London Short Film Festival

http://shootingpeople.org/bensblog/2009/01/ich-bin-ein-berliner/

http://shootingpeople.org/bensblog/2009/01/the-london-short-film-festival/

Kris Marshall may gleam in the public’s consciousness through his performances in film and on TV, but it is in the arena of short films that he absolutely glitters! There’s something so engaging and familiar about him, it is obvious that he was never going to survive as an extra – his face is just too damned distracting to keep in the wings.

“It’s two-thirds me.”

Kris Marshall says that he brings bits of himself to each role. If that is the case, what do you make of the cast of characters on show at a very special BAFTA film focus for the London Short Film Festival:

• Henry, a man stuck in a Tales-of-the-unexpected moment in a tailor’s shop forced to make an eerie choice between his limbs and a rather fetching pair of red trousers (in William Felix Clark’s The Amazing Trousers)

• A most lightweight gold lamé-clad wrestler on the night bus to Croydon (in Ben Gregor’s World of Wrestling)

• A modern guy struggling to survive modern life, love, dogs and DIY (in Jack Herbert’s Dog Flap)

• Belmondo, the man who would be the embodiment of cool French New Wave, if only he wasn’t trapped in London! (Toby MacDonald’s Je T’aime John Wayne)

“I was unknown!”

Marshall says he was unknown when he was cast in Je T’aime John Wayne, which was to become his breakthrough short. The film attracted several awards and a BAFTA nomination for best short film. Now, of course, he is often recognised, attracting the comment ‘Hey man, ditch the kids!’ in reference to his appearance on a series of rather high-profile advertisements. But when people approach him because they’ve seen his work in short films, he really is chuffed: it proves all the hard work was not for nothing.

“Shorts can be strange.”

And let’s face it, ‘nothing’ is usually what shorts are made for. Marshall has done his fair share of working for free. But that is because he likes the advantages of shorts: “Shorts  can be strange.” There’s no faffing around with back story; you can be creative. “Shorts are good for people like me who have a short attention span, and they can be great fun!” He really means it when he says ‘We make GREAT shorts in this country!’

“Love me; love my script”

What attracts him to a short film project? Marshall says that, apart from an upfront declaration that ‘it’s NOT for free’, he’ll consider doing the work just because he likes the project team and especially if he likes the script.

“Four nights on the night bus to Croydon!”

His commitment for Je T’aime was four days, filming on location around London. For Wrestling it was four nights on the night bus to Croydon! Making shorts may not have helped him financially survive his eight-year apprenticeship doing Agatha Christie rep plays (Kris’s Dad was in the audience to remind him that that was due to his weekly hand-outs and supporting him through a series of odd and often-fired-from jobs!) However, apart from seeing shorts as an obvious, and sometimes only, route for directors to pursue feature film work, he sees them as a great way to fundraise for other films, and for an actor to start a showreel. Marshall is positive that working in shorts has helped him when it comes to casting calls. He is sure that Je T’aime gave him an edge over other actors. Even his most recent financially rewarding TV ad campaign was due to friendships and connections made with savvy directors during former collaborations in short films. So, perhaps shorts CAN pay off in the end.

“I just need to crack on really!”

When it comes to working with directors, Marshall reveals the BEST advice he’s ever been given: “Don’t try to play the whole role in one scene.” And what about the WORST advice? “Oh, a note saying: ‘Be better!’ – that is not very helpful!” he says.

Would Marshall like to turn his hand to directing one day? What about a short film? “Hell, yes!” He says he has ideas but it just takes discipline and a script. “Well, I just need to crack on really!” 

Marshall’s fans at the London Short Film Festival would agree – an entry for next year’s festival would be most eagerly awaited.

- Beth Keehn –

Kris Marshall may gleam in the public’s consciousness through his performances in film and on TV, but it is in the arena of short films that he absolutely glitters! There’s something so engaging and familiar about him, it is obvious that he was never going to survive as an extra – his face is just too damned distracting to keep in the wings.

“It’s two-thirds me.”

Kris Marshall says that he brings bits of himself to each role. If that is the case, what do you make of the cast of characters on show at a very special BAFTA film focus for the London Short Film Festival:

• Henry, a man stuck in a Tales-of-the-unexpected moment in a tailor’s shop forced to make an eerie choice between his limbs and a rather fetching pair of red trousers (in William Felix Clark’s The Amazing Trousers)

• A most lightweight gold lamé-clad wrestler on the night bus to Croydon (in Ben Gregor’s World of Wrestling)

• A modern guy struggling to survive modern life, love, dogs and DIY (in Jack Herbert’s Dog Flap)

• Belmondo, the man who would be the embodiment of cool French New Wave, if only he wasn’t trapped in London! (Toby MacDonald’s Je T’aime John Wayne)

“I was unknown!”

