Tanya Batson-Savage, Freelance Writer 
WELLS
IT MAY probably take no more than two seconds, upon talking to Mary Wells, to see that she is passionate about her chosen art form, film. Unfortunately, in today's industry, she might well be living the impossible dream.
"I want to make money," she says, "and lots of it too. But I want to do something meaningful," she reveals.
This small woman is clearly filled with fervour for her issue. Dressed simply in black, with her sensible bob a medley of black and white hairs, she is the picture of a woman who does not dwell on the frivolous.
When confronted with speaking about the film industry she is hesitant. She explains that she believes the various players are committed to development and they are trying to grow the industry. Eventually, the "but" falls.
While trying to side-step any toes or egos that could get injured in the process, Wells questions whether those with power in the industry and the nation in general are moving into the right direction.
She has been in the film industry for the past 17 years. Now, she works as an independent producer, a writer and a director. Her most recent work is The Green Tunnel, produced for the Creative Production and Training Centre (CPTC). Her work has received some acclaim.
Her short film, Now Jimmy, was included in the prestigious Toronto Film Festival, while one of the films from the series, Scribble A Story, made it to the semi-finals in the South African Film Festival.
With a laugh, Wells explains that there are benefits to having received that bit of success: "I can get an appointment with major people," she said of Now Jimmy.
She explains that though she is yet to earn money, because of its success people take her work more seriously.
Wells points to the value of Jamaica creating a presence in international film festivals. She believes that the lack of presence in such festivals is a part of the major problem that plagues the industry. In her view, the problem is a lack of programming. "The essence of programming is to develop real stories that reflect our region," she says. "I'm not excited. I'm worried."
ATTRACTING SPONSORSHIP
What worries her is the focus on talk show type programmes and sports, which are easier to produce and attract the much needed sponsorship. According to Wells, the problem goes beyond broadcasters there is a national disconnect. "They don't connect development and the importance of film and television," she says.
This spreads over to much of the development funding that exists. Though it is geared towards education, Wells explains that they often do not include film.
She points to the creation of the Culture Health Arts Sports and Education (CHASE) fund as a step in the right direction, but says real development needs more than government funding. Unfortunately, corporate Caribbean has been "near
impossible to approach".
To get to the level where the region is producing the kind of programming it needs, Wells believes we also need the help of professionals in the field. She argues that filmmakers like herself are still "desperately learning" about the film world and how to push and sell their projects.
To do this, she argues all we have to do is to tap into the huge Caribbean diaspora in the United Kingdom and North America.
Wells explains that many of these Caribbean nationals are extremely successful in their fields. While their presence is being felt in the film world, they are telling their stories, stories of being migrants and we need to tell our own. But to do that, she argues, we need their help, because we currently work in a situation where the blind are leading the blind.
Wells argues that the region needs to get beyond simply copying programming that
exists in other established
markets. "That's not good enough anymore," she says.
Indeed, many industries around the world are building their film industries, recognising the economic and developmental value. With the advent of Lord of the Rings and The Matrix, New Zealand has shown its strides in being a film location. South Africa has also stepped up its role in that regard, while Latin America is making massive strides in the film industry.
And though it is clear that there is some frustration setting in, Wells appears full of hope for the future. She points out that the worst thing about being an independent producer in this climate is the feeling of isolation. "You feel absolutely alone. Even amongst ourselves we're not united," she says. "You feel like you're
operating in the dark."
Yet, the signs of despair do not emanate from her. The reason is simple. She is excited about the level of local talent she sees and has the feeling that the current generation of filmmakers are laying the groundwork for
further development.
So, though she is not convinced that we are moving into the right direction, Wells feels there is
sufficient commitment to film and television that will create some movement. "I give us the benefit of the doubt," she says. "The Caribbean is very dynamic."
