"Anyone can be a filmmaker. What's really hard is to make a good, interesting film. A computer doesn't help you write a better novel; writing in a notebook longhand is just as good.

"So technology can't do the job for you, but it can make the medium more accessible to more people... Within a short time, I could get 30,000 people coming to my site, from countries where Rage doesn't have distribution, and they're talking to each other about the themes they relate to in it. That's something that's so new and extraordinary, really."

Orlando director Sally Potter's latest film, Rage, will be the first feature-length film to premiere on mobile phones. With an ensemble cast including Eddie Izzard, Judi Dench, Diane Wiest, Jude Law and Steve Buscemi, the first of seven episodes of the film will be streamed on Monday on Babelgum's free mobile platform, across the US, UK, France, Germany, Italy and Spain, with a new episode of the film every day. The mobile launch will be closely followed by the DVD launch, an interactive satellite premiere across a number of UK cinemas (including the British Film Institute) and a live-stream on Justin.tv.

Phew. How can one film work in so many formats? Netribution asked Suchandrika Chakrabarti to meet up with Potter and find out.

"I've been thinking a lot about this idea of democratising filmmaking, and I'm not sure whether that's really the case. I've used the phrase myself, but democracy is about one person, one vote. It's about people having a voice. I'm not sure the goal is that every single person in the world should be making a film. There wouldn't be enough people to watch."

Netribution: So how does the film work with the various methods of distribution? People are going to be watching it in very different media.

Potter: The film itself is a story that happens over seven days, so by its nature it divides into seven parts. As it's filmed in close-ups upon the actors' faces, it can work on a small scale, but also looks very beautiful up on the big screen. I think it does work at both ends of the visual scale. As it's a whodunnit, a murder mystery, it does keep you going into the next day and the next to find out how things unfold... each episode ends on a sort of cliffhanger.

People have the option to get the DVD later on, and there is also the premiere at the BFI, which is going out live on 40 screens across the country. There will be a Q&A after, and, for instance, Jude Law is going to be in New York, in his dressing room for Hamlet, and we're going to Skype him in.

Babelgum saw the film and really liked the idea of distributing it. This is one of their first feature films; it feels like the beginning of a new way of looking at films, and for people to access them easily and properly. Streaming technology is so much better these days.

N: Are you daunted by any of it?

P: It felt very much like leaping off a precipice. We didn't know where we would land. I've no idea how people are going to experience it - we're making it up as we go along. As people experience the film in different ways, it starts to morph, it's no longer a fixed entity - like the themes in the film itself. We're making the process and product be really reflective of each other, and the story itself reflective of how people can see it.

It gives us an alternative World War II scenario, in which the Nazis managed to invade Britain. The debut writer/directors, brothers Ed (25) and Rory McHenry (22), have managed to entice an impressive array of stars into lending their voices to the film, including Ewan MacGregor, Rosamund Pike and Alan Cumming as a very camp Hitler.

The production is something of a family effort, as the brothers' dad, David McHenry is on production design (his credits include Love and Death on Long Island (1997) and Becoming Jane (2007) among much TV work), their two younger brothers Dom and Jack are helping with the puppets and mum, actress Maureen Bennett is often on set.

The movie is being shot at the Three Mills Studio in Bow, East London. When I visited the set last month, the crew were pretty busy blowing up Hadrian's Wall, the site of a spectacular battle between the Brits - led by MacGregor's Chris, a farmer with exceptionally large hands - and the Nazis, who are copying the invasion tactics of the Romans.

Producer Karl Richards gave us a tour of the set and workshops, before we got the chance to sit down with the McHenry brothers. The sets are full of background details that will reward close watching, as famous London streets get a German-style makeover, whereas Scotland is portrayed as a mysterious, tribal nation that provides the backdrop to a showdown with the Nazis.

As the Yes Men - the thinking-person's Sacha Baron Cohen - see their latest film released in the UK, Netribution sneaks its way into a secretive underground political cell known only as 'Soho House' to find them out and learn more.