Marshall says he was unknown when he was cast in Je T’aime John Wayne, which was to become his breakthrough short. The film attracted several awards and a BAFTA nomination for best short film. Now, of course, he is often recognised, attracting the comment ‘Hey man, ditch the kids!’ in reference to his appearance on a series of rather high-profile advertisements. But when people approach him because they’ve seen his work in short films, he really is chuffed: it proves all the hard work was not for nothing.

“Shorts can be strange.”

And let’s face it, ‘nothing’ is usually what shorts are made for. Marshall has done his fair share of working for free. But that is because he likes the advantages of shorts: “Shorts  can be strange.” There’s no faffing around with back story; you can be creative. “Shorts are good for people like me who have a short attention span, and they can be great fun!” He really means it when he says ‘We make GREAT shorts in this country!’

“Love me; love my script”

What attracts him to a short film project? Marshall says that, apart from an upfront declaration that ‘it’s NOT for free’, he’ll consider doing the work just because he likes the project team and especially if he likes the script.

“Four nights on the night bus to Croydon!”

His commitment for Je T’aime was four days, filming on location around London. For Wrestling it was four nights on the night bus to Croydon! Making shorts may not have helped him financially survive his eight-year apprenticeship doing Agatha Christie rep plays (Kris’s Dad was in the audience to remind him that that was due to his weekly hand-outs and supporting him through a series of odd and often-fired-from jobs!) However, apart from seeing shorts as an obvious, and sometimes only, route for directors to pursue feature film work, he sees them as a great way to fundraise for other films, and for an actor to start a showreel. Marshall is positive that working in shorts has helped him when it comes to casting calls. He is sure that Je T’aime gave him an edge over other actors. Even his most recent financially rewarding TV ad campaign was due to friendships and connections made with savvy directors during former collaborations in short films. So, perhaps shorts CAN pay off in the end.

“I just need to crack on really!”

When it comes to working with directors, Marshall reveals the BEST advice he’s ever been given: “Don’t try to play the whole role in one scene.” And what about the WORST advice? “Oh, a note saying: ‘Be better!’ – that is not very helpful!” he says.

Would Marshall like to turn his hand to directing one day? What about a short film? “Hell, yes!” He says he has ideas but it just takes discipline and a script. “Well, I just need to crack on really!” 

Marshall’s fans at the London Short Film Festival would agree – an entry for next year’s festival would be most eagerly awaited.

- Beth Keehn –

Poetry readings are passé. If Ginsberg were residing in London circa now he wouldn’t be reading extracts from Howl, he’d be reeling off film reviews. Everyone knows that. So, with this in mind, LSFF invited the talented writers at Electric Sheep magazine to read their latest deviant offerings in front of a live audience. With curtains drawn and bottles corked, contributor James Evans began with his hilarious piece on the Christmas Slasher movie.

 Evans explained how the genre was first explored by Bob Clark in his 1974 film Black Christmas. With themes of abortion, sorority houses, and ‘an impromptu booze party’, Black Christmas drew on the dystopian undertones of the holiday season. With other titles such as Silent Night, Bloody Night and You Better Watch Out, fans of all things kitsch, obscene and downright bloody will be clambering for these films.

On a somewhat lighter note, Assistant Editor Alex Fitch took the baton and ran with his piece on Tim Burton’s “unofficial” Christmas Trilogy. Looking at Edward Scissorhands, Batman Returns and the Burton-produced The Nightmare Before Christmas, Fitch argued the case for these sinister films as the perfect antidote to the frosty blues.

Next up was Editor-in-Chief Virgine Sélavy who reminded us that women too can be cold-blooded killers. Focusing on the manga inspired Lady Snowblood: Blizzard from the Netherworld and Lady Snowblood: Love Song of Vengeance, Sélavy re-told the adventures of Shurayuki-hime (a pun on the Japanese for Snow White), a 19^th-century assassin.

And last, but by no means least, was Jeff Hilson who read his brilliant piece on Guy Maddin’s lesser-known film Careful. Tolzbad, Hilson tells us, is the setting of Careful, a mountain community threatened by the impending risk of avalanche. So much so that even migrating geese pose a threat; one flap and the town will be snowcapped! Whilst the film itself sounds like one to watch, it was Hilson’s personal reflection that struck a chord.

