He says welcome to Celebrity no no land as I drew him after we'd been at the Martinez, where Joe Cocker sang to us live.
from Nesta,
here sketching in Cannes 2008
www.art4film.com
Sunday, May 18, 2008
Chico - on the Croisette!
He says welcome to Celebrity no no land as I drew him after we'd been at the Martinez, where Joe Cocker sang to us live.
from Nesta,
here sketching in Cannes 2008
www.art4film.com
The MAKING OF PLUS ONE
At Cannes there are two teams making movies. The first the 24 hour film challenge, where a number of short film makers grab footage over this weekend to compete for the best 24 hour short shot in Cannes. The second, a feature film directed by Mary McGuckian "The Making of PLus One". Yesterday I sketched the cast, Jennifer Tilly and Michael Eklund shooting their boat scene, capturing flash moments of them climbing onto the top deck screaming for more champagne, laughing and asking where's Clooney!!!! It was the perfect picture of a moment here where what you reach for is not only champagne but the stars! The sketch sees them Ms Tilly balanced on the shoulders of Mr Eklund. They both asked how I knew what they were doing as I had not seen the action above on deck! I said it's the power of my imagination! I could read between the lines...they loved the cartoon moment.
from Nesta, here sketching in Cannes
www.art4film.com
Thursday, May 15, 2008
Cannes
I’ve arrived in Cannes Yesterday. Didn’t manage to watch any films yet, but I met the crew of Encast.tv. This British group of filmmakers are producing daily videocasts to keep everyone CANNED. Please check their website. http://www.encast.tv/
http://www.youtube.com/watch?v=xcNPh7EnAdI&eurl=http://www.entcast.tv/get-canned
http://www.youtube.com/watch?v=xcNPh7EnAdI&eurl=http://www.entcast.tv/get-canned
Wednesday, May 14, 2008
Spotlight On Polish Cinema
By Sandy Mandelberger, North American Editor
Poland has had an active film industry since the beginning of the 20th century and continues to be one of the most active players on the Eastern European film scene. Having produced such acknowledged film masters as Roman Polanski, Andrzej Wajda, Agnieszka Holland, Krzysztof Kieślowski, Jan Lenica, Lech Majewski and Jerzy Skolimowski, the Polish film scene has flourished, even under the strict demands of 40 years of Communist rule. As the economic dynamo of the “new Europe” and host country to the world-renowned Lodz International Film School, a new generation of filmmakers is now emerging.
American audiences have an opportunity to discover these new talents-in-the-making at the New York Polish Film Festival, which runs from May 9 to 13 at the Anthology Film Archives, one of New York’s most committed film showcases. For the fourth time, the Festival is presenting a fascinating program featuring some of the most interesting, exciting and diverse feature, short and documentary films from Poland.
One of the Festival’s highlights occurred on Sunday evening, with the premiere at the prestigious Museum of Modern Art of Katyn, the Oscar-nominated film by film master Andrzej Wajda. The film is a recreation of one of the most shocking incidents of World War II, when Soviet soldiers slaughtered thousands of Polish officers and citizens in the forests of Katyn. A story that could not be told during the Communist regime, Wajda brings all the drama of the incident and its aftermath in an impressive sweep of historical importance. The special screening was introduced by Dr. Annette Insdorf, Director of Undergraduate Film Studies at Columbia University and a noted writer and film critic who has written several books on films that chronicle the Holocaust.
Among the festival's films are: Savior's Square by Krzysztof Krauze and Joanna Kos- Krauze, which won Best Picture honors at the Gdynia Film Festival; Immensity of Justice by Wieslaw Saniewski; Jasminium by Jan Jakub Kolski; Extras by Michal Kwiecinski; Tricks by Andrzej Jakimowski, which won the Best Film prize at the Miami Film Festival; Time To Die by Dorota Kedzierzawska; Tomorrow We Are Going To The Movies, which won the Best Debut film prize at the Gdynia Film Festival; Preserve by Lukasz Palkowski; and Summer Love by Piotr Uklanski, a Polish Western (imagine that) that had its premiere at the Venice Film Festival. A short film or documentary accompanies each feature.
Most of the Festival’s are award-winners in Poland and abroad but have never been seen in the United States. Leading Polish directors, actors and young filmmakers are participating in the festival, using the opportunity to present their work with audiences and to perhaps find American distributor interest. New York is home to a large Polish community so there is a strong core audience interested in films that explore Polish history and contemporary culture.
The producer of the festival is Hanka Hartowicz Productions FILMART, which has introduced Polish films to the American public at special programs at various institutions, including the first American retrospective of the films of Jerzy Skolimowski at the Anthology Film Archives last December. .
The New York Polish Film Festival is co-organized by the Association of Polish Filmmakers, with support from the Polish Film Institute, the Consulate General of the Republic of Poland in New York, and the Kosciusko Foundation. Plans are in place to do a touring program of the films, giving national audiences a chance to discover these blazing new talents. For more information on the Festival, visit their website: www.nypff.com
Poland has had an active film industry since the beginning of the 20th century and continues to be one of the most active players on the Eastern European film scene. Having produced such acknowledged film masters as Roman Polanski, Andrzej Wajda, Agnieszka Holland, Krzysztof Kieślowski, Jan Lenica, Lech Majewski and Jerzy Skolimowski, the Polish film scene has flourished, even under the strict demands of 40 years of Communist rule. As the economic dynamo of the “new Europe” and host country to the world-renowned Lodz International Film School, a new generation of filmmakers is now emerging.
American audiences have an opportunity to discover these new talents-in-the-making at the New York Polish Film Festival, which runs from May 9 to 13 at the Anthology Film Archives, one of New York’s most committed film showcases. For the fourth time, the Festival is presenting a fascinating program featuring some of the most interesting, exciting and diverse feature, short and documentary films from Poland.
One of the Festival’s highlights occurred on Sunday evening, with the premiere at the prestigious Museum of Modern Art of Katyn, the Oscar-nominated film by film master Andrzej Wajda. The film is a recreation of one of the most shocking incidents of World War II, when Soviet soldiers slaughtered thousands of Polish officers and citizens in the forests of Katyn. A story that could not be told during the Communist regime, Wajda brings all the drama of the incident and its aftermath in an impressive sweep of historical importance. The special screening was introduced by Dr. Annette Insdorf, Director of Undergraduate Film Studies at Columbia University and a noted writer and film critic who has written several books on films that chronicle the Holocaust.
Among the festival's films are: Savior's Square by Krzysztof Krauze and Joanna Kos- Krauze, which won Best Picture honors at the Gdynia Film Festival; Immensity of Justice by Wieslaw Saniewski; Jasminium by Jan Jakub Kolski; Extras by Michal Kwiecinski; Tricks by Andrzej Jakimowski, which won the Best Film prize at the Miami Film Festival; Time To Die by Dorota Kedzierzawska; Tomorrow We Are Going To The Movies, which won the Best Debut film prize at the Gdynia Film Festival; Preserve by Lukasz Palkowski; and Summer Love by Piotr Uklanski, a Polish Western (imagine that) that had its premiere at the Venice Film Festival. A short film or documentary accompanies each feature.