The Independent's Johann Hari recently asked the question: "when you are just one person sitting on a warming planet – when you see economies collapsing, wars raging, and reasons for fear on every corner – how should you react? What can you do?". Many of us, he argued, settle for defiant pessimism: "I can't make any difference. It's all going to happen, whatever I do. The political conversation.. has nothing to do with me anyway", leading us to buy a bigger lock for our door, distrust our neighbours and not go out much, other than to occasionally let rip and collapse in a drunken mess on Latvian stag weekends.

I was fortunate enough to put the question to the Yes Men - who seem to have taken the crown of accessible yet uncompromising political satire - when I met them in London a few weeks ago ahead of the release of the pant-shittingly hilarious The Yes Men Fix the World - winner of the Audience award at Berlin, and 'best documentary of the year' according to the New Scientist. Andy Bichlbaum explained that they simply "do things that are fun". Pessimism is avoided, he said, "if you do what you are drawn to and think it can have a positive effect, if you do want you want to do and it's enjoyable. The despair comes from not doing anything and just sitting there and letting things happen."

Indeed it was frustration with the status quo which led them into Yes-ing the first place: "I started it more or less when I was in college and there was a certain frustration." says Andy. "It could seem pointless to be in a march, while [this was] something that could give me more satisfaction, that we had more fun doing."

Still not funded to prank all year round (wot no Channel 4 series?), the pair hold down day jobs as University lecturers while jetting around the world pretending to be people that they aren't. Few by now will have missed the infamous stunt where Bichlbaum was invited on to BBC News 24 as a representative of Dow Chemical, and proceded to do the one thing the owner of the chemical plant behind the disaster which has killed an estimated 25,000 people and disabled many more has never done - and apologise unreservedly for the disaster, promising to shut the plant and pay out some $12bn in compensation and clean-up (25 years on, the ground water there is still is toxic, and litigation continues). Dow's stock price collapsed by some $2bn before the stunt was revealed.

The Yes Men Fix the World, after a slightly awkward start, gallops into one of the funniest documentaries I've seen in years that had me both in tears, as the pair visited Bhopal today; and stitches, as executives at a VIP annual petrochemical luncheon learn that the candles they are holding are made from the flesh of an Exxon janitor, as part of a cunning plan to recycle climate chaos casualties into a fuel source. The film takes us behind the scenes of the pair's thinking, planning and stunts - with few areas avoiding their attention. We see them share a stage with Mayor Nagin in New Orleans where post-disaster relief has become mass-privatisation, with only four state schools left in the entire city; uncover Halliburton's executive protection survival suit; and - in one of their most touching stunts - handed out 80,000 alternative 'good news' copies of the New York Times, declaring peace in Iraq, a restructure of the economy and a new maximum wage law (PDF). With more stunts planned in the run up to Copenhagen, the men don't seem to sleep - indeed for the film's release in the UK, the pair handed out beautifully branded B'EauPal water in Soho, and at the Dow offices:

What seems remarkable - besides their  ability to get away with these things - is the balance between focusing on local issues and the bigger picture, which is summed up by Andy as the point that "we've entrusted our destiny to this crazy ideology [consumerism] that has now gone bankrupt and it's obvious it's gone bankrupt. But we really need to sever our ties with it." It's a message no longer exclusive to radicals and the far left - taking centre stage from Franny Armstrong's Age of Stupid to Douglas Rushkoff's Life Inc to Annie Leonards' brilliantly concise and informative 20-minute Creative Commons short The Story of Stuff (which taught me that every bin bag of rubbish in my house is matched with 70 bags of rubbish created in the production of that waste - and that 99% of goods Americans buy will be binned within six months). In short, as Leonard says, "you cannot run a linear system (of production and consumption) on a finite planet indefinitely". Even Disney seems to agree, with Wall*E and its accompanying website, being perhaps the most grimly disturbing illustration out of any of them of the consequences of business as usual, of a society built first and foremost around consumerism, greed and short term, unsustainable thinking.

So, are these guys the answer? Heroic cultural leaders such as Bichlbaum and Mike Bonnano, Banksy and Kalle Lasn, Armstrong and Rushkoff, Mark Thomas and Michael Moore, Colbert and Stewart - sticking the finger up to Goliath as they press for the change we want but don't know how to get, while cracking some good jokes?

