Creatives in profile: interview with Mark Gillis

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Mark Gillis has been combining writing, performing and directing since his university days (where he studied Biochemistry). As an actor, he has worked extensively in the theatre, most recently playing Agrippa in Antony & Cleopatra with Kim Cattrall and Michael Pennington (Chichester). As a member of the RSC he performed in As You Like It, Macbeth and Troilus and Cressida during seasons at Stratford and The Barbican. He played Mark in the Irish premiere of Mark Ravenhill’s play Shopping and F***ing. He co-founded and was artistic director of the touring production company LPC, with whom he produced and directed several European tours of modern classic plays such as Waiting for Godot, The Caretaker, The Importance of Being Ernest and GB Shaw’s The White Lady. And he has appeared in several television and film roles including: Silent Witness, The Bill, Emmerdale, Grange Hill, Eastenders, Holby, The Brittas Empire, Absolute Hell, Prick, Jean Moulin, Either/Or, Going Home and An Ideal Husband. Most recently he plays Mr. Hogg Diggins in the Channel 4 comedy Lee & Dean.

There’s a lot of creative stuff to talk about here, but we’re here today to talk primarily about his debut movie, Sink, which tells the story of Micky Mason, a working class man living in East London who must contend with a multitude of different crises of our modern world.

Produced by Oscar-winner Mark Rylance (who says you will find yourselves “immersed” in it), Sink has received glowing reviews (including one from us, of course), following its screenings at cinemas across the UK.

But what does it take to produce a movie independently, particularly in a current climate that so clearly favours the established corporate behemoths over individual creatives? It was a pleasure to catch up with Gillis to find out.

INTERVIEWER

Tell me about yourself, where you live and your background/lifestyle

GILLIS

I live in Brockley, South East London (the film was shot here and in nearby New Cross/Deptford). I’m an actor who has been writing seriously for about 10 years. I have also directed in the theatre and have made short films. Sink is my first feature as writer/director.

INTERVIEWER

Is film making your first love, or do you have another passion?

GILLIS

I suppose most of my work has been as an actor in the theatre so that would be an equal passion.

INTERVIEWER

Who inspires you?

GILLIS

Donald Glover

INTERVIEWER

Can you talk us through how the process of taking your debut movie, Sink, from spec-script to fully-fledged film reality?

GILLIS

It was never really a spec-script in that sense. I’d had the typical experience of scripts being developed (unpaid) and getting very close to being made, then failing because the money didn’t match the cast (in both directions). When I was writing Sink, I realised we could make it very cheaply; I knew exactly who I wanted to cast (I’ve worked as an actor with all of them), I knew who’s flat we could borrow, etc., etc.. So I decided we’d just go ahead and make it ourselves. We did a crowd-funder and various small investors came in. We made it for £35K, which is nothing for a feature; BUT that was only possible with EVERYONE working for deferred fees and profit share. Everybody on the film from investor to runner was party to the same financial framework.

Of course, it’s all very well making your film, but at the end of the process you’re back at the brick wall; the first thing distributors ask is “who’s your lead actor.” Without a star name the vast majority won’t watch the film. So it’s very tough. We got lucky – a well known producer saw the film and badgered her distributor to watch it. They picked us up for a limited theatrical release which meant we could get Press reviews (virtually impossible if you haven’t got a distributor who is part of the Film Distributors Association who run the week of release screenings). So although all films are a collaborative process, this one REALLY was, in effect everyone working on the film was an investor in it, literally; they will only get paid once the film shows a profit. That’s a very humbling fact for me.

INTERVIEWER

In Sink, we follow the lives of those who have been dispossessed by the processes of modern capitalism. There’s a clear political angle to the film; yet for all that, it’s also intensely human, and character-driven. As a screenwriter and director, how do you tread the line between potentially competing focuses; the political and the human?

GILLIS

There is a political angle and that kicked off my wanting to tell the story. I live in the area where the film is set and there are pockets of people leading very challenged lives. There are also the skyscrapers of Canary Wharf, looming up seemingly at the end of the road.  So you have people whose lives have been changed beyond recognition living in the shadow of the institutions directly responsible. They committed crimes on an industrial scale, yet nobody has been prosecuted. It made me question where we are with that; if people who benefitted so hugely from the system can do that with impunity, can we condemn somebody for doing whatever’s necessary to stay afloat? It also made me angry enough to want to write something! But if that’s all there is, there’s no point writing a screenplay. Write an essay or an article. There has to be a story and for that there must be characters.

