Archive for the ‘sheffield’ Tag

Sheffield Doc/Fest 2017

Highlight of Doc/fest for me this year was meeting the legendary Walter Murch, sound designer and editor, who created the picture and sound editing magic of ‘Apocalypse Now’ and the Oscar-winning sound montage of ‘The Conversation’. He gave some real insights into the practice of editing, from overarching comparisons to architecture and choreography to frame-level detail in search of the perfect cut.

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The link between the ceiling fan and the chopper sounds suggested itself when shots between were removed

Another highlight was an energetic, extended conversation in the wake of ‘You Have No Idea How Much I Love You’, a documentary by Pavel Lozinski – or is it? (a documentary) On the way out of the Showroom Cinema I accosted a fellow producer and asked her whether she’d had the same reaction to the end of the film (basically a punch to the guts). We were then accosted by Amir Bar-Lev, director of the new Grateful Dead doc ‘Long Strange Trip‘ (just released on Amazon Prime) who had the same question. Between the Showroom and Exchange Square with stops along the way the three of us had our own Q&A discussing the ethics of shooting therapy sessions and how they can be shot in an ethical way which doesn’t disrupt the therapeutic benefit. I’d gone to see the film in the first place because one of the films I’m currently working on, ‘Love Lies Bleeding‘ (w/t, directed by Leslie Lee), includes scenes of this kind. Leslie and I spent the week before Doc/Fest working with the wise, seasoned expertise of the likes of Peter Symes and Jihan El-Tahri at Documentray Campus on the story structure.

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You Have No Idea How Much I Love You (Poland 2016)

More Sheffield adventures to follow soon…

 

A past Doc/fest: 2015 (rock, Kurt Cobain, etc.) ; Shorts ; Black Panthers ; Drones.

 

Three Days a Week

 

Eight Days A Week

Eight Days a Week

Day 2: Liverpool

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So I’m sitting in front of Liverpool Town Hall in the Indian summer afternoon sunshine. I’m discussing a documentary with a Scouse film-maker, the protagonist of the film and the cameraman. We’ve just arrived, the beers have just landed and out of the open balcony door of the Town Hall tumble the strains of Let It Be. Then more Beatles. Then a female singer doing covers of their songs. I couldn’t have scripted or timed it any better. My fantasy Liverpool afternoon. After the meeting I trotted down the street to the Odeon for the world premiere of the Beatles documentary, Eight Days A Week, put together by Ron Howard. The red (actually blue) carpet shenanigans were broadcast live from Leicester Square to this and other cinemas around the country and beyond, including the arrival of Paul and Ringo. Where better to watch it than in Beatlesville. The moment and song that punched out was when John composed Help. It stood out as the point when their song-writing went up a gear or three.

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Day 1: Sheffield

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Spent the day working with an indie producer in Sheffield – which was fun. After we wrapped for the afternoon, I headed into the city centre from the atmospheric, leafy burbs. In the golden early evening sunlight surveyed the city’s excellent array of street art, not least the excellent work of Rocket01.

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After a fine Mexican beano, hung out chatting in the Peace Gardens with their monumental fountain portals and all-round perfect mix of water, stone and grass. I’m usually in the city for DocFest in the summer so it was good to see it under other circumstances. It has some of the finest regeneration in the country, with a brilliant passage from the station up to the Peace Gardens. The blade sculpture bordering the station with a thin layer of water flowing over the gigantic knife-edge of shining steel. The tower of the university bearing a poem by Andrew Motion about standing looking at the tower of the university. The art deco Showroom cinema. The art deco Library and (Graves) Gallery. The wooden ribs and hothouse glass of the Winter Gardens. The Victorian Town Hall, sheltering the Peace Gardens.

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Day 2: Sheffield

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Edith Sitwell by Roger Fry

Began the day at a working breakfast with a Sheffield-based film producer who is a very nice guy. Then a quick visit to the Graves Gallery to look at the hidden treasure that is their permanent collection. Catching my eye this time: Christ Carrying the Cross attributed to Luis de Morales (late C16), a prematurely aged, weary Jesus, right beside a striking painting of a man holding a skull, a dark momento mori where the difference between the head and skull is marginal; The Hours by Burne-Jones, six ladies representing the sweep of the day, their dress ranging from dawn blue to late afternoon russet and back to night-time blue-black; a Paul Nash landscape, an Auerbach cityscape of Mornington Crescent; Sam Taylor-Wood suspended from the ceiling (flashback to young John Lennon); a portrait of Edith Sitwell and her languorous hands – one of the best galleries in the land.

Then the train to Liverpool across the Peak valleys bathed in Indian summer gold.