Most of the Festival’s are award-winners in Poland and abroad but have never been seen in the United States. Leading Polish directors, actors and young filmmakers are participating in the festival, using the opportunity to present their work with audiences and to perhaps find American distributor interest. New York is home to a large Polish community so there is a strong core audience interested in films that explore Polish history and contemporary culture.
The producer of the festival is Hanka Hartowicz Productions FILMART, which has introduced Polish films to the American public at special programs at various institutions, including the first American retrospective of the films of Jerzy Skolimowski at the Anthology Film Archives last December. .
The New York Polish Film Festival is co-organized by the Association of Polish Filmmakers, with support from the Polish Film Institute, the Consulate General of the Republic of Poland in New York, and the Kosciusko Foundation. Plans are in place to do a touring program of the films, giving national audiences a chance to discover these blazing new talents. For more information on the Festival, visit their website: www.nypff.com
Friday, May 9, 2008
Edinburgh International Film Festival programme announced
Following the announcement at a press conference at Filmhouse in Edinburgh on May 7, Artistic Director Hannah McGill launched the final programme details for the 62nd edition of the Edinburgh International Film Festival (EIFF) to a gathering of film journalists and filmmakers at the Century Club in London's West End. This year the Festival, which runs in its new slot of 18 – 29 June, will host fifteen World premieres including the Opening Night Gala, John Maybury’s THE EDGE OF LOVE starring Keira Knightley (ATONEMENT) and Sienna Miller (FACTORY GIRL). The Closing Night Gala will be the World premiere of FAINTHEART, a comedy by Vito Rocco starring Eddie Marsan (HAPPY-GO-LUCKY) Jessica Hynes (formerly Stevenson, co-creator of SPACED) and Ewan Bremner (HALLAM FOE). Both Opening and Closing Night Galas are British films by British filmmakers with British casts, many of whom are expected to attend the Festival. The EIFF also looks forward to welcoming back its two Patrons, Sir Sean Connery and Tilda Swinton, who will both attend the Festival this year.
The Festival will showcase one hundred and forty two feature-length films from twenty nine countries, including one hundred and thirteen new features of which fifteen are World premieres, fourteen are International premieres, six are European premieres and seventy two are UK premieres. Highlights include: the new Pixar title WALL·E screening as the Family Gala; Shane Meadows’ SOMERS TOWN and Duane Hopkins’ BETTER THINGS both in the British Gala section; Brad Anderson’s TRANSSIBERIAN and Isabel Coixet’s ELEGY both screening in the Gala section; a special preview of Terence Davies’ OF TIME AND CITY and the previously announced documentaries ENCOUNTERS AT THE END OF THE WORLD by Werner Herzog, James Marsh’s MAN ON WIRE and Errol Morris’ STANDARD OPERATING PROCEDURE.
Galas will include the World premiere of Mark Doherty’s A FILM WITH ME IN IT, José Padilha’s ELITE SQUAD (TROPA D’ELITE), Ira Sachs’ MARRIED LIFE, Bharat Nalluiri’s MISS PETTIGREW LIVES FOR A DAY and Jonathan Levine’s THE WACKNESS.
British Galas competing for the UK Film Council-sponsored Michael Powell Award for Best British Feature include Oliver Blackburn’s DONKEY PUNCH which will have its UK premiere, and the World premieres of Charles Martin Smith’s STONE OF DESTINY, Kenny Glenaan’s SUMMER, Christine Molloy and Joe Lawlor’s HELEN and Matthew Thompson’s DUMMY. UK titles will also compete for Best Performance in a British Film, sponsored by Premier Property Group (PPG). All films in the Gala and British Gala sections, as well as the Opening and Closing Galas, are eligible for the Standard Life Audience Award.
Artistic Director Hannah McGill added: "We have a terrifically exciting programme this year, which is the happy result of a very enthusiastic response from distributors and filmmakers. From powerful artistic and political statements to works of pure, escapist entertainment, I think this is a Festival that reflects an active, vibrant world film culture - and suits the diverse and daring tastes of our audience. I want to thank all the programmers who worked with me on putting this programme together, and I look forward to sharing it with audiences in June."
This year the Festival’s programme will be putting the spotlight on cinematography and will include a number of films particularly outstanding in this field. This is reflected by the In Person events, where guests taking part in onstage talks will include world renowned award-winning cinematographers Brian Tufano (TRAINSPOTTING) and Roger Deakins (NO COUNTRY FOR OLD MEN) who will be interviewed by Seamus McGarvey (ATONEMENT). Directors Shane Meadows (THIS IS ENGLAND) and Errol Morris (THE FOG OF WAR), legendary special effects master Ray Harryhausen (CLASH OF THE TITANS) and actor Brian Cox (THE BOURNE SUPREMACY) will also be participating in the In Person events. The Festival will also include a number of films where acclaimed cinematographers take the director’s chair: BEFORE THE RAINS by Santosh Sivan (THE TERRORIST) in the Gala section and the World premiere of WARSAW DARK by Christopher Doyle (HERO) in the Rosebud section.
FUJIAN BLUE by Robin Weng, GOD MAN DOG by Singing Chen and EDEN directed by Declan Rocks are some of the films which will also be presented in Rosebud, the showcase of films by first and second time directors which embody the spirit of the EIFF’s commitment to uncover new talent and maintain its reputation as a festival of discovery.
The new Under The Radar strand, promises to awaken the spirit of cult cinema, with two World premieres: Martin Radich’s CRACK WILLOW and Robert Beaucage’s SPIKE. Other World premieres include Bernard Rose’s THE KREUTZER SONATA in Directors’ Showcase, Steven Sheil’s MUM & DAD screening in the late-night section Night Moves, and Gideon Koppel’s documentary sleep furiously. TROUBLE SLEEPING, a feature from Edinburgh’s Theatre Workshop, and THE NEW TEN COMMANDMENTS, a series of short films marking the 60th Anniversary of the Universal Declaration of Human Rights directed by an impressive lineup of filmmakers including Irvine Welsh, Mark Cousins and Tilda Swinton, will both play as Special Events.
The world-renowned Mirrorball section will showcase the finest music films and promos from around the globe and has five feature documentaries including BANANAZ, shot over seven years following the real people - Jamie Hewlett and Damon Albarn - behind the band Gorillaz. The Black Box strand represents cutting edge experimental filmmaking, including SEVEN INTELLECTUALS IN BAMBOO FOREST, a beautiful five part film by celebrated artist Yang Fadong.
The Festival will also celebrate the life and work of Shirley Clarke and Jeanne Moreau, in the previously announced Retrospectives. Highlights include screenings of Clarke’s A COOL WORLD and a rare showing of Orson Welles’ IMMORTAL STORY (UNE HISTOIRE IMMORTELLE). Legendary stop-motion animator Ray Harryhausen’s presence at the EIFF will be celebrated by a special screening of JASON AND THE ARGONAUTS.