Actually, this is the second bad response to the problems of the world Hari identified in his article, giving our leaders and cultural figures sole responsibility for change, investing in them superhuman expectations to make up for the rot that we all see and sigh for, while letting us once more sit back and put our feet up, trusting that Obama or the Yes Men will sort it out. It's just as dangerous as apathy:

"Both these moods leave you – the ordinary citizen – inert. All you can do is focus on your own personal life and wait, for disaster or salvation. But these twin dispositions leave out the real option that is waiting for you. It is the only one that has ever delivered political change in the past, and it is the only one that will pull us out of the ditch now. It is where ordinary individual citizens – you – come together and raise their voices and offer solutions of their own."

This echoes the Yes Men's message, as Mike explains: "it's only by individual action that things change. There's not driving a car, that kind of thing, then there's also putting pressure on corporations and the government to change. Specifically putting pressure on our elected leaders to make sure that they have the mandate to pass the laws that we hope to see at Copenhagen. There's tons of organisations here that are doing it, from the more radical ones like Plane Stupid, to groups like Friends of the Earth."

And if they wanted to follow in the Yes Men's shoes, any advice? "It's not very hard, that's what I'd say to begin with. It's not rocket science" explained Andy. "You can watch our movie, figure out how we do it and go and do it. It's one technique amongst many for getting the message out there. And for supporting a big movement that's making change."

To help this further, the Yes Men have created a website that both explains how they do it, gives ideas, and encourages groups to mobilise around specific issues. At challenge.theyesmen.org you can sign up to stunts - from a campaign against the targetted recruitment of ethnic minorities and the ultra-poor for the military, to the Raging Grannies Action League for US health care reform.

Johann Hari argues it's actions such as these that move civilisation forward, and that as a species we depend on such movements:

"Far from being some dreamy call to kumbaya, collective political action is the single biggest reason your life is incalculably better than that of your great-grandparents. When people first called for equality for women, when people first started to conduct scientific experiments, when people first suggested paid weekends and holidays for ordinary workers, they were greeted by the same glib pessimism we hear today. It'll never happen! What can we do?...

Who was the leader of feminism? Who was the leader of scientific progress? Who was the leader of workers' rights? Sure, there were inspirational individuals along the way. But they happened as a result of millions of ordinary people demanding it, and never giving up. If we had waited for leaders to spontaneously see the light, we would be waiting still."

Or as Bilchbaum says, "Now that the world is in great danger, we really have to figure this out. It's a great moment."

The Yes Men Fix the World is now on general release in the UK, and will feature a live satellite screening and event beamed from the Sheffield Showroom on Tuesday, August 11th. More information from their website and after the link below. It is released in the US from October 17th.

Posters from the Yes Men Poster design contest.

Burma VJ has been met with very positive reviews in the UK following its release last week, with a 94% Rotten Tomatoes rating, but what do the Burmese depicted in the film make of it?

In his first contribution to Netribution, JJ Kim travelled to the heart of the pro-democracy movement in Thailand to watch the film with Khine Wai Zaw - who was involved the Saffron Uprising of 2007 - and hear his story. It's a fascinating insight into the benefit of social-documentaries from someone who grew up within the heart of the former British colony under the rule of the Junta.

It is Friday 9th July 2009. With the award winning “Burma VJ” released in British cinemas, many people get their first glimpse of the Saffron Revolution (2007) - the most comprehensively documented of many horror stories from Burma’s near half-century under oppressive military rule. Meanwhile, it is business as usual for the many organisations working in Burma’s neighbouring countries – in safety – to bring democracy back to the world’s second most corrupt country (Transparency International 2008).

The heart of the Burmese pro-democracy movement is in Mae Sot, Tak Province, Thailand, on the Burmese border, a six-hour bus-ride from Chiang Mai, where much of Burma VJ was produced and even directed remotely. A transient town - with many Burmese migrant workers and Non-Governmental Organisations of all kinds - Mae Sot is home to many politicians, educators, religious leaders and activists who have been forced into exile. However, far from running away from their pasts, many have set up organisations to support those suffering in Burma and inform the world of the extreme injustices inflicted on civilians by the nation’s totalitarian military regime.

