A Happy Christmas, Winter Diva's and Nostalgia reign over us all, coz it's cold outside.

I have been working on a new film over the the past couple of months, a bit of fun, but it gets my editing chops back working. 'Danny Boy' consists of some old Super 8mm footage of Scotland, mixed in with some brand new stuff shot recently on my iphone and all edited to the strains of the said traditional Irish song, sung by the one and only Cher in 1969. The recording is a live one, and is accompanied with all the plush and lush of a dinner dance cabaret set.. a perfect swinging 'murder'.. of a song written in the early 20th Century

As I said the film is a little bit of fun and I think given the introduction (which is cribbed from a Ridley Scott intro to the extended edition of Gladiator), not intended to be taken that seriously....  Having said that, I don't think it is possible to make anything that is entirely 'throwaway'... so make of it what you will and above all.. enjoy.

2012, will bring a new film project, a return to painting and possibly a new blog to accompany all of this new activity. 

As the great Dave Allen used to say:

Good Night.. Drive Safe.. and if you have one, may your God go with you.

Funfairs, the Rolling Stones and the birth of Cinema

On the Video page I have added a new film - Dreamland: about the funfair that exists every year for 2 days in the middle of Oxford. It has a lot in common with 'Market' in that I wanted to film not just the public face, but also the 'behind the scenes' to bring to life the people who make the fair happen and to put on film, a world that you don't normally see, same as 'Market'.

I think it is part of the 'juice' of film-making for me, to go out and discover what is behind what you see everyday, bring it to life and set that as part of the journey of the film, as much as the finished article. The music used in the film is 2000 Light Years from Home (The Rolling Stones)

Street fairs are endlessly fascinating places, eruptions of misrule in the midst of normality, where everyone lets their hair down for a while, has fun, gets scared, excited, thrilled, eats endless quantities of bad food and lest we forget, is where the earliest moving images where displayed to an excited public.

As the home of the bizarre and the surreal, fairs where often the places people came to see the latest novelty films of boxing Kangaroo's, exotic Kings and Queens of far off lands, and the latest celebrity dancers and actresses, performing short pieces for the camera. There is a fascinating archive held at the University of Sheffield which chronicles the history of St Giles and many other Fairs: National Fairground Archive - look out for the photograph from the early years of the 20th Century - showing the entrance to the 'Acme of Living Pictures', displayed by the 'Wardoculargraph' no less.

The idea of a film as a fairground attraction has never left us. It is only a small leap from the sensation films of the Victorian Era to the present day kinetic (often 3d) thrill rides we have today, films such as Transformers, Avatar and Clash of the Titans. Speed, sensation, the rush of colour and light contained in the 'Tentpole' studio films (those films destined to act as money-making centres around which the profits of a major studio output relies - again note the fairground allusion) are just the latest offspring of those early films displayed side by side with the roundabouts and the ferris wheels which our distant ancestors strolled past in their sunday best.

Ironic that those early films sat cheek by jowl with emporia selling all kinds of popcorn and candyfloss, just as today those multi-screen venues exist to sell confectionery, with a film thrown in as a bonus.

Enjoy Dreamland.

The UK Government Film Policy Review

So the period for submissions to the government Film Policy Review (FPR - it already has its own accronym) is now closed. And the next phase in the troubled relationship between public subsidy and the commercially driven film industry begins.

Where are we right now? And what can we expect / hope for? Well more accronyms for a start.

There have been 100's of submissions from individuals and organisations claiming a stake in the new 'land grab' that has inevitably followed the cull of the UK Film Council (UKFC) and the (attempted) disbanding of the remaining Regional Screen Agencies (RSA's - those 9 public bodies charged under the UKFC to support film and digital media across the country).

As has been known for many months the British Film Institute, (BFI) is the 'Golden Child' politically annointed by a Right Wing government, tired of the continued existence of a New Labour Quango (the UKFC). The BFI will be the 'one stop shop' the all encompassing strategic and lottery distributing 'basket' for all things film, from preservation to Exhibition, from Production to Sales and Distribution. I hope the 'wicker work' is solid - and given the recent resignation of the Head of Production (Tanja Segatchian) and rumours of further discontent, you do wonder.

Well at least we know that the RSA's are now no more, their work to be taken on by a new national, er Quango, called Creative England.

Well no, actually we dont know that for certain either, since many of the RSA's incensed by the speed of the establishment of Creative England, are refusing to go quietely and are busy raging against the dying of the light, insisting that their 'brands' and their bases as regional centres and foci of regional screen activity built up over the past 8 years, should not simply be subsumed into a new body.

So. We have the BFI newly minted as the strategic force in film, looking to Whitehall around January for the direction they will be given to forge ahead, a bit like a surprised and slightly befuddled Queen Bee, irritated and wooed in equal measure by a series of suitors eager for some Honey.

