Ukrainian innovators make ways with local industry in London

As the war between Russia and Ukraine ends its fourth month, displaced Ukrainians continue to make their way to safe haven countries, most without any guaranteed job opportunities.

Diana Oliverova – a Kyiv-born, London-based cinematographer – saw the widening gap between refugees and the need for work and set out to organize a networking event in London connecting Ukrainian film and television professionals who had recently been relocated to the London film industry.

On Monday, before the doors opened at CVP & ARRI Creative Space, dozens of Ukrainian film industry professionals were already waiting outside, seemingly excited to start the evening.

“It’s important to connect people and not neglect introductions,” said Olifirova, whose recent credits include “Heartstopper” and BAFTA Award-winning Channel 4/Peacock. Olifirova was so aware of the influx of her Ukrainian colleagues that they reached out to her for networking and potential work.

“Through some simple conversations, people discover that someone might need this or that professional, and it is very important to do that. [your] a little. Ukrainian filmmakers are very knowledgeable, hardworking and very skilled, so they will do well in the industry here.”

Olifirova expected about 30 Ukrainians to attend along with a handful of Londoners, but the Creative Space’s elegant basement room overflowed with more than 60 refugees and 30 potential recruits. Among the audience was cinematographer Gary Young. Toby Tomkins, Head of Post-Production Cheat House; and production designer Kave Quinn and her husband, first assistant director, Aiden Quinn.

“If there is anything we can do to help, [we will]said Quinn, who has sponsored and mentored aspiring opera singer Orina Veselowska since the start of the war.

Veselovska’s father is a special effects supervisor, mechanical sound effects, rig head and producer professor Timur “Jim” Veselovsky. He worked with production company Radioaktiv Films (HBO’s “Chernobyl”) and production designer Volodymyr Radlinsky, a co-worker of Quinn.

“[Volodymyr] Over email to ask if anyone can do things remotely — mood boards, art department concepts, anything like that,” Quinn said. “So, if you can’t help people here, right now, physically, You can help them [linking them up to remote work]. I would encourage fellow PDs and production companies to try and hire some of the talented film arts department staff who have been left in Ukraine remotely.”

Maria Pasek, one of the attendees, made a long journey before settling in London. After volunteering as a translator, collecting and organizing in her hometown of Ukraine, she arrived in Poland where some model and actress friends told her she might do well in London.

“When I understand that [might] I have long term psychological damage, I decided to put myself together and walk to [Polish] Basik said. “I thank the British for their help, starting with [U.K.] The border guard said, “Are you okay?” I was welcomed in this country. I have met some people and no matter who they are, in this industry or anyone else, they have opened their homes and their hearts to strangers. And now you have [event] Like this one that I hope can help me find some business [is a huge help]. “

Pasek has worked on a variety of international productions in the field of communications and organization, as a translator, assistant director and actor, and third assistant director. She also likes to act when given the opportunity. Before the evening ended, she and Ole AD Quinn exchanged information.

Oleh Teteriatnyk, a film director who recently moved to London from Kyiv and a friend of Oliverova, invited Steve Davis, CEO of the Advertising Producers Association, to the event. The membership-based trade body for commercial production companies is now working in direct partnership with Olifirova and Teteriatnyk for further matchmaking opportunities with a database of Ukrainian professionals.

“The whole industry is very committed to helping Ukraine for various reasons, first of all it’s a real community,” says Davies. “I know this is almost cliched, but most production companies really care about the people they worked with, and Ukraine has been so important to commercial production in the UK Over the past few years, because it is cost-effective and of great quality. Therefore, some companies here feel very much indebted to Ukrainian filmmakers for their role in their work.”

At the beginning of the war, the APA asked its members to contribute money to support Ukraine, raising about 400,000 pounds ($487,000). Davis points out that given that most of these businesses are small and money is out of their pockets, it’s a significant amount.

“Now they want to help by trying to get hired [Ukrainians]’ concludes Davis.

To be added to our database of Ukrainian directors, check back here for a link.



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