At the start I was intrigued by these three generations of men; Micky, his father and his son.  Principally it was the way the relationship to work had changed over those three generations; Micky was once a skilled worker who can now find only menial, zero hours jobs; his father has only ever known skilled manual work and his son has never really had a relationship to work. That’s a massive change in working class men’s lives and a theme I was eager to explore. Then it’s a question of whittling away until you find the core story and that was Micky’s.

If scenes are trying to force in a particular political idea, they will immediately stick out (and ultimately be cut out during the edit). Every scene must move the story forward in some way, while planting enough of the politics that the guiding themes are catered for.

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Three generations of men: Micky (left, played by Martin Herdman, leads his father and son through their local neighbourhood)

INTERVIEWER

What is your personal take on the current political climate, and how does it affect the stories we tell?

GILLIS

I really hope we are not in as bad a state as I think we might be in. I think the current ease with which the fundamental structures of democracy are being dismantled is terrifying. I am trying to have some sense of hope but the precedents for these early warning signs are so clear, I feel we’re sleepwalking into autocracy. It seems all the requirements are in place. If we don’t want that to happen, I guess it’s down to us to speak up.

INTERVIEWER

How do you feel the characters in Sink would react to the unfurling narrative around the Brexit process?

GILLIS

It’s so weird for me, because Sink was written and shot before the referendum was even tabled. SO much has changed. I’m a remainer.  I’m slightly glad I didn’t have to decide whether to make Micky a leaver or not. I’m still not sure how he would have voted. It would have been up to me to decide whether I make the character I created reach the decision I want him to, or whether I would be entirely true to what HE would have done. And I’m still not sure which way round that would have been. I do know that an awful lot of people who have felt entirely left behind after 30 odd years of neo-liberalism voted Brexit. Perhaps Micky was one of them. But that makes me a bit upset.

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A Brexit voter? Sink was written and shot before the EU referendum in the UK, so we’ll perhaps never know which way Micky would have voted.

INTERVIEWER

Looking around at current trends in film making, what are your thoughts and feelings on the movie industry. And how would you advise aspiring film makers to break out onto the scene?

GILLIS

Obviously we live in the age of the huge franchise. There’s nothing wrong with that, some of them are great movies. What we might be losing is the middle ground; it’s either massive budgets that only the studios can bring together, or the tiny (in film terms) budgets that are somehow drawn together by financial jiggery pokery based around tax credits. Or people making films themselves on no budgets. It seems to me this isn’t a sustainable business model.

Outside the public funding bodies (and even with their involvement) each film has to start afresh to raise its finance. Add to that the current surge in high end TV which has lead to crew shortages and therefore higher rates, it’s difficult to see where the film industry can be heading. And yet, films still get made. I don’t know an answer. I’m still trying to figure it out myself.

As to what advice to give, I think the most important thing is spending time getting the script right. However you get the film together, it will be the script that brings people on board or makes them pass. It’s getting the right people in to the project that will get the film made. It all starts and ends with the script.

INTERVIEWER

Do you feel any ethical responsibility as a film maker?

GILLIS

I think there is an ethical responsibility not to create work that simply reinforces a negative. By the same token (in an equal and opposite way) there is an ethical responsibility to create work that examines the negative – that pulls it apart and provides a new viewpoint on it.

But it’s not for the film maker to dictate how that work must be received. There has to be room for the “wrong” view to be taken – otherwise you haven’t created something truthful.

INTERVIEWER

In terms of screenwriting, what do you think is most important to keep in mind when writing your initial drafts?

GILLIS

What happens next.

INTERVIEWER

Do you have a specific audience in mind when you write and direct?

GILLIS

I really try not to.

INTERVIEWER

How would you define creativity?

GILLIS

The focussing and entrapment of energy

INTERVIEWER

What does the term ‘director’ mean to you?

GILLIS

Depends which director you’re talking about.