One such organisation, is the All Arakan Students’ and Youths’ Congress (AASYC), a largely political group based in both Thailand and Bangladesh. The AASYC office – walls adorned with banners saying “Free Arakan” and “SPDC out” (referring to the regime’s official name – The State Peace and Development Council) - is where I met with Khine Wai Zaw, to discuss his participation in the Saffron Revolution and  watch the film, Burma VJ.

Khine Wai Zaw, as he has made himself known since leaving Burma in December 2007, grew up in Mrauk-U, an ancient city in Arakan State, an area colonised by the Burmese in 1784. He had told me many times before about life growing up under martial law – in constant fear of surveillance. “In my hometown we saw soldiers everyday,” he began hesitantly. ”In groups of at least 4 with rifles or M16 machine guns. Sometimes, they would go to the market and buy things but pay very little or go to traditional local events so we used to fight them. They would come back the next day with more military so many of my brothers had to leave the city and now they can never go home because the soldiers are looking for them.

However, these things are rarely talked about in Burma – out of pure fear of incarceration or worse. Military intelligence officials in civilian clothing are on every corner, in work places and in every teashop, eagerly seeking a chance to report a “traitor” to their superiors, condemning them to imprisonment, torture or even murder for expressing their opinions. “In Yangon, we had to discuss politics very slowly and carefully because our brothers were involved in underground political activities - we would be watched all the time and many brothers had to leave.”

“The soldiers began to shoot and in the same moment many people that we had been protesting with all day turned on us and started beating us; it became apparent that these people were also working for the SPDC... I saw many girls falling – they were very afraid! That was the last day I protested.”
Khine Wai Zaw

Burma VJ tells the story of the Saffron Revolution of 2007, the first nationwide uprising in Burma for 19 years. The revolt was brought to a sudden halt when over a hundred civilians, including monks and students were shot dead and far more were detained without trial.

The roots of the uprising

On the 15th September 2007, 20 year-old Khine Wai Zaw could tell something was different as he prepared for the two-day journey to Yangon (Rangoon), where he would stay with his Aunt and Uncle. That day, Khine Wai Zaw saw something he’d never seen before: monks and other civilians demonstrating against the government, openly talking to crowds about political ideals such as democracy and human rights.  “I had never seen protests before. Many people had closed their shops and restaurants. Many policemen and soldiers were talking on their phones and many monks were chanting and marching. I was excited and a little scared. I had goose-bumps”

By the 25th of September, millions were mobilised across the country- monks, teachers, writers, students and housewives alike were marching through the streets calling for a justice that they barely understood. “I didn’t know much about democracy at that time but I knew that I wanted to change our system because everyday I faced many difficulties. In every street in Yangon there were many prostitutes, many beggars and many soldiers walking and in vehicles.“

At first many watched the monks from the sidelines, apprehensive to join in. Scenes from Burma VJ show a march through downtown Yangon while thousands watch from their windows cheering and clapping from their windows. “They were afraid. Even though they were clapping their hands, they were afraid. I think one thousand people were watching us and then they joined us slowly, slowly. “ Khine Wai Zaw recalls from another part of town where he joined in the demonstration.

Whilst watching the film with Khine Wai Zaw and three young Arakanese girls - the atmosphere was infectious. Excited murmurs quickly turned into laughter and cheers from the AASYC office while the girls saw sights they had never imagined: literally thousands of civilians defying the system and expressing their anti-military sentiments loud and proud.

But the atmosphere quickly changed once the first signs of violence came to the screen. (continued...)

As the Age of Stupid opens with a record-breaking simultaneous world premiere to a potential million viewers across 550 screens in over 60 countries over the next few days, a look back at James MacGregor's interview with Franny ahead of the UK release:

It was over three years ago that James MacGregor first reported here that Franny Armstrong, director of the acclaimed McLibel, was looking to sell shares in her new climate change film. It seemed a long shot at the time, yet, through selling shares to hundreds of people, Armstrong and producer Lizzie Gillett raised over £450,000 - by far the most successful use of crowdsourced funding in the film industry to date (Greenwald/Gilliams' Iraq for Sale raised $287,000).

