Kate Rowles’ short film ‘My Wonderland’ (Home Video 8) received a Special Mention for the Anthony Minghella Award for Best UK Short 2011 at Glimmer: Hull International Short Film Festival. Here she talks all about her craft, importance of film festivals and the story behind how ‘My Wonderland’ came to be.

I did a BA in Theatre Studies at Lancaster University (2002-2005) and it was a very contemporary course that encouraged us to experiment with video in a performative way. I thought this was a really exciting approach to filmmaking. At the same time I also developed a love for the theatre of everyday life, and the overlap that this kind of work had with the documentary form. I love the fact that you can record people and places as they are in the present moment. I see film as a historical document and filmmaking as a way of making history, of preserving a version of our experience of life and ourselves. When I did my MA in Visual Performance at Dartington College of Arts, I started to develop The Home Video Series as a body of work that combined my interest in all of these ideas.

1. In October you visited Hull for Glimmer 2011 what did you make of the city and the festival in particular?

I loved the city and I really enjoyed the festival. Both were really friendly and down to earth, I felt extremely welcome and looked after! I was thrilled to see the Rigging exhibition in the Ferens gallery in particular, and the Straight 8 programme was fantastic. It’s so nice to attend festivals that place an emphasis on experimental work as this one seemed to do, I think it is very important to allow people to see different forms of film, and to give a public platform to this kind of work which is the non-commercial end of the film industry that keeps it fresh and new.

2. What was it that inspired your film My Wonderland?

I was very interested in the word ‘household’ and wanted to depict a strong image of this domain. I thought of it as a verb that could be a way of physically holding a house in your arms, and this was the start of the idea: a play on words. I wanted to equate it to a figurehead on a ship, a kind of guardian, but one that was alive and engaged and effective. After filming myself standing in front of the house a few times and watching the footage back, I realized it would be tricky to get the image as precise as I wanted, and knew I needed someone to literally point me in the right direction. My dad was the obvious choice, and he used to be a Joiner so his knowledge of all the different names for the different parts of the building comes across in the film which I love. Also, it is the house that he has spent his working life paying for so it felt like a special tribute to this that I was treasuring the house in this way.

3. My Wonderland was given a ‘Special Mention’ at Glimmer 2011, how did it feel to be first selected for the festival and what did the award/accolade mean for you and the film?

It meant a great deal indeed as it’s the first award the Home Video Series has ever received. My parents were extremely proud and none of us could believe it, especially as many of the other films had long lists of credits and expensive post-production, where as ours was just made by the 3 of us.

4. I have spoken about a magic moment that happens during the first minutes of the film that plays with the viewer’s sense of perspective? Was that a happy accident or did you know that was going to happen. Talk about that moment.

The whole film attempts to suspend the disbelief of the audience and to make them believe I am really a giant. I was surprised by how effective such a simple device could be, as we just filmed from below and positioned the camera at the right distance from the house. I think the zooms and the appearance of my mum who looks so small really help to make it convincing and effective. It was an experiment, and this is why it is worth experimenting, because the result might be even better than you had imagined.

5. What are you working on at present?

Another Home Video with my parents but I’m afraid I can’t reveal the idea! Let’s just say it continues the theme!

6. What benefits are there for filmmakers in submitting their work in to festivals and hopefully getting them screened?

Exposure is SO important, once you have some work that you are happy with you need to get it seen. I submit my films to so many festivals because it’s the only way I know to get it shown. The medium of film, even art film, seems to get the best exposure at film festivals because there are so many of them. If you can show in galleries that is also very important to do if you want to be known as an artist filmmaker like I do.

7. How has having your work seen at Glimmer benefited you?

Receiving a special mention was a great honour, and it is something that I can put on my website and people will take notice that will be of significant benefit to me when applying for exhibitions/screenings/funding etc. Meeting the people who run / attend the festival and are passionate about film was also very important to me because I need to feel like I am part of a community of people in this field, as it can be quite isolating otherwise.

8. Would you recommend Glimmer to other filmmakers and film fans?

Definitely. Glimmer might not be as well known as other film festivals, but that is because it supports fresh talent and experimental work rather than established names and conventional narrative film, so it is a really important festival to be part of for this reason.

The Jury said:
“An artist video, that we couldn’t help but be engaged and entertained by. The whole process of the creation of the film had a simplicity and charm to it, whilst at the same time allowing us to see the relationship within the family.”

What is a festival mentality and is it present here in Hull? (Opinion piece)

During the extended evaluation of Glimmer 2011 Hull’s 9^th International Short Film Festival, my client Espen Jensen (Acting Festival Director) of registered charity Hull Film discussed, amongst other things, the attendance figures for the event. Despite Glimmer 2011 being up on the previous years total attendance by 100%, when looked at in terms of the life of the Glimmer festival over ten years, not breaking the 1000 people mark is nothing to get excited about.

