iinsurgency films limited

Insurgency Films Development to Multi Million Pound International Production Company in 2014 Using -

Tom Bruggen’s Imagination:

How many times have I woken up having nightmared precisely the film that I couldn’t give birth to during weeks of previous ‘reality-based’ effort awake? Its like some sick ‘impossible dream of the mind’ joke moment.

Yes its now officially VERY EASY for me to IMAGINE these award & audience winning films, I do every day in dreams and all night in scripts, but still VERY DIFFICULT  for me to CONSTRUCT them in the real world rather than the unreal world of my mind, to the standards of  my IMAGINATION.

That is now the task of INSURGENCY FILMS.

I think we have higher standards than many in UK. lets capitalise that:

INSURGENCY FILMS HAS THE HIGHEST FILM STANDARDS! But we must TRANSLATE our imaginings into the form closest to the imagination in order to EARN the finance to realise them ourselves, moving from SCRIPT to SCREEN via ART DESIGN.

Word from the highest authorities in the land agree: The IMAGININGS are cool: radically real, philosophical, hard, rebellious, cutting-edge, experimental, human.

NOW The ART DESIGN needs to commit these screenplay works of the imagination into a SCREEN TEMPLATE, combining all the required resources and skill that we have and that we have to gain, into a production proposal that accurately inspires the realisation of our imagining.

We have now done it all - separately, on different projects, at varying levels of intensity and over some time. Our dreams are good enough to be formed, and we can do it as fluently as sculptors see and three dimensionalise, and composers hear it and play it on the keyboard.  FILM SKILL.

The difference is that what they see and hear WILL  translate there and then. What we see and hear as a FILM, will take a great deal more to TRANSLATE & REALISE.

We began long filming in 1988, and by 1997, with THE GRAPE TAPES, we were learning the 90 minute curve. Hours, days, weeks, months inside the experience of crafting a feature film. For 22 years, and over 6 further feature length films, we have picked up the tools and on minimal budgets learnt our CRAFT.

But not on the scale, budget or production value of the film we imagined, always well below the extraordinary expense of the feature films we watch, aspire to, imagine.

We do things differently, we have brought ourselves, maybe 200 hundred of us, to this point, where what is way out of reach of most art school, or film school aspirants is within our collective grasp. We can now replicate the whole film - production process in a formative, educational sense, for our own benefit. We look good, ready to take the next step up in finance.

Nigel Thomas has just got his producer credit for Cannes Palm d’Or winning wind that shakes the barley. Warren Askew has initiated a hundred music videos and stadium shows. In their own ways, they have shown us the path, bigger pictures, building screenplays, casts and crews, edging into, barging into, bigger budgets, and greater commercial success, feeding it back into the process of garnering awards and ever greater creative freedom for their teams.

For us the inspirational message is clear. As we have been training ourselves by simulating the pressures necessary for the big job, let us now move onto the job itself. We’ve done everything we possibly could to IMAGINE & REPLICATE the process. We need to step up the education curve.

We have WRITTEN, EDITED, REWRITTEN, REVISED & PRODUCED our scripts on tiny budgets. Each time we have mastered the intellectual and manual skills of fabricating a feature film. But we haven’t even asked for the kind of money that will give us the genuine PRODUCTION VALUES of the mainstream.

I believe that INSURGENCY  is now experienced enough to handle a big budget and push our own PRODUCER, SCREENWRITER, DIRECTOR, CINEMATOGRAPHER, EDITOR, STARS & CREW into a major production process.

INSURGENCY can CONSTRUCT our IMAGININGS.

We have only a few more steps to take down the production process to claim the budget: some of the jobs that have to be done are not within our skill set yet. We need to storyboard so our BIG PRODUCERS can visualise on our behalf with the financiers.