From this beginning, through to a 'people's premiere' this Sunday across 64 cinemas in the UK - which makes it both potentially the world's largest ever film premiere (Guiness Book of Records on standby) and the first solar powered gala to grace Leicester Square - Armstrong and Gillett have redefined the boundaries of what is possible with a documentary that, in the words of Ken Livingstone "every single person in the country should be forcibly made to watch".

Where An Inconvenient Truth focussed on facts and figures to build an indisputable case about global warming, the Age of Stupid, takes us to the human stories around the world that illustrate the impact, denial, and inadequate responses to climate change right now. There are repentent oil workers and a defiant budget airline entrepreneur. There's the incredible hostility from the Brits to windfarms (80% of applications get rejected because of reactionary local groups) and the fatherly figure of Pete Postlethwaite watching from the future, asking why we never did more when we still could.

The format seems really well shaped for a YouTube era, lending itself easily to be broken into small segments under 10 mins; animations and mini-films which focus on different areas of the topic and hopefully after the film is released more fo these mini-films will be released online to spread the message further (and promote the full feature). They work well independently and together paint an ever stronger picture that the economic recovery must be used to restart business on a completely different footing: business as usual will lead to unimaginable suffering and death. Just this week, scientists in Copehagan have said that the worst case scenarios of two years ago were far too optimistic.

Fresh back from a whistle top promotional tour where he faced a grilling by hundreds of journalists, Simon Pegg stepped straight into his latest role – playing a celebrity obsessed magazine writer who has a terrible knack of upsetting everyone including the people he’s sent to interview. In How To Lose Friends And Alienate People, Pegg plays British hack Sidney Young who lands a highly coveted job on an upscale Manhattan based glossy called Sharps. But his dream of finding himself on the inside the glamorous world of premiers, parties and rubbing shoulders with beautiful starlets goes disastrously, hilariously wrong thanks to a series of spectacular gaffs.

“It was interesting because I started the film directly after doing a big block of press for Hot Fuzz so I had literally just been in contact with about 600 journalists,” says Pegg.

“So it was fascinating and funny and not as weird as you might think it was. I didn’t suddenly think ‘oh I’m on the other side of it now and now I understand them.’ I think journalists are individuals and I wouldn’t presume to say they are all the same.

How To Lose Friends And Alienate People is loosely based on British journalist Toby Young’s memoir of his time working on Vanity Fair magazine. But, as Pegg points out, although the book is the inspiration, the film is vastly different.

“The film is very much an adaptation of the book and I’m keen to stress that,” says Pegg. “The book doesn’t really lend itself to being a film in a sense, because it’s very anecdotal and it’s filled with huge tracts about philosophy and it’s very much a book and an enjoyable one, but in order to make it into a film Peter (Straughan, screenwriter) had to shape it as such so it is pretty different.”

"For me the film isn’t really about autism, it’s about what we do as a society to everyone who has a problem functioning and to all the people we call the nerds, the geeks and the dorks because they’re not what everyone else is. It’s the fascism of cool. The fascism of being ‘normal’."
Nic Balthazar

Exploring the implications of virtual worlds, Nic Balthazar's Ben X has been seen by two thirds of Belgium's teens, and is seeking to change attitudes towards autism and bullying.

Ben, an Donnie Darko-esque teen living with his single mum, is bullied ferociously in the 'real' world. Behind his case-modded PC, a kind of 21st Century wardrobe to Narnia, he escapes to a fantasy polygon land where he rides a golden stallion and rescues a Sophian damsel, who becomes the virtual femme fatal (or not) of the piece. Although some of the characters seemed as flat as a 2D scroller, as perhaps the first realist drama to strip Web 2 bare in the cold hard glare of modern life and its cruelties, it's a timely film. Best of all, in exploring the territory of mental suffering in the face of 'normality', so often in cinema presented as something either hopefless (Pi) or dangerous (A Beautiful Mind), Ben X refreshingly finds alternatives.