2008 sees the return of FILM FESTIVAL UNDER THE STARS, the outdoor cinema experience set over two nights on the Mound, next to the National Gallery of Scotland. Open to the public as a free event, the EIFF is proud to welcome back a series of iconic films: Steven Spielberg’s ET: THE EXTRA-TERRESTRIAL and Robert Zemeckis’ BACK TO THE FUTURE which had their UK Premieres at the EIFF in 1982 and 1985 respectively; and Baz Luhrmann’s STRICTLY BALLROOM, which was the Opening Night Gala in 1992. Also screening will be the inherently Scottish favourite LOCAL HERO by Bill Forsyth.
Animation is one of this year’s key themes and will feature heavily in the programme. A diverse collection of animated features including Pixar’s much anticipated WALL·E, the sweetly creepy FEAR(S) OF THE DARK (PEUR(S) DU NOIR) by comic book legend Charles Burns, the cartoon-noir IDIOTS AND ANGELS by Bill Plympton and an eclectic line-up of animated shorts. EIFF recognises the importance of nurturing talent, and provides opportunities to those who wish to learn from professionals skilled in their craft by hosting a series of workshops designed to educate and inspire budding animators.
In addition to the documentary and animation shorts at the Festival, EIFF continues to showcase the best of Scottish, UK and international shorts in a series of programmes which include Daniel Mulloy’s SON featuring Natalie Press, and actor Chiwetel Ejiofor’s directorial debut SLAPPER with Iain Glen. From Scotland, Matt Palmer’s THE ISLAND was shot on the titular island in the Firth of Forth, while the international section showcases, among others, films from Mexico, Oscar® nominated Icelander Runar Runarsson’s return to the EIFF with LITTLE BIRDS, and SICK SEX from Justin Nowell, wryly portraying a man trying to persuade his ill girlfriend to have sex.
In association with Skillset, EIFF will host its second set of Trailblazers: new film talent selected from the EIFF programme and the graduating students of the twelve UK Skillset Screen Academies. The Trailblazers initiative demonstrates EIFF’s intention to identify new talent, providing a platform on which to present their work to an international audience, whilst offering an environment for them to interact and network with established industry professionals. After their selection as names to watch, last year’s Trailblazers collectively went on to win numerous awards and nominations. The line up last year included BAFTA nominee and BIFA winner Sam Riley (CONTROL), BIFA winner Toby Kebbell (CONTROL) and BIFA nominee Matthew Beard (AND WHEN DID YOU LAST SEE YOUR FATHER?). Another of 2007’s Trailblazers, producer Rachel Connors, returns to the Festival this year with two films BANANAZ and FAINTHEART.
The full EIFF programme is now available in print or online at www.edfilmfest.org.uk
Box office for will open at noon on Friday 9 May, tickets available either online at www.edfilmfest.org.uk or from the credit card hotline: 0131 623 8030
SCI-FI-LONDON
SCI-FI-LONDON is over for another year and as all the staff and volunteers recover from the five days of fantastic films and little sleep, here's a look back at what was probably the best festival to date.
The usually plush foyer of the Apollo West End was transformed into a bullet-riddled Dead Space, courtesy of the festival's generous sponsor, EA Games. The entrance to the cinema was guarded by an unlikely alliance of Stormtroopers and Jedi Knights from the 99th Imperial Garrison, with people flocking to have their pictures taken with Darth Vader, his troops and a scantily-clad slave girl.
The opening night began with a gathering of British sci-fi literati for the prestigious Arthur C Clarke Awards. Rather than a maudlin affair following the author's passing earlier this year it was more a celebration of his greatness and his contribution to the world of both science fiction and real science. After a brief introduction from Tom Hunter, and Angie Edwards' touching, and inspiring, eulogy for the Award's patron, the Award was given to Richard Morgan for his novel Black Man.
While many chose to party, the opening night film, Marc Caro's DANTE 01, played to a sell-out audience. Click here to see video of the evening's events.
Thursday is the traditionally quiet night of the festival but with the shorts programme and three other great films (LA ANTENA, NETHERBEAST INCORPORATED and DAI NIPPONJIN) there were plenty of people coming out to see what was on offer.
The festival also had a surprise late entry when one of the festival's regular patrons happened to catch a 35mm print of THE DARK KNIGHT trailer that was thrown into the crowd attending the SPEED RACER premiere by someone dressed as The Joker. What made it all the more interesting was it had been etched on by "The Joker".
The end of the working week and what better way to escape the drudgery than with a sci-fi or fantasy film, and SFL had just the solution, with the slightly disturbing time-travel film SUSPENSION and the funny, and little bit scary animation DRAGONHUNTERS. The Stranger Than Fiction documentary strand took on heroic proportions with the world premiere of YOUR FRIENDLY NEIGHBOURHOOD HERO, which was supported by THE LAST LINE, a short film about Star Wars fans, attended by the film's director Suzanne Kai. The programme was rounded off by the British mockumentary, LEGION OF FIRE: CROYDON BRANCH and the short film SPLIT CITY. For hardcore fantasy fans, the UK premiere of one of the most expensive Russian films to date, WOLFHOUND proved a great draw. Epic in scale (and running time) it showed that Russia is a force to be reckoned with in the world of genre films.
With London becoming increasingly a 24-hour city, SCI-FI-LONDON made its contribution to this non-stop culture with its Saturday programme. The Festival is keen on encouraging local-grown talent to make uniquely British sci-fi. Our 48 Hour Film Challenge proved there is plenty of people with fresh ideas, and our sci-fi film school on Saturday morning was a chance for people to learn more from industry professionals in areas such as script development, producing, effects make-up and sound design. There was also a demonstration from sponsors MovieStorm of their 3D machinima software. MovieStorm are launching a sci-fi filmmaking competition, in conjunction with SCI-FI-LONDON, on May 8. If you want to take part, visit moviestorm.com for full details, download the free software and let your imagination run wild. The competition closes September 8, but don't leave it to the last minute.
Continuing with its support of British filmmaking the festival held a free test-screening of in-production film BABELDOM by Paul Bush. The previous film we supported in this way, CAPTAIN EAGER AND THE MARK OF VOTH, had its world premiere at last year's festival and has just finished a three week run at the ICA London, ahead of a limited national release.
The rest of the day was packed solid with films that were all well-attended, which is encouraging to see that there is an audience for small, independent sci-fi films that don't rely on big Hollywood budgets and marketing clout.
Unlike many other festivals, SCI-FI-LONDON doesn't get grants and relies solely on the generosity of its sponsors and the paying public. While this allows the festival to remain independent and show the films it wants to show, it does mean they can't invite the filmmakers as their guests, but each year they are fortunate to have filmmakers come and support their films at their own expense. This year the festival was lucky enough to have the brothers Matthew and Sean Kohnen come with their hilarious, and sometimes profound, zombie movie WASTING AWAY; a zombie flick from the zombie's point of view. Not only did they do very entertaining Q&As at both of the screenings, accompanied by one of the stars of the film, the lovely Julianna Robinson, but they also shared their Hollywood and low-budget filmmaking savvy with those attending the Saturday morning film school.