The question remained, how could Hull Film get new audiences excited about Glimmer, in a sustainable way that would result in higher audience figures. From this discussion I decided to discover what comprises the festival mentality and ask whether the city of Hull has or ever has had one.

Through the course of my research, I realised I needed to look at the wider issue of local arts engagement. I needed to widen the scope of my research to uncover different driving forces and means, that existing groups and organisations used in bringing the Arts to the city. In order to explore the ‘festival mentality’ in its broadest terms I began thinking in terms of having an ‘arts mentality’ To understand if the general public, in their modern lives found a necessity or made space for art, in whatever form, or whether we continue to preach to the converted.

Within the main body of text I have highlighted certain areas and assigned mini headings that I consider important to understanding the subject. This article should not be seen as providing definitive answers as to how to improve arts provision and visibility, more that it should be a starting point for further discussion and work.

Having a ‘festival mentality’ can mean a lot of different things to people depending on where they are situated within the Arts Sector. A community organisation may look at methods to encourage public engagement in order to fulfill funding criteria and targets set out in projection figures. Where as an Arts promotion company responsible for citywide arts development may look at ways to improve publicity and overall arts visibility. To a single consumer or patron of the arts, having a ‘festival mentality’ could simply mean whether they can get excited about a particular event and feel that they should be part of it.

The festival mentality for an arts consumer as discussed with client comprises the following components:

1. A desire to be part of a festival.

2. Enthusiasm for a number of events under one banner.

3. A willingness to take a risk on the unknown.

4. Happy to commit time and resources and block out diary on a regular basis year after year for a particular festival or event.

I began my investigation by looking at what art and cultural events were being offered and whether it was reasonable to expect the public to engage with it.

Over the years I have met many people who have said that art isn’t really for them. ‘All that arty-farty stuff, I don’t understand it and anyway isn’t it all overpriced, overblown rubbish?’

Art whatever medium is always subjective, one persons mediocrity is another’s masterpiece, so with this kind of simplistic and uncritical framework of art appreciation how can the Art sector have calculated growth based on curatorial decisions?

1. A project or event should have a general public participation level at every level regardless of assumed intellectual capacity or interest.

You may well market your idea as being high brow perhaps only appealing to certain sectors of society, but by doing so you risk reducing your potential attendance figures and therefore the success of the event. There is an argument around ‘folk art’ and ‘fine art’ currently but if it is engagement at a grassroots level you are looking for, then it may be prudent to encourage what may appear on the surface to be popularist work that may result in a hitherto wider public response than if your marketing was narrow and exclusive. That first positive engagement may well sow seeds for further exploration, by those newer audiences as to what art has to offer.

2. If you want the public to engage then you have to go where they are.

By this I refer to the idea of having public interventions rather than housing your artworks in a particular space and expecting your audiences to come to you. A recent example of a successful public intervention in the city was the Toad sculptures highlighting the Larkin 25 Anniversary events. Despite being initially seen as a waste of money and being the subject of much derision by local residents and attracting negative press, the Toads began populating public spaces. Overtime because of their visibility and citywide placing the Toads were seen and appreciated by many. They eventually became a good source of publicity for the city and were sadly missed when sold to the highest bidders at a public auction. A more permanent memorial to Hull poet Philip Larkin has now been erected inside Paragon Interchange.

3. The public are more concerned with the issue of the ‘leisure hour’ than the ‘leisure pound’

This idea suggests an important shift in the way potential audiences decide on attending an event or not. Where as before the primary concern was over whether they could afford to include arts in their budgeting, today’s worry is over whether they should give up precious time for one event over another.

The myriad ways audiences receive their leisure information, whether that is online via social media, ebrochures and electronic flyers or broadcast media, adverts on radio/television/internet or more traditional methods of hardcopy printed brochures and programs flyers or finally good old word of mouth, it is increasingly easy to obtain the information, and there is a whole lot more of it, in order to choose how to spend that ‘leisure hour’

Along with all the different information sources, there is much more choice in events with everything appearing to be catered for, from popular broad based events to specialist niche ones catering for smaller audiences. For promoters looking to maximise the effectiveness of their advertising all these points of contact would appear on the surface to be a positive development in their advertising arsenal. However it should be underlined that many of the modern methods to attract audiences are open to anybody with very basic I.T. Knowledge, so there exists something of a level playing field where the ‘players’ vie to attract the most audiences to their product. There-in lies the problem and one, which will only be overcome when the next popular evolution in marketing moves the goal, posts on again.

Of course to suggest that cost isn’t an issue in these times of austerity would be foolish indeed. Cost continues to be a major deciding factor when budgeting for non-essential items. The current financial state and the way it is being managed in terms of cuts to public services, on top of the announced reduced Arts funding across the board are factors that effect the pricing of events and whether organisations have to inflate prices to recoup some of the losses incurred through less funding. These ticket hikes can have a dramatic and noticeable effect on audience figures.