Inspired by a true story, by way of a video game, novel and play, writer and director Balthazar explains the process behind the film with Billy Chainsaw below.

Nuru Mkali

Director of I Refuse to Forget, winner of $5m feature funding prize, and Laura MacDonald, Creative Director for Filmaka.

Back in 2000 TCM's £5,000 short film prize seemed huge -  you could almost make an El Mariachi for that much money. Fast forward a few years and there's Iris' £25,000 Gay & Lesbian Short Film Prize, before MySpace's MyMoviesMashup prize of $1m raised the bar once more. And then Filmaka.com came along with it's $5m full feature film finance prize and rewrote the rulebook.

Picture it. You’re 22 and making your first tentative steps as a filmmaker. You signup with a website and start making films in the hope of getting your work seen by an impressive lineup of judges – Neil LaBute, Wim Wenders and Werner Herzog – and pay £10 to upload each film. Then, after winning a series of contests, they offer you $5m to make your first feature. No film school. No climbing up the ladder from tea-making. No depending on the favors of well connected relatives. No casting couch.

Hold back your envy, and meet Nuru Rimington-Mkali, the London filmmaker who did just that with his winning film I REFUSE TO FORGET. After seeing the film - which we stream below - I had to find out more, and went on to interview Filmaka's Creative Director Laura MacDonald as well...

Simon Rumley is one of those UK filmmakers whose work never seems to get the recognition it deserved. His debut feature – the brilliantly crafted faux documentary Strong Language – showed his talent for sharp writing, creating compelling situations and making a lot out of a tiny budget. His follow up films The Truth Game and Club le Monde – which, with Strong Language, formed the 'youth trilogy' – confirmed his talent as a director and writer. Yet, as inventive and enjoyable as the films were, they still seemed to have trouble permeating the consciousness of the cinema going public. Thankfully, his latest film The Living and The Dead (which is reviewed on the resurrected Special Edition HERE ) didn’t just permeate their conscious: it skewered it and then slapped them around with its raw subject matter and brilliantly intense style. Laurence Boyce caught up with Rumley to talk about the film, which was released on DVD on May 12th,  and other projects.

Tantric Tourists peers into the world of 'spiritual bling' and the 'mystic bourgeoise'

One of the gala premieres at the East End Film Festival in London, is Alexander Snelling's first feature, Tantric Tourists (Friday 19th, Genesis cinema, 7.30). Shot on location in India for £10,000, the film cost as much to produce as Snelling's 35mm short Denial seven years ago (which we thought was really cheap at the time) and which also premiered at the Genesis. Looking back in Netribution's archives, our interview with Alexander - republished below - is as relevant today as then, and reveals a filmmaker whose skills of ingenuity and perseverence ensures his films gets made, whatever the budget or problems.

And the film looks fascinating - and potentially very funny - dabbling in the waters of other micro-budget British features such as The Truth to peer into the world of 'spiritual bling' and the 'mystic bourgeoise '.

NB - Tantric Tourists should not be confused with the acclaimed short film/doc/biopic of the same name on Current TV 

From James MacGregor's interview with Alexander in the Netribution archive :

What's your own background as a filmmaker Alexander? From where did Denial spring?
I started as an online editor in London, eleven [18 now -ed] years ago and moved onto specialising in Henry/ Editbox in 1995. I have been working freelance in this capacity ever since. Henry is a non-linear editing and compositing tool used mainly for effects work with a lot of painting, colour-grading and graphics work involved. I have also directed and produced various TV projects over the years as well as working in theatre many years ago.

I have always wanted to make films and feel slightly sheepish to have taken this long to get my first off the ground - but, better late than never.

In 1999, my resolve changed and I realised that standing around in bars talking about making films and slagging off other people’s efforts was not going to get me anywhere, apart from further entrenched in my own bitterness. At this time, with many half-finished script ideas in my bottom-drawer, the story of Denial popped up and I realised this was the one to make. Two years later, I am in a position that I can actually be proud of.