Of course, for most people SCI-FI-LONDON is about the now legendary all-nighters. As a diverse audience of almost 500 genre fans gather together for an intense eight hours of movies. Anime fans always make up the bulk of the audience, but the MST3K screenings always sell out first, especially with a unique screening of the John Travolta stinker BATTLEFIELD EARTH getting the treatment it deserves courtesy of rifftrax.com. As usual there were goodie bags with DVDs and the exclusive All-nighter Survivor badge and, of course, Red Bull and Purbecks ice-cream. While it is the films that attract the crowds it is the volunteers, who stay up all night without any films to watch, that make it a success - and not forgetting the anonymous projectionist without whom none of it would be possible.
Come Sunday morning, as the shifts changed, like the Warner Bros' coyote and sheep dog cartoons, the stunned and bewildered all-nighters headed home and an equally diverse new crowd moved in. Grungie filmmakers, coming to see their 48 Hour Film Challenge efforts projected on the big screen (and find out if they had won), mixed with children in fancy dress who were going to see THE WIZARD OF OZ. Both crowds were filled with eager anticipation, but the small ones got their faces painted.
This, the first SFL 48 Hour Challenge, was an experiment. The organisers did not know how many people would enter and what the output would be, but it proved to be a resounding success. With 137 teams initially signing up, 87 turning up on the day (the coldest weekend of the year) and 68 teams returning completed films within the time limit. There was a screening of 45 of the films the previous week, with the remainder being shown along with the final ten shortlisted movies. Generally the quality was very high, with imaginative uses of the props and supplied lines of dialogue, with the final ten being world-class shorts to match films shot over a much longer period and with more preparation - films that would easily fit into any festival shorts programme. Sitting through the screening it became pretty clear to most people which film was going to win, even before it was announced. And the results were (in reverse order):
Special Mention: Water's Edge by Quarkz
MovieStorm Award: Graph of Light
Third place: GLIB by The Next Wednesdays
Second place: Until Further Notice by Bretton
Winner: Factory Farmed by Rebel Alliance.
The winning film was a stunningly enigmatic piece with beautiful cinematography and subtle acting. It, along with the other winners, will be shown on the SciFi Channel's website www.scifi.co.uk very soon. The winning entry can be seen now on the Dutch SciFi Channel's YouTube page. All the films will be shown on sci-fi-london.tv in the very near future.
The winning team walked away with a Canon HV30 HDV camera (courtesy of Canon UK), Final Cut and Final Draft software (courtesy of movieScope magazine), VisionLab Studio software (courtesy of Fxhome). Other prizes included Archos players, software from Pinnacle and Film & Festivals magazine subscriptions.
The Challenge was a huge success and one that will be done again next year, only bigger and better.
A now well-established festival favourite is the SFL Pub Quiz. A chance to proudly show off how geeky you are, drink lots of free beer (courtesy of Baltika) and win stuff. The competition was tough this year with some truly testing questions interspersed with Festival Director Louis Savy, reading from the narcissistic autobiography of 2001 actor Gary Lockwood. For some it was hilarious, while others were comparing it with Vogon poetry. The winning team walked away with a bag of swag that included one of the ten Xbox 360s, with games (courtesy of EA) that were given away over the festival. In fact, throughout the festival, not including the all-nighter goody bags, the festival gave away Archos players, hundreds of DVDs, works of art, books, T-shirts and games, all thanks to their generous sponsors. So not only do you get to see great films but get something to take home as well.
This year there was another great closing night film in CHEMICAL WEDDING. This was the world premiere and although it was a much lower-key event than those usually held at the nearby Leicester Square, it was filled with people who wanted to see the film and not by people who wanted to be seen. Guests included the director and co-writer Julian Doyle, co-writer, rock legend and Iron Maiden frontman Bruce Dickinson and the film's star Simon Callow, playing a character as far removed from his portrayals of Charles Dickens as one could imagine. After the screening the three aforementioned guests held a lengthy Q&A with the audience, and another lucky person won an Xbox 360, this time signed by Bruce Dickinson.
And so ended another fantastic festival. And we can't wait to come back next year even bigger and better.
A full video report will be going online soon if you want to see what you missed out on. Or visit www.flickr.com/groups/sci-fi-london for photos.
The usually plush foyer of the Apollo West End was transformed into a bullet-riddled Dead Space, courtesy of the festival's generous sponsor, EA Games. The entrance to the cinema was guarded by an unlikely alliance of Stormtroopers and Jedi Knights from the 99th Imperial Garrison, with people flocking to have their pictures taken with Darth Vader, his troops and a scantily-clad slave girl.
The opening night began with a gathering of British sci-fi literati for the prestigious Arthur C Clarke Awards. Rather than a maudlin affair following the author's passing earlier this year it was more a celebration of his greatness and his contribution to the world of both science fiction and real science. After a brief introduction from Tom Hunter, and Angie Edwards' touching, and inspiring, eulogy for the Award's patron, the Award was given to Richard Morgan for his novel Black Man.
While many chose to party, the opening night film, Marc Caro's DANTE 01, played to a sell-out audience. Click here to see video of the evening's events.
Thursday is the traditionally quiet night of the festival but with the shorts programme and three other great films (LA ANTENA, NETHERBEAST INCORPORATED and DAI NIPPONJIN) there were plenty of people coming out to see what was on offer.
The festival also had a surprise late entry when one of the festival's regular patrons happened to catch a 35mm print of THE DARK KNIGHT trailer that was thrown into the crowd attending the SPEED RACER premiere by someone dressed as The Joker. What made it all the more interesting was it had been etched on by "The Joker".
The end of the working week and what better way to escape the drudgery than with a sci-fi or fantasy film, and SFL had just the solution, with the slightly disturbing time-travel film SUSPENSION and the funny, and little bit scary animation DRAGONHUNTERS. The Stranger Than Fiction documentary strand took on heroic proportions with the world premiere of YOUR FRIENDLY NEIGHBOURHOOD HERO, which was supported by THE LAST LINE, a short film about Star Wars fans, attended by the film's director Suzanne Kai. The programme was rounded off by the British mockumentary, LEGION OF FIRE: CROYDON BRANCH and the short film SPLIT CITY. For hardcore fantasy fans, the UK premiere of one of the most expensive Russian films to date, WOLFHOUND proved a great draw. Epic in scale (and running time) it showed that Russia is a force to be reckoned with in the world of genre films.
With London becoming increasingly a 24-hour city, SCI-FI-LONDON made its contribution to this non-stop culture with its Saturday programme. The Festival is keen on encouraging local-grown talent to make uniquely British sci-fi. Our 48 Hour Film Challenge proved there is plenty of people with fresh ideas, and our sci-fi film school on Saturday morning was a chance for people to learn more from industry professionals in areas such as script development, producing, effects make-up and sound design. There was also a demonstration from sponsors MovieStorm of their 3D machinima software. MovieStorm are launching a sci-fi filmmaking competition, in conjunction with SCI-FI-LONDON, on May 8. If you want to take part, visit moviestorm.com for full details, download the free software and let your imagination run wild. The competition closes September 8, but don't leave it to the last minute.