So, for all you film budding film journalists out there – remember. Writing may be solitary task but sharing your work needn’t be.

 *Articles taken from the winter issue

-  Helen Jack -

How does a promising filmmaker navigate the circuit from graduation short to feature opening weekend?

Do they tune up on more shorts, take a tour of the festival circuit or try to flag down new and unusual funding and distribution avenues? Can they reconcile their creative hearts while dirtying their hands in the greasy pit-stop lanes of TV and advertising?

Three filmmakers whose 20-minute short films showcase their clear feature potential are: self-taught indie writer/director, Esther May Campbell (September), and National Film and Television School graduates, Ian Clark (Outcasts) and Michael Pearce (Madrugada). At the ICA’s Director’s Chair panel discussion these filmmakers considered the tracks and turns, shortcuts and pathways en route to their futures.

On board to steer ideas were Rebecca Mark-Lawson from Lifesize Pictures, who manages the UK Film Council’s short film programmes, and Paul Green, the Skillset Screen Academy Network Talent Scout. What exactly do they look for when deciding which new talent to turn the spotlight on? As well as agreeing that ‘story is key’ some compelling categories emerged:

Tuning in: original voice; strong emotional core – a heart; experimental – seeing the world in a different way; taking risks; engaging and moving; cinematic story-telling.

Turning off: bad acting; cinema clichés – such as ‘red dresses in the woods’ or ‘children with balloons’!

Having worked on indie film productions, music videos, TV series, and projects with other writers and directors, this trio are positive about the future. After all, even with an ever-savvy audience and increasing commercial expectations, technology is making short films cheaper to produce and diversifying distribution. Support from UK Film Council, Skillset and other organisations present at this year’s London Short Film Festival will also ensure that creative talent will be nurtured on the way to the finish line.

For more inspiration, see:

Skillset

http://www.skillset.org/film/

UK Film Council

http://www.ukfilmcouncil.org.uk/shortfilms

- Beth Keehn -

How does a promising filmmaker navigate the circuit from graduation short to feature opening weekend?

Do they tune up on more shorts, take a tour of the festival circuit or try to flag down new and unusual funding and distribution avenues? Can they reconcile their creative hearts while dirtying their hands in the greasy pit-stop lanes of TV and advertising?

Three filmmakers whose 20-minute short films showcase their clear feature potential are: self-taught indie writer/director, Esther May Campbell (September), and National Film and Television School graduates, Ian Clark (Outcasts) and Michael Pearce (Madrugada). At the ICA’s Director’s Chair panel discussion these filmmakers considered the tracks and turns, shortcuts and pathways en route to their futures.

On board to steer ideas were Rebecca Mark-Lawson from Lifesize Pictures, who manages the UK Film Council’s short film programmes, and Paul Green, the Skillset Screen Academy Network Talent Scout. What exactly do they look for when deciding which new talent to turn the spotlight on? As well as agreeing that ‘story is key’ some compelling categories emerged:

Tuning in: original voice; strong emotional core – a heart; experimental – seeing the world in a different way; taking risks; engaging and moving; cinematic story-telling.

Turning off: bad acting; cinema clichés – such as ‘red dresses in the woods’ or ‘children with balloons’!

Having worked on indie film productions, music videos, TV series, and projects with other writers and directors, this trio are positive about the future. After all, even with an ever-savvy audience and increasing commercial expectations, technology is making short films cheaper to produce and diversifying distribution. Support from UK Film Council, Skillset and other organisations present at this year’s London Short Film Festival will also ensure that creative talent will be nurtured on the way to the finish line.

For more inspiration, see:

Skillset

http://www.skillset.org/film/

UK Film Council

http://www.ukfilmcouncil.org.uk/shortfilms

How does a promising filmmaker navigate the circuit from graduation short to feature opening weekend?

Do they tune up on more shorts, take a tour of the festival circuit or try to flag down new and unusual funding and distribution avenues? Can they reconcile their creative hearts while dirtying their hands in the greasy pit-stop lanes of TV and advertising?

Three filmmakers whose 20-minute short films showcase their clear feature potential are: self-taught indie writer/director, Esther May Campbell (September), and National Film and Television School graduates, Ian Clark (Outcasts) and Michael Pearce (Madrugada). At the ICA’s Director’s Chair panel discussion these filmmakers considered the tracks and turns, shortcuts and pathways en route to their futures.