INTERVIEWER

James Joyce argued poetry was “always a revolt against artifice, a revolt, in a sense, against actuality.” In the modern world, ‘actuality’ is increasingly hard to define – we live in a culture of ‘fake news’. What role do you think movies have to play in a world of ‘alternative facts’?

GILLIS

It’s strange isn’t it, that we head more and more towards finding truth in stories; in made up events. And yet, that is where truth is found. I’m very interested in the effect that Reality TV has had on our psychology. Even the title is a lie. It isn’t reality, everybody knows what they’re doing because there’s a camera there and they know they can watch it later. So we’ve spent 20 odd years saying that a fabricated reality is the truth. It’s kind of delicious (if it wasn’t so disgusting) that a “star” of the genre becomes the most powerful man in the world. Trump has spent his life lying – his whole ego is based on a lie that he was responsible for creating the financial success he’s had (multi-million dollar bankruptcies notwithstanding), instead of being gifted it on birth.

Can movies be a bulwark against lies? Absolutely. They can tell the truth because they are set free from the constraints of the market place (hang on, weren’t we just saying that the film industry can’t work because it’s not a sustainable business model?). They can show what humanity can be at a time when real life is coughing up its dregs. There’s an enormous role for movies (for ALL storytelling), I think now more than at any point in my lifetime.  Stories could pull us back from the brink. Will anyone listen though?

INTERVIEWER

Could you tell us a little about some of the future projects you’re working on?

GILLIS

I have two other screenplays, one about a man discovering how his own acceptance of being gay has been affected by events from a previous generation and a story about a charity that goes rogue to be able to carry out its real work. I’m also working on a couple of TV ideas because that’s all anyone wants to hear about.

INTERVIEWER

Could you write us a story in 6 words?

GILLIS

He made his own way back.

INTERVIEWER

Could you give your top 5 – 10 tips for screenwriters?

GILLIS

I know it’s a hoary old cliché but just keep writing. And then keep re-writing. Find readers you trust, listen to them and be willing to really start again if necessary. There are all sorts of gut wrenching machinations that come from giving up what you’ve sweated blood over. But sometimes it can be an amazing release.

  • Watch the trailer for Sink here below: 
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British phone box libraries

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Books and bookshelves in a famous red British telephone box. Photo credit: Steve Muir via Flickr.

Across the UK, people are turning famous British red telephone boxes into micro libraries – casual book exchanges where there is no registration, and no fines. Anyone is free to take home a book, provided they bring it back or replace it with another.

It’s a novel, if simple idea, and one that has sprung up in response to a sustained threat facing the UK’s public libraries. The first such telephone box library was set up in Westbury-Sub-Mendip in Somerset was founded in 2009 after the local council cut funding for the area’s mobile library.

The parish council purchased the box, a Giles Gilbert Scott K6 design, for £1, and residents in the Somerset village of Westbury-sub-Mendip put up wooden shelves inside and donated their own books.

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The phone box now houses titles from cooking books to the classics and blockbusters to children’s books

A similar story can be found in South London, where a local man named Seb Handley purchased a run-down telephone box from BT for £1, then used his own money and handyman skills to renovate the box and turn it into one of London’s smallest libraries.

“It’s definitely given people an excuse to stand around chatting,” Seb told Londonist magazine, “and in that sense, I suppose it’s really failed as a library.”

The micro-library exchanges operate on a system of trust. In local villages across England, where everybody knows everybody, this seems to have been a relatively simple sell. In some larger cities, however, the micro-libraries have on occasion had to rely on the local community to step in when the libraries have been vandalised.

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This is a concept familiar to library curators across the globe. As Anne Beate Hovind, curator of the world famous ‘Future Library’ project, told us in an interview: “It’s all about trust […]I have no choice other than believing in the project. And there’s also trust the other way – because the coming generations have to trust us that we do these kinds of thing for them. They have to trust that we will do things that take care of the planet – that we create work of arts for them.”

Little free libraries

The entire ethos behind these libraries bring to mind the global phenomenon of the ‘little free libraries’, set up by a Wisconsin man named Todd Boll, who sadly passed away in October this year.