Continuing with its support of British filmmaking the festival held a free test-screening of in-production film BABELDOM by Paul Bush. The previous film we supported in this way, CAPTAIN EAGER AND THE MARK OF VOTH, had its world premiere at last year's festival and has just finished a three week run at the ICA London, ahead of a limited national release.
The rest of the day was packed solid with films that were all well-attended, which is encouraging to see that there is an audience for small, independent sci-fi films that don't rely on big Hollywood budgets and marketing clout.
Unlike many other festivals, SCI-FI-LONDON doesn't get grants and relies solely on the generosity of its sponsors and the paying public. While this allows the festival to remain independent and show the films it wants to show, it does mean they can't invite the filmmakers as their guests, but each year they are fortunate to have filmmakers come and support their films at their own expense. This year the festival was lucky enough to have the brothers Matthew and Sean Kohnen come with their hilarious, and sometimes profound, zombie movie WASTING AWAY; a zombie flick from the zombie's point of view. Not only did they do very entertaining Q&As at both of the screenings, accompanied by one of the stars of the film, the lovely Julianna Robinson, but they also shared their Hollywood and low-budget filmmaking savvy with those attending the Saturday morning film school.
Of course, for most people SCI-FI-LONDON is about the now legendary all-nighters. As a diverse audience of almost 500 genre fans gather together for an intense eight hours of movies. Anime fans always make up the bulk of the audience, but the MST3K screenings always sell out first, especially with a unique screening of the John Travolta stinker BATTLEFIELD EARTH getting the treatment it deserves courtesy of rifftrax.com. As usual there were goodie bags with DVDs and the exclusive All-nighter Survivor badge and, of course, Red Bull and Purbecks ice-cream. While it is the films that attract the crowds it is the volunteers, who stay up all night without any films to watch, that make it a success - and not forgetting the anonymous projectionist without whom none of it would be possible.
Come Sunday morning, as the shifts changed, like the Warner Bros' coyote and sheep dog cartoons, the stunned and bewildered all-nighters headed home and an equally diverse new crowd moved in. Grungie filmmakers, coming to see their 48 Hour Film Challenge efforts projected on the big screen (and find out if they had won), mixed with children in fancy dress who were going to see THE WIZARD OF OZ. Both crowds were filled with eager anticipation, but the small ones got their faces painted.
This, the first SFL 48 Hour Challenge, was an experiment. The organisers did not know how many people would enter and what the output would be, but it proved to be a resounding success. With 137 teams initially signing up, 87 turning up on the day (the coldest weekend of the year) and 68 teams returning completed films within the time limit. There was a screening of 45 of the films the previous week, with the remainder being shown along with the final ten shortlisted movies. Generally the quality was very high, with imaginative uses of the props and supplied lines of dialogue, with the final ten being world-class shorts to match films shot over a much longer period and with more preparation - films that would easily fit into any festival shorts programme. Sitting through the screening it became pretty clear to most people which film was going to win, even before it was announced. And the results were (in reverse order):
Special Mention: Water's Edge by Quarkz
MovieStorm Award: Graph of Light
Third place: GLIB by The Next Wednesdays
Second place: Until Further Notice by Bretton
Winner: Factory Farmed by Rebel Alliance.
The winning film was a stunningly enigmatic piece with beautiful cinematography and subtle acting. It, along with the other winners, will be shown on the SciFi Channel's website www.scifi.co.uk very soon. The winning entry can be seen now on the Dutch SciFi Channel's YouTube page. All the films will be shown on sci-fi-london.tv in the very near future.
The winning team walked away with a Canon HV30 HDV camera (courtesy of Canon UK), Final Cut and Final Draft software (courtesy of movieScope magazine), VisionLab Studio software (courtesy of Fxhome). Other prizes included Archos players, software from Pinnacle and Film & Festivals magazine subscriptions.
The Challenge was a huge success and one that will be done again next year, only bigger and better.
A now well-established festival favourite is the SFL Pub Quiz. A chance to proudly show off how geeky you are, drink lots of free beer (courtesy of Baltika) and win stuff. The competition was tough this year with some truly testing questions interspersed with Festival Director Louis Savy, reading from the narcissistic autobiography of 2001 actor Gary Lockwood. For some it was hilarious, while others were comparing it with Vogon poetry. The winning team walked away with a bag of swag that included one of the ten Xbox 360s, with games (courtesy of EA) that were given away over the festival. In fact, throughout the festival, not including the all-nighter goody bags, the festival gave away Archos players, hundreds of DVDs, works of art, books, T-shirts and games, all thanks to their generous sponsors. So not only do you get to see great films but get something to take home as well.
This year there was another great closing night film in CHEMICAL WEDDING. This was the world premiere and although it was a much lower-key event than those usually held at the nearby Leicester Square, it was filled with people who wanted to see the film and not by people who wanted to be seen. Guests included the director and co-writer Julian Doyle, co-writer, rock legend and Iron Maiden frontman Bruce Dickinson and the film's star Simon Callow, playing a character as far removed from his portrayals of Charles Dickens as one could imagine. After the screening the three aforementioned guests held a lengthy Q&A with the audience, and another lucky person won an Xbox 360, this time signed by Bruce Dickinson.
And so ended another fantastic festival. And we can't wait to come back next year even bigger and better.
A full video report will be going online soon if you want to see what you missed out on. Or visit www.flickr.com/groups/sci-fi-london for photos.
Tuesday, May 6, 2008
Strong European Showing At 2008 Tribeca Film Festival Awards
By Sandy Mandelberger
Following a packed 10-day marathon of film screenings, industry events, seminar panels and chic parties, the Tribeca Film Festival ended this past weekend with the announcement of the winners of the juried awards in several categories. The World Competition winners were chosen from 12 narrative and 12 documentary features from 18 countries. Two awards were also given to honor New York films, which were chosen from seven narrative and nine documentary features. Awards were also given for the best narrative, best documentary and student visionary films in the Shorts competition.
European films figured strongly in the winners circle. The Founders Award for Best Narrative Feature was given to LET THE RIGHT ONE IN (Lat den rätte komma in) by Swedish director Tomas Alfredson. Novelist John Ajvide Linquit adapted his best-seller to tell the beautifully touching tale of the first romance of 12-year-old Oskar and the girl next door, Eli….who also happens to be a vampire. The jury commented that the film was exceptional “for its mesmerizing exploration of loneliness and alienation through a masterful reexamination of the vampire myth.” Director Tomas Alfredson receives a cash prize of $25,000 plus the art award "Maternal Nocture: Clearing Storm” created by Stephen Hannock. The film has a North American distribution in place, with Magnet Releasing, the specialty arm of Magnolia Pictures.