Creative England (divided into Creative North, South and Midlands), Film London, the remaining Screen Agencies outside the capital, myriad trade Associations, and Training providers, are all eyeing warily the situation and each other, like nervous courtiers, newly arrived at Versailles, wondering which knife and fork to use at the new big table.

So no wonder we who work in the sector despair at the politics of it all.

What can we expect? More twists and turns before anyone will be in a position to actually DO anything to support Film in the UK.

What can we hope for? Maybe the sand pit could be raked over flat and we can all play nice. mmmm

A new (old) short film – the how, the why… and turning corners

From time to time I want to re-post here some short films from my archive and trace some thoughts about film-making and how I got here from there. First up is RM159 my tribute to the Routemaster Bus in London. I have put it into the VIDEO PAGE. Made in 2005 and filmed in the last few days of the Routemaster route number 159 in Brixton. This was a pivotal film for me to make as I had been in the doldrums for quite a time, having had a bad experience on a previous film and I had lost a lot of confidence and desire to make films. A competition came along and I responded as it was so open and I could make a film the way I wanted to make it. My friend Tom Miles composed the music, the first time we collaborated together (and we have worked together ever since), I borrowed a camera and just filmed. It was a wonderfully liberating experience, no script needed, no crew, no budget hassles, me, my brain and what was in front of the lens.

I think with this film, I turned a corner. Film-making became fun and something I was again passionate about, and more importantly I had found a way to play with the material of what was filmed, as raw material that I could do anything with – even to running sequences upside down. I think I also got to realize this was how I wanted to make films, I wasn’t a ‘Director’ with a career trajectory based on making short films, promo’s, commercials, some TV and then features. Nope, I was and am, an artist with an artistic angle on what I do, and what appeals to me is what I can achieve with what lies all around me. 

You can view the film here: Video Page

Wim Wenders, Aardvarks and Nefertiti - Berlin 1987

Serendipity is a wonderful word - in the new Pictures section of this blog are some suitably black and white photo's of Berlin taken on a chilly Autumnal trip in 1987, just before the Berlin Wall was torn down. Having just re-watched Wim Wenders fabulous film Wings of Desire they seem appropriate and they were taken the same year the film was released, which I had not realised before. The film is a wonderful love letter to Berlin and a divided Germany, and watching it again I kept thinking how much more alive and vital and relevant these kinds of arthouse films are, than virtually 90% of what is served up nowadays. And it got me thinking of Berlin.

Wandering through Berlin in 1987 was a strange experience, full of surreal encounters. I learnt the meaning of the word 'Earth Pig'' (which prompted me to try and adopt one from London Zoo.. another story).. I stood next to microphones used by Hitler (utterly chilling), I watched an American girl dance naked in a Gay Bar that was entirely covered in Astroturf, and I saw this, the most beautiful sculpture of Nefertiti.

Berlin a wonderfully serendipitous city.

MARKET - The life and Times of Bermondsey Antiques Market: DVD FOR SALE

Well finally it is here - online for people to buy - if you would like a copy of 'Market' you can by contacting me: signaturekd@virginmedia.com  - price is £11.00 including P&P.

The film is 30 minutes long and contains archive material mixed with present day footage to show the evolution of Bermondsey Antiques Market from earliest times in Islington as 'The Caledonian' in the 1930's to present day regeneration in the heart of one of the most sought after areas in London. As an historical document the film is held in the London Metropolitan Archives and the Museum of London and has been shown 5 times to great audience reaction since being completed in September 2010. I have been very pleased with the reaction, and as a proud Londoner (well of 12 years), I want to share this with as many people as possible.

So as they say in all the ad's.. hurry while stocks last (actually I have a fair few, but do hurry by all means)..

Cy Twombly and film-making

The great Cy Twombly died recently - one of the most revered and influential American abstract painters of the past 50 years. Above my computer, i have two postcards, one of the Carl Andre Bricks (Equivalent VIII) - see it here on which i have scrawled the words 'nobody knows anything'; and a Twombly painting (Ferragosto V): - see it here on which i have scrawled the phrase 'Genius comes in many forms'. I look at both artworks often and combined with my scribble, they constantly remind me that when being creative, you must follow your own nose - don't be put off by what others say and what is often derided is more often than not accepted sooner or later. 