4. Identify the selection process

Experience shows that Hull folk on becoming aware of an event or festival (and this may be true of other areas too) have a particular selection process before deciding on whether they will attend or not.

Consider all the options and choices on offer. Have I already committed to a prior event at that time?

Consider the content. Is the subject matter/medium interesting or important to me?

Consider the cost. Can I justify the expense?

Consider the promotional material. Can I find something by looking inside the brochure that might be suited to me?

With established festivals, take Hamburg Film Festival for example, the German city lives and breathes film for one week. People flock to the city year on year booking out hotels staying the entire event. (These film fans get excited about going to Hamburg even before they know what the program entails)

I believe it is better to turn up and see something and say’ oh that wasn’t really for me’ rather than question it before it has actually happened. This act of prior questioning of an event feeds into the selection process outlined above. It is through our experience of what we don’t like that we discover what it is that we do like.

5. Value and support art at a grassroots level

Safe as Milk (name taken from a Captain Beefheart song) was a weird crossover arts festival that sold out before the program was ready. People got excited about having the opportunity to see so many different artists and work coming together under the one banner. The Heart Festival, that ran from 2001 to 2003, curated and showcasing the work of the 54 degrees North collective was the biggest artist run contemporary arts festival in the UK that year attracting upwards of 10,000 people.

This kind of artist-run event can do wonders for developing art visibility at a grass roots level. Developing a scene in an organic way can be a catalyst for larger events to take place in your area. From small-scale guerrilla style interventions and exhibitions much interest can be accrued. Over time if a scene is allowed to develop and strengthen and find it’s own momentum, it can then become an attractive proposition for investors. Not so they can swoop in and ruin all the different working elements and buy up the land and opening chain stores. (Many fear the likely future of the arts resurgence on and around Hull’s historic Fruitmarket will be given a timeframe of just 3 years to flourish before developers move in and create desirable marina-side properties and amenities)

But to take advantage of the work already done and the time passed in creating a viable scene, vital audience development work and a marketable product. Then take the product the brand whatever it is and create a framework or hub for all that exists already to hang on. A good example of this process in action is the development in the North of the Baltic.

Before the building of the new cultural heart beside the Tyne, there were many exhibitions, interventions and small-scale events that were allowed to flourish in the area. Every two years the Newcastle Wunderbar Festival again, artist –led, holds shows in unusual locations bringing art to the attention of the local community in inventive, innovative ways. The Vane Festival before it ran for three years and came about from a need to ‘help build a lasting infrastructure and network for the exchange of ideas and resources’ (Louise Wirz – Vane 98 essay)

It would be fair to say that The Baltic has benefited from and been made possible by, the presence of grass roots development first in the 1960s where community arts provision came through local libraries, right through the guerrilla era of artist-led group shows, and because of this prior arts provision, is now able to offer some of those same artist communities large-scale solo shows.

There are some who feel that Hull would benefit from having such an arts development vision and program. The Rank Hovis Building by the River Hull is a popular choice with local artists with its architectural form (akin to the Tate’s turbine halls) and Balticesque riverside location. As much as I would support such a venture I don’t believe a viable connective art scene can be parachuted into an area without the sustenance of the organic development process talked about earlier. I personally think the current art scene in Hull is too disparate, disillusioned (justifiably so in some cases) and uncoordinated to warrant or sustain such a project. Arts events appear to be so disconnected from Academia and with an Arts school in HSAD that has lost a lot of its ”arts school mentality’

To address this disparity amongst the artists in Hull various means have been employed. As early as 2004 at professional gatherings and forums of Arts sector organisations, such as the Community and artists network, suggestions were made and proposals put forward for various ways to create better integration and knowledge sharing in the sector. Each of these different proposals has been doomed to failure, whether through a lack of use, lack of appeal, lack of promotion or the presumption that the model was exclusive and only for those at the top of the pile.

The latest incarnation of this tool for improving artist visibility to their potential audiences and each other is called Undercurrent and is being led by artist/filmmaker Quentin Budworth. Below is a statement by Quentin about Undercurrent (link to blog post by Gareth Sleightholme)

Undercurrent is an evolving network run by artists and creatives with artists and creatives needs at its core. Our aim is to provide a platform where opportunities can be created to communicate regularly, in the real world and online, discuss and develop ideas, meet socially, share professional insights and give voice and muscle to the artists and creatives community.

Through my role as PR and Press for Glimmer 2011, and the subsequent evaluation process, and speaking with various persons from the Arts and Business community, a number of suggestions have been made of how we might move the Glimmer International Short Film Festival forward.

1. Across the board there is a need for a move away from the traditional method of screenings. Despite the obvious success of the Methodist Hall pop-up cinema for Glimmer 2011, new ways could be identified to screen films.

2. There needs to be far better integration with Universities and colleges through mandatory requirements that students from relevant courses support and attend events within the program. This would provide the foundations for future audience development work to take place.

