of the film a person makes: this is the standard by which a film and its maker are judged. What is great about Kino London is that it provides filmmakers with a way of measuring the quality of their creations in front of a live audience, and against their peers. These are great motivating forces which, we hope, will push people to make better and better cinema.



Boostyourfilm Selection