Winner of the Best New Narrative Filmmaker prize is Turkish director Huseyin Karabey for the film MY MARLON AND BRANDO. The film, a co-production with The Netherlands and the UK, is a cross-cultural love story between a Turkish actress living in Istanbul and a Kurdish actor living in Iraq. The story is set on the eve of the American invasion and spins a unique take on the “Romeo And Juliet” legend with contemporary references. The jury praised the film for “its skillful blending of documentary style with a classic love story.” The film had its world premiere at the Rotterdam Film Festival. The director receives a cash prize of $25,000, sponsored by American Express, and the art award “Bonfire,” created by Ross Bleckner.
Best Actor honors were shared by Thomas Turgose and Piotr Jagiello, the teenage protagonists of the UK drama SOMERS TOWN, directed by Shane Meadows. Turgose plays a lad from the British Midlands who strikes up an unlikely friendship with Jagiello, who plays a Polish refugee living with his construction worker father in a working class neighborhood of London. The jury was impressed with the twin actors’ “extraordinary and exhilarating rendering fo a friendship found”. The prize, sponsored by Delta Air Lines, gives each winner a business elite ticket voucher for anywhere Delta travels.
Eileen Walsh, a haunting Irish actress, won Best Actress honors for “her exquisite rendering of a lonely wife aching to be seen and heard” in director Declan Recks’ EDEN. The film takes a frank look at the slow disintegration of a marriage during the week a couple celebrates their 10th anniversary. Adapted from Eugene O’Brien’s award-winning play, the film’s use of closeups and intimate editing only enhances its emotional impact. The actress receives two business elite ticket vouchers for anywhere Delta travels.
Winning a $25,000 cash prize as Best New Documentary Filmmaker is Spanish director Carlos Carcas for the film OLD MAN BEBO. The film, which had its world premiere at the Malaga Film Festival in Spain, tells the story of Bebo Valedes, the greatest living Cuban musician who was one of the inventors of the mambo, who turns 90 this year. The joyful portrait film mixes archival footage with contemporary interviews and performance segments to offer a celebration of the man and his music. Director Carlos Carcas receives $25,000 cash, sponsored by American Express, and the art award “Maquette for Primary Compass,” created by Don Gummer.
The sole non-European filmmaker in the winners circle is American director Gini Reticker for her moving documentary film PRAY THE DEVIL BACK TO HELL. Winning the Best Documentary Feature prize for “its moving portrait of the women of Liberia, who show us how community, motherly love and perseverance can change the fate of a society.” The film, which had its world premiere at the Festival, wins for director Gini Reticker a cash award of $25,000 and the art award “Liza Minnelli,” created by Timothy White.
The Tribeca Film Festival has long demonstrated its support for local film talents. When it began, it hosted a separate “Made In New York” competition category. That has since been dropped, but the Festival still makes a point of honoring New York filmmaking talents through its New York Loves Film Award. This year’s documentary winners was ZONED IN, a documentary by Daniela Zanzotto that traces the remarkable journey of a Bronx high schooler to an Ivy League university, with trenchant comments on the role of race and class in the American education system. Director Zanzotto receives a cash prize of $5000, sponsored by New York State Governor's Office for Motion Picture and Television Development, and the art award “Table Odeon,” created by Donna Ferrato.
Winner of the Best New York Feature was THE CALLER, directed by Richard Ledes. Acting veterans Frank Langella and Elliot Gould star, respectively, as an energy business executive, who is assisted by a private investigator in his effort to expose his corporation's corrupt practices. The jury hailed the film’s “superb use of its New York locations – from the sleek mid-town high-rises to the desolate Brooklyn Bridge piers – to create a chilling and finally stirring suspense movie; an unusual thriller whose mysterious plot finally exposes the mysteries of the heart.” The filmmakers receive a cash award of $5,000, sponsored by The City of New York Mayor's Office of Film, Theatre and Broadcasting, and the art award “Nude on Guitar” created by Ralph Gibson. Prize winning short films included BEST BOY (Steph Green), MANDATORY SERVICE (Jessica Habie) and ELEPHANT GARDEN (Jessica Habie).
The Cadillac Award was given to the documentary WAR CHILD, directed by C. Karim Chrobog. The American film, which had its world premiere at the Berlin Film Festival, was voted on by Festival audiences. WAR CHILD tells the story of hip-hop artist Emmanuel Jal, a veteran of the 20-year civil war in southern Sudan . First-time filmmaker Chrobog follows Jal as he returns to Sudan for the first time in 18 years to reunite with his family, including the father who summoned him to war and then abandoned him. Now in his 20s, Jal is using his music to raise awareness about the ongoing humanitarian crisis in Sudan and the plight of child soldiers throughout the world. The director receives a cash prize of $25,000 and the art award “Peripheral Drift Illusion” created by Ryan McGinness.
The Festival, in presenting over 120 films from 40 countries around the world, gave its loyal audiences the chance to check the pulse of world cinema and to be introduced to the amazing stories of both real and fictional people from many different cultures. It is often said that New York is the center of the world (perhaps an overinflated statement) but for the past 10 days, the world was certainly on display in all its glory and complications for New York audiences to savor, absorb and learn from. Aside from all the glitz and the industry buzz, that could ultimately be the 2008 Tribeca Film Festival’s most important legacy.
Following a packed 10-day marathon of film screenings, industry events, seminar panels and chic parties, the Tribeca Film Festival ended this past weekend with the announcement of the winners of the juried awards in several categories. The World Competition winners were chosen from 12 narrative and 12 documentary features from 18 countries. Two awards were also given to honor New York films, which were chosen from seven narrative and nine documentary features. Awards were also given for the best narrative, best documentary and student visionary films in the Shorts competition.
European films figured strongly in the winners circle. The Founders Award for Best Narrative Feature was given to LET THE RIGHT ONE IN (Lat den rätte komma in) by Swedish director Tomas Alfredson. Novelist John Ajvide Linquit adapted his best-seller to tell the beautifully touching tale of the first romance of 12-year-old Oskar and the girl next door, Eli….who also happens to be a vampire. The jury commented that the film was exceptional “for its mesmerizing exploration of loneliness and alienation through a masterful reexamination of the vampire myth.” Director Tomas Alfredson receives a cash prize of $25,000 plus the art award "Maternal Nocture: Clearing Storm” created by Stephen Hannock. The film has a North American distribution in place, with Magnet Releasing, the specialty arm of Magnolia Pictures.
Winner of the Best New Narrative Filmmaker prize is Turkish director Huseyin Karabey for the film MY MARLON AND BRANDO. The film, a co-production with The Netherlands and the UK, is a cross-cultural love story between a Turkish actress living in Istanbul and a Kurdish actor living in Iraq. The story is set on the eve of the American invasion and spins a unique take on the “Romeo And Juliet” legend with contemporary references. The jury praised the film for “its skillful blending of documentary style with a classic love story.” The film had its world premiere at the Rotterdam Film Festival. The director receives a cash prize of $25,000, sponsored by American Express, and the art award “Bonfire,” created by Ross Bleckner.