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As a tribute to his mother, Boll made a small wooden house, just large enough for 20 books, and put it on a post at the end of his drive. Above it he wrote: “Free Books”. Before long, his idea became a book-sharing movement across the US and now little libraries appear all over the world.

While BT have said they will not be selling any more of their famous red telephone boxes for the foreseeable future, people looking to do something similar and set up their own mini-libraries can look to Boll’s legacy and create their own little free libraries. There’s even handy instructions on how to create your own library box on the Guardian.

Happy reading, comrades!

 

 

Brexit books: 10 titles to look out for in post-Brexit Britain

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As the unstable and chaotic conservative government of the UK stumbles ineptly toward a ‘no-deal’ Brexit, UK citizens have recently been given assurances that there will be “adequate food to eat” in the event that the UK leaves the European Union in the style of so many drunken British louts after a Thursday night at the bookies: vomiting a half-eaten kebab onto the floor while simultaneously shitting themselves, then trying to stand up straight in order to flirt with an attractive passer-by, who on closer inspection appears to be a big pile of rubbish.

The fact that Britons will not be starving in the event of a no-deal Brexit may sound reassuring. Yet given the fact that the electorate was promised a land of cake and honey, rather than tinned liver and spam, as well as perhaps as much as £350 million a week extra to spend on their National Healthcare Service, these latest mutterings from Whitehall represent a bit of a climb down.

The whole charade got the team here at Nothing in the Rulebook thinking about how a no-deal Brexit may affect other parts of British life. As we prepare to live off a diet of potatoes and humble pie, we have put together a short list of book titles you can expect to see in post-Brexit Britain.

Publishers, take note!

  1. “Where is mummy now?” – A light hearted children’s book explaining the intricacies of citizen deportation to under fives.
  2. “1000 amazing recipes for powdered eggs” – Who needs Jamie Oliver when you can make all the types of powdered eggs you like with this fabulous cook book (which is also, incidentally, made out of powdered eggs).
  3. “Mogg and friends” – Children’s book for early readers following the adventures of Mogg the cat and her friends as they fend for themselves in the desolate city streets, feeding on litter and the dregs left behind by the former United Kingdom, including the decaying remains of Jacob Rees Mogg’s nanny.
  4. “Low expectations” – Welcome to the Dickensian streets of London, 2019, where orphans live in abject poverty surrounded by the sick and dying masses who no longer have a healthcare or welfare system to support them.
  5. “War and more war” – An epic tale of the Russian oligarchs who run and control Britain. Featuring duals between old racists bigots.
  6. “Our dignity is missing” – post-modern book that would have won the man-booker prize, if it weren’t just a paper front cover stuck to a mirror.
  7. “A brief history of 7 lies” – 2000 page thriller charting the ways a small cabal of old white men were able to convince the British population that facts and logic no longer mattered.
  8. “The liar and the unicorn” – Hilarious romp featuring Boris Johnson as a unicorn who learns not to trust every world despot when he is eaten bottom first by a large orange slug with an uncanny resemblance to Donald Trump.
  9. “No pride. More prejudice” – It is a truth universally acknowledged, that only rich billionaires who store their money in off-shore tax havens can be in possession of a good fortune.”
  10. “What do you mean, we can’t print any more books because we need the paper for kindling? No, don’t write that stop writing that there’s no paper anyway stop typing also you’re fired, everyone here is fired, we’re all fired, there aren’t any more jobs just save yourselves” – release date TBC.

 

Any titles we’re missing? Add your own in the comments below!

Extra Secret Podcast’s 99th episode features Nothing in the Rulebook

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Big news, everyone! The team here at NITRB are thrilled to announce we had the honour of making a special guest appearance on the fabulous Extra Secret Podcast.

Always keen to build bridges with fellow creatives around the world, this cross-Atlantic collaboration opportunity was far too good to miss. In the ESP’s 99th episode, NITRB drop some political thoughts on the tumultuous events that have taken place in the UK over the last few weeks.

It was the second time Professor Wu and Billy the Echidna have been on the show, and the timing seemed appropriate, given that the last time the gang got together (check out that ‘After Dark’ episode here) everyone was still reeling from the fallout of the US election.

The 99th ESP episode also features news about meth lab explosions, R Kelly, and the identity of the new Doctor Who.

