There are always 3 sides to every story though, one side, the other side and the truth.

On 12 February we celebrated the premiere of the first year of films from Collabor8te, the scheme I developed through Rankin Film Productions, which hunts out and develops some of the country's best new filmmakers.

'Making' it in the film business has always been tough; productions are expensive, jobs are competitive. Add the double-dip recession, severe cuts in ...

Last Monday I started my week off with a champagne reception and nibbles at the St Martins Hotel in London for the nominations for The British Independent Film Awards. The event was sponsored by Moet and Chandon, and may I say how generous they were.

If there is one film that fills me with more emotions that I can neither understand or bear it is Bill Forsyth's 1983 Scottish comedy Local Hero. It is a film that makes you laugh yet has a melancholic tone that always seems one step away from breaking your heart. It was named #37 on the list of BFI Top 100 British Films by the British Film Institute.

Why is it that all this Union Jack-waving during the Queen's Diamond Jubilee doesn't mean squat at the British cinema box office?

There is nothing 'soft' about the UK's arts and creative industries, two of our biggest economic assets. Neither is there anything soft about our continuing work through the recent unrest in the Arab world and the British Council remaining on the ground during the last decade in Burma, Iraq and Afghanistan.

Danny Dyer intrigues me. Here's a guy who has almost zero respect amongst the mainstream filmmaking fraternity, yet his films always make money. Not in cinemas, but on the shelves of Tesco and Asda.

So, we finally have a road map to saving the British film industry. The culture minister Ed Vaizey commissioned it, Lord Chris Smith chaired the panel that produced it and I shall now pooh-pooh it. That's my involvement. Just doing my bit.

Back to more traditional Formby fare here, with a tale of mistaken identity, innocent farcical characters, an underwritten female foil, and a mix of broad verbal and physical comedy.

Earlier this year, various media organisations and outlets published stories about Ealing Studios 80th anniversary as a production house. Not being in London, but wanting to get into the celebratory spirit - I decided to offer my own small tribute.

You hear it said that times of cuts are good for culture: 'talent will out'. But we do not live in an equal world. If we lose the best efforts of the last decade to counter inequality, we will lose access to the creative vision of half the population. And what a loss of creativity that would be. 

Allan Niblo is an award-winning film producer and a founder member of film production and distribution company, Vertigo Films. His past credits include Human Traffic, Football Factory, StreetDance 3D and the award winning Monsters. Here, he reveals his inspiration for filmmaking and passes on top tips to aspirational filmmakers.

Watching black boys from London as protagonists made me giddy with joy, made me a black girl from London feel recognised, less invisible in the wider world. I don't know much about the actors that played the teenagers but their mannerisms and accents were convincing. Even in dealing with the film's drug dealing sublot which felt superflous - empty, weighty and simplistic - they were earnest enough.

Did you know that Curzon Cinemas has an on demand service? Well, Curzon Cinemas has an on demand service. I used it to watch Brain Welsh's In Our Name...

All Night Long (1962) is an exception, a film I can't just turn up to. At the weekend I began watching it in jeans and a t-shirt but felt so slobbish that halfway through I paused and changed into a dress. (This wasn't sufficient but it was better.) One must prepare to watch All Night Long, it is an invitation to a party. You should attend in high spirits, your back straight, head held up.

The creative process can be brutal. To make a sentence the right words must be hunted, like thieves in the night.

Ayoade has once again shown himself to be as fine behind the camera as he is in front (excluding perhaps the deeply unfunny The IT Crowd and the misjudged Marenghi spin-off Man to Man with Dean Learner), and with his feature debut has produced a dark, sensitive and at times hilarious exploration of small town teenage existence.

Pressure (1975) is spread out over the course of a few days but Tony's experiences are so stacked, he shuffles unthinkingly from one incident to the next, it's as if everything is happening on one verrrrrrrry long day.

Saturday Night and Sunday Morning's infamous line is "Whatever people say I am, that's what I'm not". This is a sentiment we are all well versed in. I once said it to a PE teacher who chastised me for being 'boring and slow'. You said it to your parents as a temperamental teen. Or to a friend who called you names for liking the wrong things.