Best Actor honors were shared by Thomas Turgose and Piotr Jagiello, the teenage protagonists of the UK drama SOMERS TOWN, directed by Shane Meadows. Turgose plays a lad from the British Midlands who strikes up an unlikely friendship with Jagiello, who plays a Polish refugee living with his construction worker father in a working class neighborhood of London. The jury was impressed with the twin actors’ “extraordinary and exhilarating rendering fo a friendship found”. The prize, sponsored by Delta Air Lines, gives each winner a business elite ticket voucher for anywhere Delta travels.
Eileen Walsh, a haunting Irish actress, won Best Actress honors for “her exquisite rendering of a lonely wife aching to be seen and heard” in director Declan Recks’ EDEN. The film takes a frank look at the slow disintegration of a marriage during the week a couple celebrates their 10th anniversary. Adapted from Eugene O’Brien’s award-winning play, the film’s use of closeups and intimate editing only enhances its emotional impact. The actress receives two business elite ticket vouchers for anywhere Delta travels.
Winning a $25,000 cash prize as Best New Documentary Filmmaker is Spanish director Carlos Carcas for the film OLD MAN BEBO. The film, which had its world premiere at the Malaga Film Festival in Spain, tells the story of Bebo Valedes, the greatest living Cuban musician who was one of the inventors of the mambo, who turns 90 this year. The joyful portrait film mixes archival footage with contemporary interviews and performance segments to offer a celebration of the man and his music. Director Carlos Carcas receives $25,000 cash, sponsored by American Express, and the art award “Maquette for Primary Compass,” created by Don Gummer.
The sole non-European filmmaker in the winners circle is American director Gini Reticker for her moving documentary film PRAY THE DEVIL BACK TO HELL. Winning the Best Documentary Feature prize for “its moving portrait of the women of Liberia, who show us how community, motherly love and perseverance can change the fate of a society.” The film, which had its world premiere at the Festival, wins for director Gini Reticker a cash award of $25,000 and the art award “Liza Minnelli,” created by Timothy White.
The Tribeca Film Festival has long demonstrated its support for local film talents. When it began, it hosted a separate “Made In New York” competition category. That has since been dropped, but the Festival still makes a point of honoring New York filmmaking talents through its New York Loves Film Award. This year’s documentary winners was ZONED IN, a documentary by Daniela Zanzotto that traces the remarkable journey of a Bronx high schooler to an Ivy League university, with trenchant comments on the role of race and class in the American education system. Director Zanzotto receives a cash prize of $5000, sponsored by New York State Governor's Office for Motion Picture and Television Development, and the art award “Table Odeon,” created by Donna Ferrato.
Winner of the Best New York Feature was THE CALLER, directed by Richard Ledes. Acting veterans Frank Langella and Elliot Gould star, respectively, as an energy business executive, who is assisted by a private investigator in his effort to expose his corporation's corrupt practices. The jury hailed the film’s “superb use of its New York locations – from the sleek mid-town high-rises to the desolate Brooklyn Bridge piers – to create a chilling and finally stirring suspense movie; an unusual thriller whose mysterious plot finally exposes the mysteries of the heart.” The filmmakers receive a cash award of $5,000, sponsored by The City of New York Mayor's Office of Film, Theatre and Broadcasting, and the art award “Nude on Guitar” created by Ralph Gibson. Prize winning short films included BEST BOY (Steph Green), MANDATORY SERVICE (Jessica Habie) and ELEPHANT GARDEN (Jessica Habie).
The Cadillac Award was given to the documentary WAR CHILD, directed by C. Karim Chrobog. The American film, which had its world premiere at the Berlin Film Festival, was voted on by Festival audiences. WAR CHILD tells the story of hip-hop artist Emmanuel Jal, a veteran of the 20-year civil war in southern Sudan . First-time filmmaker Chrobog follows Jal as he returns to Sudan for the first time in 18 years to reunite with his family, including the father who summoned him to war and then abandoned him. Now in his 20s, Jal is using his music to raise awareness about the ongoing humanitarian crisis in Sudan and the plight of child soldiers throughout the world. The director receives a cash prize of $25,000 and the art award “Peripheral Drift Illusion” created by Ryan McGinness.
The Festival, in presenting over 120 films from 40 countries around the world, gave its loyal audiences the chance to check the pulse of world cinema and to be introduced to the amazing stories of both real and fictional people from many different cultures. It is often said that New York is the center of the world (perhaps an overinflated statement) but for the past 10 days, the world was certainly on display in all its glory and complications for New York audiences to savor, absorb and learn from. Aside from all the glitz and the industry buzz, that could ultimately be the 2008 Tribeca Film Festival’s most important legacy.
Moves08 Festival of Movement on Screen
Specialist festivals of screen based dance and movement are hard to come by, and can often struggle to attract non-specialist audiences. Moves, however, has managed to carve out a distinctive niche for itself within the circuit in a relatively short time frame by straddling a matrix of convergence points. Inclusive billing as a festival of movement on screen has allowed director Pascale Moyes to combine content from an eclectic field of moving image sub-genres, including short film, animation, screendance and digital arts practice. Now in its fourth year, and its second as stand-alone event, the festival has proliferated rapidly, enlarging its geographical spread beyond its Manchester base to encompass locations throughout the North West, and expanding its range of screening options beyond the traditional, indoor, sit-down models to include podcasts; installations and a public screen touring programme.
The festival also has a strong ‘hands-on’ component, this year hosting a week-long filmmaking lab and new media workshop, with a three day conference dovetailing with the festival theme of the interaction of sound and image. Links were also formalised with the Clermont -Ferrand Short Film Festival, presenting a programme of work including Laurent Achard’s award-winning Fear, Little Hunter (2004). Here, a distanced camera position, fixed throughout on an exterior view of a house and adjoining garden, presents a minimum of visual information, concerning the movements of a young boy, a dog, and a woman we assume to be his mother, while ambient sound is manipulated to represent the characters’ emotional experience, building and breaking with disquieting force. In addition, the work of contemporary British-based artists was strongly represented, with the focus of a discussion forum, curated by South East Dance, shifting between Rachel Davies’ large-scale interweaving of image, music and personal testimony in The Assembly (2007); Simon Ellis’ experimentation with a two-second time-frame in work created for iPod viewing, and Andy Wood’s improvisatory-based camera practice. Elsewhere, Claudia Kappenberg’s graphically striking Moebius installation was projected as a triptych, viewable from a Manchester street corner, and former DJ Alex Reuben remixed a compilation from his often music-inspired back catalogue, with shorter works, including the elegantly minimal Que Pasa (2001), interspersed with excerpts from his road movie Routes (2007).
Moves08 succeeded in pulling off a tricky combination, providing a programme of screenings and events relevant to a range of special interest groups, while offering across the board access to an imaginatively forward-looking platform of cross-genre work.