Without further ado, you can check out the show now through this link, and don’t forget to subscribe to what is – we think – one of the best podcasts going right now.

For further reading, don’t miss our interview with the Extra Secret Podcast team; and if you’re thinking of starting your own podcast, catch up on their tips for podcasters, while you’re at it.

Download the podcast.

Subscribe

 

UPDATE

Professor Wu and Billy the Echidna have been at it again, collaborating with the team at Extra Secret Podcast for their special ‘After Dark’ episode.

The episode focuses heavily on the recent UK General Election, and can be listened to via the Extra Secret Podcast website 

For UK writers and artists, the only choice at this election is Labour

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On Thursday 8th June, UK citizens will go to the polling booths for the third time in three years to vote in an election they did not ask for, called by a Government that has systematically eroded public services, damaged the country’s creative and artistic industries, caused the stagnation of wages for all but the top 5% of earners, and ground the national economy to a standstill through an economically illiterate policy of austerity and a complete overreliance on an unsustainable housing bubble to artificially inflate GDP.

Nothing in the Rulebook has made no apology for positing that the greatest support for creatives – be they writers, artists, photographers, comedians, film makers or sculptors – comes from, and has always come from, political parties on the progressive ‘left’. At this critical juncture, this is a message that bears repeating: another five years of conservative rule would be disastrous for the UK’s creatives (be they aspiring writers and artists or established professionals).

The evidence for this is clear. If you compare and contrast the manifestos for the Conservative and Labour parties, on the subject of arts and culture, there is only one party striving to support and protect such a vital industry.

As this guide demonstrates, while Labour promises investment in arts funding, support for students, protection of UK heritage, culture and media institutions, the Conservatives on the other hand offer only further cuts to arts budgets already slashed to breaking point.

Labour vs Conservatives art funding

That the Conservatives should seek to attack the UK’s creative sector is perhaps unsurprising. Such parties rely on suppressing individual thought and creative expression for their existence, as for these parties, the ignorance of the population is the source of their strength. Free thinking, enlightened individuals are much harder to control.

Few examples illustrate how badly the Conservatives seek to suppress the artistic inclinations of the UK population than their cynical attacks on British libraries. In the name of austerity, UK libraries have closed at a dramatic rate, even as the relatively small costs of running these great institutions (and perfect sanctuary’s for human knowledge) goes solely to fund tax breaks for billionaires.

The reason for these attacks is simple: reading is one of the most usefully mischievous, secretly rebellious acts that there is. Libraries are often said to be fusty and staid — it might be true of the buildings, but it’s not true of the books that await teenagers there. Indeed, as Neil Armstrong once said, the knowledge contained within library books “is fundamental to all human achievement and progress”.

The ideas contained within these books – these works of literature available to every man, woman and child, entirely free of charge – thus have the potential to be revolutionary. In this way, library books are dangerous; and perhaps more dangerous are the librarians that dare to give books out to children too poor and uncultured to know not to take them seriously. Libraries make people powerful — people who shouldn’t be powerful — and we are weaker in untold ways without them.

These are just some of the myriad number of contemporary reasons UK creatives should cast their votes against the Conservative Party and in favour of Labour at the 2017 General Election.

Yet, it is also important here to remember the historical actions of the Conservative Party. While their election campaign strategy has focused a great deal on Labour leader Jeremy Corbyn’s role in facilitating the peace process in Northern Ireland, almost no comment has been passed on the Conservative Party’s support for pro-apartheid regimes in South Africa and Angola; or for their unrelenting support of fascist dictators and regimes in South America. They call Jeremy Corbyn a terrorist sympathiser for attempting to broker peace with the IRA; yet they also called Nelson Mandela a terrorist – and called for him to be hanged. In the 20th Century alone, the Conservatives have done nothing but damage the UK, its citizens, and its economy. From Winston Churchill’s disastrous decision to return the country to the Gold Standard, through the laissez-faire policies of Bonar Law and Stanley Baldwin, and onto the imposition of neoliberal economics by Margaret Thatcher (which laid the foundations for the global economic crash in 2007), the party has pursued with unrelenting vigour policies that favour only the richest and most powerful, and help strangle the money available for creatives and artists – cultivating a culture in which artistic work is increasingly difficult to pursue; preventing people from less-wealthy backgrounds from becoming artists in their own right, and thereby reducing the number of new and unique voices operating within the creative sphere – leading to the homogenisation of UK culture.