3. Further exploration and expansion of the Glimmer concept. Work to be undertaken to identify and explore a five-year plan for the festival, in terms of festival and program development, audience development and stronger links within the business community.

4. To look at digital projection for outdoors screenings e.g. screenings on the side of buildings.

5. To make more use of emerging technologies through guerrilla film-making and instant film-making leading on from the popularity of home video and file sharing.

6. Identify different ‘gateway strands’ to open festival up to wider audiences e.g.: Manga Short Film screening.

7. Festival needs longer windows for promotional material to be visible coupled with a rethinking of distribution points to enable maximum awareness of festival from potential audiences.

8. Festival to have more local media coverage. Glimmer 2011 had one article in Hull Daily Mail and the Yorkshire Post respectively. Approaches to Look North were made but we never made it to filming despite being placed on their grid of potential stories to cover.

9. For the festival to explore the idea of tie-ins with local businesses, whether through sponsorship of the festival or loyalty/reward schemes for particular screenings within the program. To investigate the possibility of Affiliate Marketing with companies with large online traffic figures to maximise the exposure of the brand.

10. For the festival to have a central hub open and active throughout duration to act as a meeting point for festival-goers and directors to socialise and talk about film. The hub will be located centrally with other events revolving around it.

This piece of work was made possible based on research and anecdotal evidence and discussion with Espen Jensen (Hull Film) Steve Elliott (Community Arts Coordinator), Cllr. Rick Welton Hull City Council (retired) Catherine Ackroyd (Mapa partner)

Everyone who came to Glimmer 2011 will have noticed film cameras and stills equipment at many of the screenings and events. Varied and extensive documentation is crucial for events in the Art Sector, not only to justify and support future funding bids, but to provide a useful archive and provide a tool for event and brand development. Documentation is also important to the people who attend the event in order for them to have the opportunity to look back on what they have experienced and share it with others. Thus extending the life of the event generating more interest and potential future audiences. (Read more about ways to extend the life and improve Arts Sector events in future posts)

This year the film documentation team was Darren Edwards, Antony Hatfield, Guy Hanley, David Daniel with Michelle Dee and Antony Hatfield doing on-location interviews with festival-goers, directors and Espen Jensen of Hull Film during the festival.

Interview with Joonas Makkonen and Tero Saikkonen from Tornio in Finland; winners of the first ever Glimmer 2011 48 Hour Film Challenge for the excellent film short ‘Quiet You

The theme for the  48 Hour film challenge announced at the launch of Glimmer 2011 inside the Glimmer Cinema was ‘Independent‘ and the responses from participants were screened on the Saturday 8th October at 9pm at Fruit. (‘Quiet You’ stills used by permission Joonas Makkonen)

1. As you know ‘Peto’ was screened in the International Competition for Glimmer 2011 was this your first contact with Glimmer Short Film Festival?

Tero: I believe it was first time, Joonas?

Joonas: In 2010 I found out [about] your festival, I can’t remember how though. I was going to submit some films in that time, but I was late for the submission deadlines. So I decided to submit films to your festival the next year.

2. This year we tried something new and held a 48 Hour film challenge have you been involved in other similar film challenges?

Tero: For my part, yes. I’ve taken part of Finnish hour film contest for a few years. Then there has been similar contests abroad with good success.

Joonas: Yes we have been involved this kind of competitions quite a lot, actually! First time we entered a 48 hour film competition was in spring 2010, and Glimmer 2011 48 Hour Film Challenge was our fifth 48 hour film competition! And this Friday we will take part in a 72 hour film competition. I try to keep myself busy as a film maker, and so far I have succeeded to be busy : )

3. What difficulties does a filmmaker face when making a film in 48 hours?

Tero: The main thing is you have to develop about everything in just a few hours. When the competition starts, screenwriters start immediately [to] develop the story. Usually in these groups we’ve been developing it together. Everyone is throwing ideas and then the “official” writer starts developing and finishing the story. When I as a cinematographer receive the script, I start to develop visual story telling aspects of the film. I want to try something different in every project. I check the story and then try to idealize what kind of visual look would be perfect for the story. I have to develop [it] in very short amount of time and that makes these 48 hour film contests very interesting. Then with our crew we film the story, usually in 8-12 hours and then the editor starts working and I can get a little break. Then I continue working by color grading the cut of the film.

Joonas: The time limit is a great challenge, but also a good inspiration and a learning experience. When we first took part in a 48 hour film competition, we had a lot of problems; the footage was too high quality for the editing software, and we needed to learn how to handle it. We should have run some tests before the competition. We lost time for things which we just could have learned beforehand. Also it was hard to know how much time we exactly needed for filming, editing etc.