But i just wanted to point whoever is reading this, to see Cy Twombly's work, his history, his philosophy and if you get the chance, see his work in the flesh (and they are fleshy) you can see them at Dulwich until September 2011. I first saw his work in a retrospective at the Whitechapel in 1988 and it is the ONLY time, i have been to an exhibition and been utterly utterly blown apart by the sheer energy, and passion and visceral thrill of painting. Canvas after Canvas of erudite slashs, scribbles, rubbings out, scrawled words, classical phrases, obscured symbols, captivating brushwork pulling against tottering formal scaffolding. And i know (and have many friends) who will look at this and be appalled by the sheer childishness and crudity of what he did, and many people take comfort in the argument that 'a child of six could do that...'

All i will say is go and look, and think about what you're looking at, and if nothing else, just be carried away by the sheer thrill of these paintings. No child of six can make marks like this.

and when i am editing, and thinking of my work, i think about the layers of meaning and layers of information in Twombly's work, and how these beautiful accidents of images collide and reveal each other.  you still have to connect with an audience and that usually means having some kind of narrative and character to hang onto, but i like to think you can still sneak in the odd Twombly-esque flourish occasionally. 

'Market' latest updates

'Market' latest updates

Apologies for the silences, feels like it has been a busy 6 months into 2011. Market had an incredibly successful screening in March to Stallholders and locals at Shortwave cinema We had local press down as the Stallholders gave John Sowle an antique silver salver in recognition of his and his dad Fred's loyal service to the market over 60 years - providing the distinct and unique wooden stalls and supporting the Market through thick and thin. It was a lovely event.

I have also been busy working up a festivals list for submitting the film to festivals around the country. Maybe a long-shot given the running time but worth it. hopefully positive news to follow.

... And sad to say dissapointing news regarding the potential of a screening at Tate Modern. We just could not find a way to put a programme together around the film, coupled with changes coming to the Community Film Programme, we had to abandon the idea.

Never mind it was great exploring the potential and Tate liked the film so positives did come out of this, with doors left open for the next project.... And on that cliffhanger... I'm off!

Best

Kevin

Sent from my iphone

www.signature-films.com

Art

i was visiting the Tate Watercolour show recently, and like visiting a lot of exhibitions, i realised i wasn't concentrating on what was in front of me, so much as being inspired by simply being there. and i got to thinking that it is not the content so much sometimes that inspires as just the mere fact that it exists, that we do it, we make art, images in all sorts of different media in all sorts of ways in order to tell and retell the world to each other. we may not like what artists do and question whether, they are wasting our time or their's, but.. it is out there.

And that is what is inspiring sometimes, to always to carry on, to try to add to this outpouring of what it means to look at the world, be in the world and want to comment on it and try to connect with an idea, however bizarre, childish seeming or crude or beautiful or whatever.

And by the way, of course i did look at the show and there are some fantastic images there, especially the turn of the century Raphaelites and the landscapes. There is an Edward Burra which will blow your socks off.

Best
Kevin
Sent from my iphone
www.signature-films.com

NEW SCREENING DATE - FRIDAY 11TH MARCH AT MIDDAY

Thanks to the continuing support of Rob at Shortwave Cinema, i can confirm we have the next screening date for the film which is FRIDAY 11TH MARCH at 12pm. This is the screening primarily for all the stallholders at Bermondsey Square who can make it, postponed from December because of the bad weather.

I hope as many stallholders, local people, councillors, and anyone connected with the development can make it along for what I hope will be an enjoyable lunchtime!

Had a good meeting with Tate Gallery last week, we are continuing to explore plans for a screening later in the year, dependent on a good themed programme in which the film can slot into, possibly with a Q and A / discussion panel. Will keep you updated.

and finally, sad news from the London Metropolitan Archives who have cancelled the screening slot in August due to Budget cutbacks around Film Archive work. Very short-sighted decision if you ask me, much in keeping with so much that is happening currently under this Conservative led government - never mean to get political here, but for God's sake how much of our infrastructure is going to be undermined and dissolved before we wake up and kick them out.. ?

over and out.

progress progress - archives and new screenings

Various things beginning to bear fruit i hope. I have a meeting next week with Tate Modern who liked the film, and hoping to explore further the idea of screening there; also Museum of London liked the film and i am arranging a meeting in the next couple of weeks to see how the film can be taken into the archive at the Museum. and finally London Metropolitan Archives have programmed the film for an August screening and Q and A. Fab.

Also have a new screening to promote soon at Shortwave Cinema in Bermondsey Square for the Stallholders and locals to finally view the film, very exciting to finally show it to the one group of people who figure so hugely within the story and without who etc..

so onward and upwards!!

Progress on new screenings

been a productive few weeks into the new year. London Metropolitan Archives have taken the film into their collection and it will be shown (hopefully in the summer) with a Q and A with your's truly, which is great. We are almost there with a new date for screening at the Shortwave Cinema in Bermondsey Square, and we have a meeting coming up with Tate Modern to see if we can put the film on as part of their community programme. Good to know it is still getting out there.