On board to steer ideas were Rebecca Mark-Lawson from Lifesize Pictures, who manages the UK Film Council’s short film programmes, and Paul Green, the Skillset Screen Academy Network Talent Scout. What exactly do they look for when deciding which new talent to turn the spotlight on? As well as agreeing that ‘story is key’ some compelling categories emerged:

Tuning in: original voice; strong emotional core – a heart; experimental – seeing the world in a different way; taking risks; engaging and moving; cinematic story-telling.

Turning off: bad acting; cinema clichés – such as ‘red dresses in the woods’ or ‘children with balloons’!

Having worked on indie film productions, music videos, TV series, and projects with other writers and directors, this trio are positive about the future. After all, even with an ever-savvy audience and increasing commercial expectations, technology is making short films cheaper to produce and diversifying distribution. Support from UK Film Council, Skillset and other organisations present at this year’s London Short Film Festival will also ensure that creative talent will be nurtured on the way to the finish line.

For more inspiration, see:

Skillset

http://www.skillset.org/film/

UK Film Council

http://www.ukfilmcouncil.org.uk/shortfilms

After a banging opening night party with Pens and Midnight Expresso, and a slice of lo-budget mayhem with our shorts programme at the ICA, we knew things were off to a good start. At the weekend we mixed things up at the Renoir, showing a selection of comedy shorts (“Funny Shit”) and the darker side of life (“Fucked Up Love”). Come Monday, it was no surprise London was ready to kick back with a cup of tea, homemade cake and some delectable films.

With the lovely ladies at Birds Eye View, LSFF hosted an afternoon of women-directed shorts followed by a Q&A with the filmmakers. We were delighted to have award-winning filmmaker Eva Weber present her beautiful film The Solitary Life of Cranes – a film that views London through the eyes of crane drivers working high above its streets. We were also proud to showcase Marinella Setti’s film Chasmogamy – a modern parable about conflict, set in the cultural melting-pot of London. And finally Susanna Wallin’s thought-provoking film Eddie Proctor contemplated the passing of time for an elderly gentleman in his nursing home.

The event was a huge success, with the bar reaching full capacity. Abound with both sexes, the audience squeezed our filmmakers for industry tips and insider stories. Undoubtedly, the films were an inspiration to all the aspiring writers, directors and producers in attendance. One thing’s for certain though – there’s a lot of female talent out there, so let’s get screening!

- Helen Jack -

 Play your Bobby bonus, but think B4 you R ABT2 ph or txt a frnd

Film fans are a very friendly bunch, but there was no phoning a friend at the 10 Rounds with De Niro special event at the Curzon on 14 January.

Six competitive but amicable teams gathered in the crowded Curzon bar for an evening of film trivia that would test even the fiercest fan. I mean, these guys know their Goddards from their Almodovars. But do they know their Beatles from their Rutles?

You see, with quizmasters Faber about to release one of the very exciting LOOPS – dedicated to serious musings on music – the teams had to test their pop quiz specialty subject of music in film. Would you have come top of the class with rounds like these?

Round 1: Bands in film: who knew Huey Lewis could act?

Round 2: Thank you for the musical: which Shakespearean hero was the subject of Mel Brooks’s spoof Funny Boy as featured in The Producers?

Round 3: Name the director: could you name the unlikely man behind Abba: the musical?

Round 4: Like Dylan in the movies: you can probably guess how Dylan features in Dennis Hopper’s Catchfire/Backtrack

Round 5: Biopsy – name that biopic: don’t get your Cait Blanchetts confused with your Heath Ledgers

Round 6: Which instrument? Yes, everyone guessed Jack Lemmon’s instrument of choice in Some Like it Hot, but who remembers what he played in Bell, Book and Candle?

Round 7: Name that theme: top marks to the girl who guessed Straight Story after only a few bars!

Round 8: It takes two, baby: did anyone actually name the two musicians featured in the cult road movieTwo Lane, Black Top?

Round 9: Bit parts: oh I think everyone in this crowd remembered Pearl Jam were aka Citizen Dick in Singles

Round 10: Good face for radio: who knew Jennifer Saunders and Charlie Chaplin could sing so well. But, after Pierce Brosnan, William Shatner was positively poetic!

Beating it out in the rounds, the team to come up trumps were The Eternal TV Optimists who took home armfuls of prizes from Faber and the Curzon. Bet they’ll be swatting it up for the next film quiz on 11 February.

Want more? See:

Faber

www.faber.co.uk

Curzon

www.curzoncinemas.com

- Beth Keehn –

Pop in for these additional screenings (2pm and 4pm) of our experimental programme as we pop some artists’ film and video back in the gallery.