I also feel like the 48 hour projects are very different, because usually you have a lot of time to work out your screenplay. But when you need to do the writing process also inside 48 hours, it really changes the things. The story needs to be made up within few hours. I’m very proud of myself and proud of our team, because the stories so far have been quite creative but still simple enough to do within 48 hours. I feel like I can still learn some new things about film making when I need to do the whole film making process in a short time limit. You need to focus on the most important things. We have found good stories when having this 48 hour pressure on us.

4. The theme for the Glimmer 2011 48 Hour Challenge was ‘Independent’ where were you and your team when the clock started ticking? How did you come up with the ‘care in the home’ idea?

Tero: Last few projects we’ve started our projects in our unofficial headquarters, a studio/edit room in our campus area. We gather together, talk together, get our feelings what’s going on and get the good mood. Then when the clock starts ticking, we look for the challenges and then everybody starts to think various ideas. We think together about the ideas and then Director/Writer starts to develop the idea. He can tell better about the idea for the script.

Joonas: We gathered to our editing room just before the competition started, and waited for the competition rules to be announced. All of our team members couldn’t come in [at] the starting point, but they were coming for the next day’s shootings. We had made some kind of early schedule: the first night is for the story making, and the next day will be the shooting day. And the last day is for the post-production.

When we got the theme “independent”, we started to make up ideas. We finally found this idea about a bit crazy sympathetic man, who needs to yell “hiljaa mulle” (“quiet you”) when he feels in a certain way. I guess a lot of the main idea came from me, and I got some inspiration for the main character from a woman who lives near me. Earlier the woman have yelled to me “you f*cking fool” without any certain reason. And I do not know the woman at all. She just lives near to me. I felt like she must be quite a character.

I and my girlfriend have two dogs, and the dogs have been also a great inspiration for me. I know I have always those two dogs available for the film projects, so I have many times found some kind of role for them. I just hope I don’t start to repeat myself with the dogs; I hope I can always find fresh roles for the dogs! One more thing what was a big part when making up the story, was the actors we had available for the project.

5. In the film ‘Quiet You’ your main character has a special power in his voice. The film reminded me of the, horror-satire novel Lullaby by American author Chuck Palahnuik and the ‘culling song’ idea. Did you take inspiration from Lullaby?
Tero: ?

Joonas: The main actor Marko Haapaniemi have this special sound in his voice by nature, I think. I am a fan of Chuck Palahniuk though, I just loved Fight Club as a film. It is actually my favorite film. I also enjoyed Fight Club as a novel, and also his other books Survivor and Choke. Those are the books so far I have found in Finnish. I haven’t read Lullaby, I don’t know what kind of story it is. So I must say I didn’t get any inspiration from that work. Maybe it is something I would enjoy a lot!

6. What problems did you have to overcome during the 48 hours, in terms of filming schedule, editing, post production etc?

Tero: Well there wasn’t actual problems at all.

Joonas: The starting time was a small problem. The start was 11 pm in Finnish time. So we done the story and screenplay at the night, and at the morning we started to practice with the actors and film the short film.We didn’t have a lot of other problems this time. Well, we didn’t know if the music needs to be done also within 48 hours or not, but the composer Jussi Huhtala anyways done the music within 48 hours.

7. Were you pleased with the end result?
Tero: Very pleased, it won! As a cinematography side, I’m very pleased also. This time we tried to shoot very minimalistic visual style. Handheld, basically just one shot by one scene. Lots of white cold light softly from above to get a feel of what’s happening with this main character. It worked very well and I’m very happy about the result.

Joonas: Yes, absolutely! I was surprised how sort of original story we made this time. “Independent” was a hard theme, and we were thinking if our story is enough independent after all. Especially when the story was invented, I felt that there wasn’t that much anymore “independent” in the final script. But I guess we succeeded to get enough “independent” in the story.

8. Finally how does it feel to have won the first ever Glimmer 48 Hour Film Challenge?

Tero: It feel’s outstanding. Last couple competitions we’ve been resulted to a second place. Now being the first one feels great! It’s very happy to continue to do what we’re doing, because of getting great results.

Joonas: It was a great feeling to finally get the 1^st prize in a 48 hour film competition! But the great feedback from the film was also great to have!

I’m just trying to create a picture of your 48 hours spent making Quiet You. Did you get any sleep, how much coffee did you drink, and were there any funny things that happened during filming? Was it the same dog in Quiet You as in Peto? (Peto Dir. Joonas Makkonen Finland 2011) was in the official selection and screened as part of the International Competition programme at Glimmer 2011.

Tero: We’re Finnish, if we don’t drink beer we drink hell-of-a-lot coffee. At least in the projects. We don’t count it in cups, we count it in litres.

The funniest moment was when these guys tried to settle in the small closet. They were having very difficult and hurting positions. I was just continue shooting the shot and try to hold laugh inside me. I was checking how long they can be in that position so I was just shooting and shooting.

Everyone knew each other so we didn’t have to break the ice before project so we had very good mood in the whole project. So anxious to get a new project!