Theresa May’s Conservative party will be no different. The weak and wobbly Prime Minister has put no thought into ways to make the UK a better place for the country’s writers and artists – let alone the ordinary citizen – beyond promising to bring back fox hunting and steadfastly continue the failed policies of the past. Her zeal for attacking our European allies and her penchant for u-turns mean Brexit negotiations with EU leaders will likely turn into a farce of epic proportions. Should the UK leave Europe with no deal, not only will the economy suffer, so too will universities, students, artists and creatives who rely on strong relationships with partners across the continent.

On the other hand, under Jeremy Corbyn the UK Labour Party has become a genuine party of hope and change. Firmly on the right side of history for decades – like his counterpart Bernie Sanders in the US – Corbyn has transformed Labour from a conservative-lite neoliberal party under Tony Blair into an organisation focused intently on making the UK a better place for all citizens. That he and his party have caught the attention and support of so many, particularly young people, despite the almost consistently negative coverage of his performance in a media controlled by 8 tax dodging billionaires speaks of the resonance of his message. As the rapper, artist, Shakespearean producer and intellectual Akala notes: “For the first time in my adult life someone I consider to be fundamentally decent has a chance of being elected.”

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Photo credit: PA

The opportunity to vote for an honest and decent human being, and for a political party that truly seeks to support the many, rather than the few, while championing the arts and creative industries does not come along often in politics. And it is for this reason – more so than the terrible record of the Conservatives – that voters should mark their ballot papers in favour of the Labour Party at this year’s General Election.

Of course this endorsement comes with caveats. The inherent problems with the First Past the Post system means in certain seats, hard decisions must be made to ensure progressive candidates return to Parliament at the expense of Conservative MPs. Voters in Caroline Lucas’s Brighton Pavilion seat, for instance, should cast their ballots for one of the genuine leading lights in British politics and long-standing supporter of the arts. Meanwhile, on the Isle of White, constituents have the opportunity to elect the Green Party’s Vix Lowthon – who has championed calls for investment in the islands creative sector – at the expense of the Conservatives.

These minor intricacies of democracy aside, it is hard not to feel that the 2017 General Election carries with it a sense of importance. For the first time since the 1980s, people have the opportunity to vote for a genuinely progressive mainstream political party that has broken with the broken neoliberal consensus that has led so many of the world economies to ruin, and has also placed the arts and creative industries at the heart of their manifesto – along with policies that will provide the support UK citizens need to be able to pursue their dreams, unhindered by low wages and mountains of debt. The odds are – and always have been – stacked against those on the progressive left; yet there is now real cause for optimism among UK creatives. Writers and artists so often love creating works based on such underdog stories; but now we have the chance to participate in a true example of one ourselves.

On Thursday 8th June, vote with hope; vote for hope. Vote Labour.

Comparison: Labour vs Conservative plans for UK arts and creative sector

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Ahead of the UK General Election on June 8, Nothing in the Rulebook recently compiled separate articles on what the manifestos of the two main political parties – Labour and the Conservatives – mean for the UK arts sector and those professionals working (or seeking to work) within the country’s creative industries.

In the interests of convenience, the team here at NITRB have followed these pieces up with what is – we hope – a helpful and easy-to-read guide comparing the pledges of the two political parties.

That the Labour Party pledges far more in support of the arts is perhaps no surprise; protecting and improving the UK’s cultural heritage and supporting new creative and artistic endeavours has long been a crucial part of the party’s policy, particularly since Jeremy Corbyn became leader in 2015. The Conservative party, on the other hand, have consistently slashed funding to the arts – by almost £50 million since they first came to power in 2010 – and, in their 88-page manifesto, the word ‘art’ appears just four times.

 

 

What Labour’s manifesto means for UK creatives

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As the date of the UK General Election nears, Nothing in the Rulebook has sifted through the manifestos of the Labour and Conservative parties to decipher exactly what each is offering in terms of support for the arts and creative industries in the UK.