Moves08 Festival of Movement on Screen
22nd - 26th April
RNCM, Manchester; Duke’s, Lancaster and big screen touring programme throughout the north of England
Chirstinn Whyte recently completed a PhD at Middlesex University, researching choreographic practice for screen. http://www.shiftwork.org.uk
The festival also has a strong ‘hands-on’ component, this year hosting a week-long filmmaking lab and new media workshop, with a three day conference dovetailing with the festival theme of the interaction of sound and image. Links were also formalised with the Clermont -Ferrand Short Film Festival, presenting a programme of work including Laurent Achard’s award-winning Fear, Little Hunter (2004). Here, a distanced camera position, fixed throughout on an exterior view of a house and adjoining garden, presents a minimum of visual information, concerning the movements of a young boy, a dog, and a woman we assume to be his mother, while ambient sound is manipulated to represent the characters’ emotional experience, building and breaking with disquieting force. In addition, the work of contemporary British-based artists was strongly represented, with the focus of a discussion forum, curated by South East Dance, shifting between Rachel Davies’ large-scale interweaving of image, music and personal testimony in The Assembly (2007); Simon Ellis’ experimentation with a two-second time-frame in work created for iPod viewing, and Andy Wood’s improvisatory-based camera practice. Elsewhere, Claudia Kappenberg’s graphically striking Moebius installation was projected as a triptych, viewable from a Manchester street corner, and former DJ Alex Reuben remixed a compilation from his often music-inspired back catalogue, with shorter works, including the elegantly minimal Que Pasa (2001), interspersed with excerpts from his road movie Routes (2007).
Moves08 succeeded in pulling off a tricky combination, providing a programme of screenings and events relevant to a range of special interest groups, while offering across the board access to an imaginatively forward-looking platform of cross-genre work.
Moves08 Festival of Movement on Screen
22nd - 26th April
RNCM, Manchester; Duke’s, Lancaster and big screen touring programme throughout the north of England
Chirstinn Whyte recently completed a PhD at Middlesex University, researching choreographic practice for screen. http://www.shiftwork.org.uk
Friday, May 2, 2008
WALLFLOWER PRESS LAUNCHES NEW PUBLICATIONS AT TRIBECA FF
By Sandy Mandelberger
One of the fab parties this week at the Tribeca Film Festival was the Tuesday evening bash at BAR 13, hosted by Wallflower Press, the largest publisher of film books and magazines in the United Kingdom. Yoram Allon, Editorial Director and Publisher, was in Gotham with his wife Nicky Allon and editor Ian Haydn Smith as part of the company’s North American launch of the INTERNATIONAL FILM GUIDE, the authoritative Yearbook of International Cinema, and FILM AND FESTIVALS MAGAZINE, a quarterly publication covering the world of film festivals.
Wallflower Press arranged with the Tribeca Film Festival to distribute close to 1000 copies of the INTERNATIONAL FILM GUIDE to Festival Industry Delegates as part of their “welcome bags” (which mainly consisted of thin brochures and gimmicky trinkets). WALLFLOWER PRESS also distributed the April edition of FILM AND FESTIVALS MAGAZINE, which contains a preview article on the TRIBECA FILM FESTIVAL, as well as wrap and preview coverage of festivals in the first half of 2008 and various feature stories on films, festivals and how-to information for independent filmmakers.
“The Tribeca Film Festival is a perfect venue for us to reach both American and international industry professionals, filmmakers and media”, said Allon said during the packed-to-the-rafters soiree. “Since taking over the publication of the INTERNATIONAL FILM GUIDE from Variety, our goal is to make it the definitive resource on world cinema. FILM AND FESTIVALS is poised to become a significant media presence with the coverage of international film festivals, world cinema and the personalities who make up our business.”
The Tuesday night fete, held in the James Bond-like Upper Lounge at BAR 13 and on the roof deck was co-hosted by International Media Resources, a New York-based public relations, marketing and editorial services company, and Columbia University Press, the trade publisher and distributor that represents Wallflower Press titles in North America. “This was a great opportunity to meet and greet Tribeca attendees and the New York film and media community”, Allon added. “
We see this presence in New York as the first step in a year-long campaign to let both the North American industry and film buffs know about the books that we publish and the new media initiatives that we are launching.”
One of the fab parties this week at the Tribeca Film Festival was the Tuesday evening bash at BAR 13, hosted by Wallflower Press, the largest publisher of film books and magazines in the United Kingdom. Yoram Allon, Editorial Director and Publisher, was in Gotham with his wife Nicky Allon and editor Ian Haydn Smith as part of the company’s North American launch of the INTERNATIONAL FILM GUIDE, the authoritative Yearbook of International Cinema, and FILM AND FESTIVALS MAGAZINE, a quarterly publication covering the world of film festivals.
Wallflower Press arranged with the Tribeca Film Festival to distribute close to 1000 copies of the INTERNATIONAL FILM GUIDE to Festival Industry Delegates as part of their “welcome bags” (which mainly consisted of thin brochures and gimmicky trinkets). WALLFLOWER PRESS also distributed the April edition of FILM AND FESTIVALS MAGAZINE, which contains a preview article on the TRIBECA FILM FESTIVAL, as well as wrap and preview coverage of festivals in the first half of 2008 and various feature stories on films, festivals and how-to information for independent filmmakers.
“The Tribeca Film Festival is a perfect venue for us to reach both American and international industry professionals, filmmakers and media”, said Allon said during the packed-to-the-rafters soiree. “Since taking over the publication of the INTERNATIONAL FILM GUIDE from Variety, our goal is to make it the definitive resource on world cinema. FILM AND FESTIVALS is poised to become a significant media presence with the coverage of international film festivals, world cinema and the personalities who make up our business.”
The Tuesday night fete, held in the James Bond-like Upper Lounge at BAR 13 and on the roof deck was co-hosted by International Media Resources, a New York-based public relations, marketing and editorial services company, and Columbia University Press, the trade publisher and distributor that represents Wallflower Press titles in North America. “This was a great opportunity to meet and greet Tribeca attendees and the New York film and media community”, Allon added. “
We see this presence in New York as the first step in a year-long campaign to let both the North American industry and film buffs know about the books that we publish and the new media initiatives that we are launching.”Wallflower Press is a London-based independent publishing house specializing in cinema and the moving image. The company publishes over 30 new titles each year and has recently moved into the magazine business with FILM AND FESTIVALS MAGAZINE and other publications. The company will be soon announcing various new media content creation and distribution initiatives for the coming year. For more information, consult the company website: www.wallflowerpress.co.uk
The INTERNATIONAL FILM GUIDE, first published in 1963, is the world’s most authoritative and trusted yearbook of world cinema. The 2008 edition is a 450-page resource that covers the cinema output of over 100 countries. Special features in this double edition include: coverage of five ‘Directors of the Year’ (Fatih Akin, Suzanne Bier, Guillermo del Toro, Paul Greengrass and Jia Zhangke), a detailed country focus on Germany, industry analysis on documentary and the growth of DVD production and a comprehensive listing and description of all major international and smaller local film festivals from all over the world. This may have been Wallflower Press’ first clinch with the Tribeca Film Festival, but positive buzz surrounding the publications and the fab party makes it pretty certain it is not the last. Stay tuned.
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