So much thanks to you for keeping the competition! See again next year! And greetings from Lapland!

Joonas: We have two Coton de tuléar dogs. The one in Peto was Adonis the Dog. And in Quiet You the dog was Essi, so her name was the same as her character’s name was. This was because when I was writing the script based on our ideas, I didn’t know yet if the main character needs to call her by her name, to get her in the positions we will want her to be. The both dogs have been in other short films directed by me as well.

Hey it was nice to take part in this competition, lets do it again in the next year!

Quiet You on Youtube

Dave Lee is a successful filmmaker from Hull with 20 years experience. His portfolio varies from; a series on Sky about clay- target shooting; numerous corporate projects and many other film shorts.  He was nominated for a Royal Television Society Award for ‘Here’ a Larkin25 film commission. Dave Lee’s second Larkin inspired film ‘Bridge for the Living’ recently won the Award for Best Film in the Hull Competition at Glimmer International Short Film Festival 2011. When he dropped round to the Hull Film office a few weeks after the festival (Hull’s 9^th short film festival curated by Hull Film) I began by asking him about how he began in film.

Dave Lee began his filmmaking career almost by chance. As a young man he was a musician on the gig circuit, he did artwork for his band, producing single covers, posters and more. This outlet for creative expression, led him into the making and editing of music videos. From there he began making his own short films and picking up filming/editing jobs to hone his skills.

With ‘Bridge for the Living’, Lee has collaborated once more with Award winning actor Sir. Tom Courtenay. Together they have once more, brought the celebrated Hull-poets’ words to the screen and breathed new life into one of Philip Larkin’s lesser-known poems.

When Lee was first approached to do the Larkin25 commission ‘Here’ he and the Larkin25 board sat down and thought about who would be best to voice Larkin’s words.  Tom Courtenay seemed an obvious choice, not only was he born in Hull, but having written ‘Pretending To Be Me’ a one man play based on Larkin’s letters, interviews, diaries and poetry he is clearly something of an expert.

‘Having Tom’s name on the credits.’ Lee explained, ‘Lends the project gravitas; we could have just used a voiceover artist, but it wouldn’t have had the same effect, it just wouldn’t have carried the same weight.’

With the award-winning ‘Bridge for the Living’, Lee has collaborated once more with Oscar nominated actor Sir. Tom Courtenay. Together they have once more, brought the celebrated Hull-poets’ words to the screen and breathed new life into one of Philip Larkin’s lesser-known poems.

‘Bridge for the Living’ made to commemorate the thirtieth anniversary of the opening of the Humber Bridge and was shot on a Canon digital SLR during a three-week period in April 2011. Dave approached the Humber Bridge Board a number of times to get the necessary permissions and safety clearances, and they eventually agreed. This kind of access is seldom granted, but allowed him to capture the fantastic aerial views 500 feet up from the top of the north tower.

Considering the effect of different visual tone and texture in the film was vitally important. Some of the effects used within the film deceive the viewer into thinking that it is in fact a montage of old archive footage. This was a deliberate move on Lee’s part, he was acutely aware that if the images were seen to be too glossy, the end result would look more like a tourism film and detract from the words being spoken. The poem had to remain the focus of the film. The voice-over and scenic vistas are just a vehicle to best reflect Larkin’s thoughts and ideas.

During the planning for ‘Here’ Dave looked to the text for direction. He came to the line in the third verse where Larkin writes “…the slave museum, Tattoo-shops, consulates, grim head-scarfed wives;” Then went exploring on the streets of Hull’s historic old town and discovered the Dutch Embassy down one of the staithes. The Netherlands Consulate stands at No 41 High Street and has been there for over a hundred years. ‘I like to think I was standing in the exact same spot as Larkin must have years before.’ Dave adds.

‘Here’ has been entered into other film festivals including Holmfirth and Cambridge. Dave recalls a question from one such screening where an audience member asked about the location of the film. The chap was convinced that it had been filmed near his hometown, rather than actually being filmed in Yorkshire: from the Wolds, down to the sea. By entering work into film festivals, besides it being tested out in different environments and the obvious exposure the film gets, a filmmaker is afforded a rare insight into how different audiences respond to the work.

‘The reaction is different at every screening -whether in purpose built cinemas or converted screening spaces- and it is this that spurs me on to make better films.’

‘It gave me a real buzz seeing Bridge for the Living screened inside the Glimmer Cinema on a thirty-foot screen. It was absolutely great and I hope they decide to use the space again next year.”

Bridge for the Living was screened Sunday 9^th October alongside six other films for the Hull Competition; films specifically made by Hull-based filmmakers. The programme had a rather visceral edge with zombie films and tales of abduction screened beside documentary and lighter work. Dave felt that overall the technical standard of the work on show was fantastic, and admits to being sure one of the other films, possibly one of the zombie films, would come away with the £500 prize for Best Film.