It is important to note that, over the past six years, £42.8 million has been cut from Britain’s Arts Councils by the incumbent Conservative (and Con-Dem coalition) governments. Cuts to local government have also meant library closures and the end of creative arts evening classes. For many people, the increasingly precarious, time-consuming and low-paid nature of work has also restricted access to the arts, and made it ever more difficult for aspiring creatives to pursue their passion.

Under a Jeremy Corbyn-led Labour government, this seems set to change. The Labour Party’s manifesto promises to provide a £1 billion culture fund and to end cuts to local authority budget funding if it wins the general election on 8th June.

Labour said it would introduce the fund in order to “upgrade our existing cultural and creative infrastructure to be ready for the digital age”.

The fund would also invest in creative clusters across the country, designed to boost economic growth through culture.

It would be administered through Arts Council England over a period of five years, and is described by Labour as “among the biggest arts infrastructure funds ever”.

Labour has also promised to end local authority budget cuts, which have resulted in widespread cuts to the arts nationwide.

Stopping this has been identified by leading cultural bodies as a key area for the sector to lobby the new government.

The manifesto also includes the introduction of a £160 million pupil premium for the arts, which would allow schools to invest in creative projects.

The idea was first mooted by party leader Jeremy Corbyn last year, and comes alongside manifesto promises to “put creativity back at the heart of the curriculum” and review the English Baccalaureate.

Pledges include strengthening the pipeline of creative talent, with measures such as a creative careers advice campaign in schools to demonstrate the range of opportunities available and the skills required “from the tech sector to theatre production”.

The manifesto also mentions fair pay for those working in the arts, claiming: ‘too often the culture of low or no pay means it isn’t an option for those without well-off families to support them.’ Labour will work with trade unions and employers to agree sector-specific advice and guidelines on pay and employment standards, making ‘the sector more accessible to all’.

“We will improve diversity on and off screen, working with the film industry and public service and commercial broadcasters to find rapid solutions to improve diversity,” it added.

Labour’s manifesto also suggests extending the business rates relief scheme for pubs to small venues, in a bid to protect them, as well as implementing the agent of change principle across the country – a measure already pledged for London by mayor Sadiq Khan.

In addition, Labour has also announced it will maintain free entry to museums, claiming Conservative cuts to arts funding and local authorities have created a tough financial climate for museums, with some closing or reducing their services, and others starting to charge entry fees.

The party has also pledged to address the ‘value gap’ between producers of creative content and the digital services that profit from its use. The manifesto states: ‘We will work with all sides to review the way that innovators and artists are rewarded for their work in the digital age.’

A portion of the manifesto also focuses on making music venues more resilient, with Labour aiming to support the music industry’s infrastructure. There will be a review extending the £1,000 pub relief business rates scheme to small music venues, while Labour will introduce an ‘agent of change’ principle in planning law, to ensure that new housing developments can coexist with existing music venues.

The party has also pledged to support and protect one of the UK’s most valued public institutions: the BBC.

That the Labour Party has delivered a manifesto so positively supportive of the arts and creative industries is perhaps no surprise – as the party’s leader, Jeremy Corbyn, has continually backed the sector for years, and made it a key part of his leadership campaign in 2015.

What the Conservative Party’s manifesto means for UK creatives

As the date of the UK General Election nears, Nothing in the Rulebook has sifted through the manifestos of the Labour and Conservative parties to decipher exactly what each is offering in terms of support for the arts and creative industries in the UK.

It is important to note that, over the past six years, £42.8 million has been cut from Britain’s Arts Councils by the incumbent Conservative (and Con-Dem coalition) governments. Cuts to local government have also meant library closures and the end of creative arts evening classes. For many people, the increasingly precarious, time-consuming and low-paid nature of work has also restricted access to the arts, and made it ever more difficult for aspiring creatives to pursue their passion.

Under a Theresa May-led Conservative government, the indications are that this seems set to continue.

In the section of the (uncosted) Conservative manifesto, ‘Stronger Communities for a Stronger Economy’, the party pledges somewhat untangible policies of “continuing our strong support for the arts”, without many specific plans or ideas for how the party will actually show said support.