The Glimmer 2011 jury said of, ‘Bridge For the Living’

“Dave Lee has created a mesmerizing film with a timeless feel. Bridge for the Living is stunning; a wonderful use of time-lapse, fantastic camera angles and flawless editing, this work perfectly compliments the Philip Larkin poem with its beautiful cinematography, all complimented by Sir Tom Courtenay’s voice over…”

‘It’s very encouraging to see all these films being made in Hull. I think that people in Hull are always very opinionated, but we usually stop short of expressing our opinion in art. We should be making films about Hull and the people.’

Dave Lee has confirmed that a third Larkin inspired film is in the development stage. Once again Sir. Tom Courtenay will be giving voice to Larkin’s verse. The RADA actor took the call earlier this year, whilst walking along Hessle Foreshore. Stood underneath the North tower at the time of the request, how could he refuse? This time the two will explore the hugely popular and often quoted, “This Be the Verse.”

Useful sites

http://www.sabotagetimes.com/author/dave/

http://www.youtube.com/user/davelee1968

Tony Hill’s work is renowned for its sculptural quality and for his ability to present the world in unique ways. He is particularly known for constructing bespoke camera rigs in order to achieve incredible special effects, long before the use of digital editing and computer aided cinematography.From the 6^th – 9^th October the director and filmmaker Tony Hill returned to the city of Hull where he was once a lecturer, as retrospective artist for Glimmer 2011

He took over both the live art space inside the Ferens Gallery and the Red Gallery with a series of exhibitions and installations. The Cornwall based artist screened a selection of his own films including the innovative Downside Up and the stunning Laws of Nature. Added to this retrospective look at his film was a screening of Carte Blanche films that had informed or inspired him in some way.

The Red Gallery, on Osborne Street in the city centre, is playing host to, ‘The Pool’ an experimental film-based installation. The work fills the room with under water visuals, as the image of a swimmer moves freely across the walls, released from the usual confines of the screen to exist in a new space. After staring at the moving image in the darkness of the studio space the effect is quite hypnotic. The visitors to the Red Gallery stood wide-eyed, speaking in whispers bathed in blue tones, as air bubbles, erupted from the centre of the image towards them.

The inside of the Live Art Space at the Ferens is filled with mechanical contraptions from the inventors’ age. Moving the giant mechanical arm resulted in an emotional response, there’s a feeling of panic that swells up inside as the camera almost hits the ceiling, then excitement as it swings wildly through the space. The screen to the right of the arm is recording in real time, giving the viewer an alternating reality from floor level to bird’s eye view.

Seeing the exhibition of bespoke camera rigs at the Ferens before the retrospective screening, gives an insight into how Tony creates some of the dizzyfying effects. With Downside Up from 1984, a favourite amongst the other filmmakers in the audience, Tony uses the mechanical arm to give a unique perspective of the world.

To begin the camera nestles in grass, and then the angle changes as if someone peering to see over rocks in the foreground, only to dive back down again. Then another foray into the scene and another, each time the angle changes, until the scene is revealed from every point on a 180 degree curve. As the camera moves unseen through the space, a unique view is revealed; rising and setting like the sun. Over a period of time this levering in and out of space quickens, making the screen feel like it is that, which is revolving and not the camera angle.

During Laws of Nature, from 1997,Tony explores classic English landscapes with a painter’s passion; majestic blue skies over verdant green hills; farmland and forest, are all given a sensuous filmic treatment. From someplace a sonorous voice emanates, singing an ode to Mother Nature; rich and deep, leaving you breathless and transported to a magical place.

More of Tony’s magician’s mind is revealed through a remarkable visual piece ‘Point Source’ first performed in 1973 involving a small light and assorted everyday objects.  By holding the individual objects to the light, mesh-like shadows are cast on the screen behind. With a deft hand movement, the shadows grow infinitesimally large, filling the vaulted ceilings of the Glimmer Cinema. All eyes look to the heavens as the shadowy construct threatens to cocoon us all. A different object results in an effect as if traveling through a giant matrix not unlike an early sci-fi movie effect. The audience sits, as if children once more, gazing in awe at the wondrous shadow play.

After the show someone remarked,” If I’m ever lost inside a giant wire basket I might not be in such a hurry to escape.”

Is Super 8 a derelict medium? Not for foley artists Matt Wand and Ben Gwilliam it’s not. In almost darkness we sat in a very full Middleton Hall witnessing the nostalgic magic of Super 8 film spliced together on a whirring projector. (more on the subject of darkness later)Matt and Ben take turns to create sounds live, that respond to the montage of old movie clips. I Married a Foley Footstep is an audio visual live action performance piece. We the audience see the sounds created before our very eyes. In an echoing corridor a girl grinds to a halt outside a door and the foley artist makes the scene come to life running stepping turning atop a sound box. Different textures are laid down to create different footstep sounds: square batteries on tin make a high heel on cobbles; old tape reels make the crunchy sound of leaf litter in a box hedge maze. Other noises effects are added to the film by an array of guitar pedals and basic mixing desk. It’s all very low-fi. The visuals take us on an in-depth study of footstep sounds.

The mysterious man’s brogue on the carpeted floor pacing, forever pacing up and down, up and down.

The stiletto heels on polished parquet clicking and clacking across the floor.

Timing is an issue but not crucial. If their sounds exactly matched the film it would be just like creating a perfect soundtrack this is a performance and audience expectation is brought in to play. There is a tension created between them as the actions of the artist prompt questions in the mind.”Was that door knock late, did he not just make a different sound for the leaves?’ There’s humour in the work, through a series of lexical and image-based puns with words flashing up on screen Left, Right, Left, Right.

Matt and Ben are creating the various different sounds at times in a manic way, skipping from one wooden sound box to another; it is almost like a series of dance moves.  Faster and faster the sound of feet ring out, as the heroine ascends the stairs, the sound of click clacking; pristine heels echoe across the space reverberating louder and louder. Crossing grand halls, then more stairs and more footsteps, and more stairs faster and faster. Running through stone courtyards until opening a final door flying through and out to where..?

When we visit a cinema and watch a film we are sat in total darkness approximately 90% of the time. With the super 8 medium, 17 frames out of 18 are dark (correct me on this please super 8 aficionados) this sensory deprivation produces something akin to a dream state. I like this idea of physically being transported by the power of film, of something being altered in our normal brain response systems.

Hands of Hair, the work commissioned especially for Glimmer 2011 feels like a homage to all those great ape movies. The foley sounds the artists create in this work are used to create atmosphere and tension rather than to aurally mimic the images on screen. Unusual objects are used to bring the monster narrative to life including a violin bow and coins in a bowl. A fascinating series of sliding bolts, hinges, hasps become the sound of a myriad of creaking gates, heavy doors, latches and handles. There are wind up toys, electric toothbrushes, fans on flappy bits of celophane all adding to a rather dark tale of a libidonous beast man. And I loved every minute.

Look out for the interview with Matt Wand and Ben Gwilliam by Small Suitcase Productions coming soon to a screen near you.

Glimmer 2011 launched last night. We marvelled at Tony Hill’s contraptions in the live art space and delighted in pulling the lever to make the giant rig arc through the air as it swung from one side to the other.

And what about that mesmerizing installation? “The Pool’ at RED Gallery of Contemporary Art, Hull didn’t see it? Red will be open from 12-4pm on Osbourne St throughout the duration of Glimmer 2011.

Oh and how about the Glimmer Cinema with an authentic fifties retro feel. Thanks to all the people who came along and helped us to launch this year’s festival.

We had a great time last night at the launch of GLIMMER: The 9th Hull International Short Film Festival playing with Tony Hill’s camera contraptions at Ferens and witnessing the spellbinding installation at RED Gallery of Contemporary Art, Hull Today its a trip to Hull Uni and the Middleton Hall to see the Glimmer 2011 Commission I Married a Foley Footstep/ Hands of Hair. I met the artists Matt Wand and Ben Gwilliam last night come join us at 1pm today.

At 3pm we are back in the Glimmer Cinema with the first of the Tony Hill screenings Tony Hill Carte Blanche. The first of the competition screenings begins at 5pm International Comp 1 is not to be missed if the Teaser Trailer last night is anything to go by.  Then its the big one Tony Hill Retrospective at 7pm tonight! The pioneering filmmaker will be showing a selection of his inspiring films. After the retrospective screening we will hold a Q &A with Tony where you will be able to ask questions about how he creates his fabulous camera rigs and achieves such amazing cinematographic results.  And maybe learn more about his passion.

Then we welcome our friends at Fruit on Humber Street to the fray with the first of the BAFTA screenings BAFTA Live Action commences 9pm.n watch the screenings and avail yourself of the bar inside the venue. Not been to Fruit yet? Now is your chance to see this wonderful new venue that has been making big noises on the Hull Arts and Music scene of late.

That will do for the first day I think remember all screenings and events are Free!

GLIMMER 2011 Hull’s 9th International Short Film Festival   6th – 9th October

Tony Hill the retrospective artists arrived in Hull on Monday and now here we are with just 1 day to go and the phone hasn’t stopped ringing all morning.We have set-up teams in three different locations around the town painting Red, constructing rigs at Ferens Art Gallery, and transforming the Glimmer Cinema ready for the launch of Glimmer 2011 tomorrow at 5pm.

We took delivery at the Hull Film of two 16mm films from BFI for the Tony Hill Carte Blanche and a Beta-Projector.

Shiny logo t-shirts are here. Smart looking feedback forms with tear indicating systems have been designed and printed.

We are due to meet Radio Humberside’s raving reporter to do an interview inside the Glimmer Cinema in the morning.

We are knocking on the door of Look North too.

Everyone is running on adrenaline only.