Of what pledges there are to be found, the party promises to maintain free entry to the permanent collections of “major” national museums and galleries, but fails to offer any protection for all museums and galleries – or clarify what locations would be classified as “major”.

The Conservatives also promise to hold a “Great Exhibition of the North” in 2018, to “celebrate amazing achievements in innovation, the arts and engineering”.

In addition, the party plans to support an as-yet un-named UK city in making a bid to host the 2022 Commonwealth Games, and, as 2017 marks the 70th Anniversary Year of the Edinburgh Festival, pledges to support the development of the new Edinburgh Concert Hall.

Intriguingly, given David Cameron’s plans in 2015 and 2016 to sell the publicly-owned Channel 4 broadcasting company, Theresa May’s Conservative manifesto promises that Channel 4 will remain publicly owned, and will also be relocated outside of London.

It is perhaps telling that, in an 88-page document, the word ‘Art’ appears just four times. Yet, with funding for the arts consistently slashed under successive Conservative governments, it is perhaps not all that surprising.

You can read about what the Labour Party’s plans for the arts are here.

Ballot Beats – promoting the youth vote through poetry

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As the deadline to register to vote in the 2017 General Election nears, 7 million voters – most of them younger – remain disenfranchised. This continues a long-recognised trend in British elections; in 2015, only 43% of young people aged 18-24 voted in the General Election, compared to an overall turnout of 66 % and a turnout of 78% for those aged over 65.

Nothing in the Rulebook has long championed the power that the arts have to inspire and affect change; so a new project from the brilliant minds behind the Theatre Centre really caught our eye. The group is looking to use the power of poetry to cultivate advocacy and galvanise action from young audiences, moving them towards compassion, conversation and campaigns.

Working with award winning poet Mr Gee, the group ran poetry workshops in different parts of the UK and encouraged young people to create poems about their beliefs, and why voting feels important to them.

Some of these young people can already vote – most of them can’t: they need other young people to be their voices, and to tick their ballot papers. Their words, beliefs and rhymes have been collected and shared in #BallotBeats

A spokesperson for the group said: “At Theatre Centre we believe young people need and deserve representation. We believe that the best way of achieving this representation is through voting. We want to help encourage young people to get their voices heard and to vote. We want their concerns to be placed at the heart of the political agenda and to be visible with our political landscape.”

Nothing in the Rulebook Co-Founder, Professor Wu, praised the importance of the #BallotBeats project: “The Conservative Party called the 2017 election on the assumption that young people will remain apathetic to the democratic process. They are absolutely banking on the youth vote not turning up; because they know if this were to change they would face a nigh impossible task of forming a government to implementing the cruel and Victorian-era policies of their regressive manifesto. Rest assured it is completely within their interests – and the interests of the corporate elite – to keep the status quo as it is, and keep young people bored and disgusted by politics, and prevent them from realising the power that they truly wield. What a great victory it would be if this were to change and those people who will have to live longest with the outcome of this election turned up en masse to the polling booths on 8th June.”

“Poetry has a long-standing tradition of inspiring protest and activism, and Theatre Centre’s #BallotBeats project is exactly the sort of galvanising initiative that is needed to bring a little more hope and optimism to the world at a time where so much around us seems created to inspire fear and cynicism.”

For more details about the work of Theatre Centre and #BallotBeats please contact Emily on emily@theatre-centre.co.uk or call 020 7729 3066. You can also follow them on Twitter (@TCLive) and Facebook.

 

The state of UK libraries today: an infographic

Ohoho! Saviours of the written word. We here at Nothing in the Rulebook have been on a fact-finding treasure hunt to find out what is happening in the world of UK libraries.

These fantastic buildings, which have been, for hundreds of years, the perfect sanctuary for books, too often fail to receive the recognition they deserve. While countless of famous voices, including acclaimed author, Neil Gaiman, have urged us in recent years to support our libraries, here in the UK our libraries are threatened by cuts to government spending.

Indeed, not only are 10% of existing UK libraries currently threatened with closure, the number of libraries in the UK today has fallen by almost 400 in the last 6 years.

But enough talk – we promised you an infographic! And an infographic you shall have. Here it is below!

 

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