Day 3: Sheffield

Rain after the early hours thunder, making the work at Roco (a new creative co-operative space) all the cosier. A good creative session, inducing headache in the journey to a possible break-through, wrestling with knotty problems between cups of tea. A burst of sun as we left to mark the conclusion in grand style.

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“So we sailed on to the sun”

The Beatles – Yellow Submarine

 

 

Trains, Planes and Canes – Sheffield DocFest Day 4

Was involved in two contrasting panels on my last DocFest day. In the morning the panel I’d pitched to the festival about docs with a lighter touch. It was produced by Documentary Campus, Berlin-based partners of DocFest, the outfit behind the Leipzig documentary festival. Because it’s the birthplace of my late father I’ve a soft spot for it and have been working with them for the last few years, helping nurture emerging documentary talent. On our Seriously Funny panel was Mark Lewis, venerated creator of the landmark ‘Cane Toads: An Unnatural History’, much admired by Brett Morgen (Cobain: Montage of Heck – see Day 1 below); Rudolf Herzog, the man behind ‘Ve Have Vays of Making You Laugh’ about jokes in the Third Reich and ‘The Paedophile Next Door’ made with Steve Humphreys for Channel 4; Heydon Prowse, one of the prime-movers of ‘The Revolution Will Not Be Televised’ (Jolyon Rubinstein, his comedy partner was in the audience), whom I worked with on ‘X’, our recent election project at C4 for under 25s involving the shutting down of E4 for the day of the election (leaving just Darren on screen, the man responsible for E4’s On/Off switch).

Last but by no means least, my brother KG who fronts the short form video series I commissioned about West Coast tech and social trends and whether they will make it to Blighty – ‘Futurgasm’ (mainly to be found on All 4).

It was a fun panel, punctuated with loads of amusing clips, including dog and rat humour from Mark and hoodie humour from KG:

We chatted about the advantages of using humour in documentaries – from access to co-operation (see the police in the last clip above), from non-cynical warmth to asking the unaskable.

In the afternoon I did a session on using drones in documentaries, The Sky’s the Limit, led by Brian Woods of True Vision, in the beautiful Chapel building. I showed my Drones in Forbidden Zones project (which also lives mainly on All 4)

and, to balance out the largely techie panel such as Emma Boswell of The Helicopter Girls, took on the subject largely from an editorial point of view, focusing on how to shoot ‘native’ drone films as opposed to using this exciting new tech simply as a cheap helicopter.

Once I was done with Unmanned Aerial Vehicles I boarded a Manned Rail-bound Vehicle and headed South with pleasant memories of one of my best ever DocFests. Proud to have been on the Advisory Board of this particular one which marks the close of Heather Croll’s brilliant expansive tenure, the sure-footed interim leadership of my friend Mark Atkin, and the opening of Elizabeth McIntyre‘s regime, my former colleague from Documentary Campus. Four fine days fabulously finished.

History Boy

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I’ve been coming to DocFest (formerly the Sheffield International Documentary Festival) since the dawn of time. I’m sitting cross-legged on the hill of Howard Street, on a black marble seaty-thing, as I write this, buddha-like. The hill runs up from the station towards the city centre and is one of the best bits of urban regeneration I’ve seen in this country. Overlooking this spot is an Andrew Motion poem written on the side of a Sheffield Hallam University tower block addressing travellers arriving in the city (Andrew Motion in part inspired Simple Pleasures part 4). After my many years coming to the festival I came up with a good strategy involving this hill yesterday. Instead of relentless regular blocks of formalised meetings crowding out the day I arranged no meetings – just sat on one of these black marble blocks and waited for people I knew and wanted to see pass by me. It worked very well – I got to chat with more people and the chats were the lengths they needed to be.

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I am now on the train pulling out of Sheffield. I leave behind a very satisfying couple of days’ experience. It began as I got off the other train the other way on Sunday evening. I dumped my stuff at the hotel and went out for dinner just out of town with Colm O’Callaghan, a colleague from RTE in Dublin. We chatted about all manner of stuff, centred on Ireland and music, and most excitingly discussed the possibility of doing a collaborative historical project next year. We headed back to town to meet  at a bar the speakers in the session I was to chair the next day. We did a judicious amount of preparation (mainly a quick chat to reassure them we’d be talking about stuff they know well and don’t have to think much about and ascertaining what video material they’d brought with) then oiled the getting-to-know-you wheels with alcohol.

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The session the next morning entitled ‘Interacting with the Past’ focused on interactive and multiplatform TV in the History genre. Joe Myerscough, Producer/Director from the excellent Windfall Films, represented the superb D-Day: As It Happens project from Channel 4 in 2013. The delightful Elizabeth Klinck, a super-expert Canadian visual/archive researcher, added an interesting perspective. And my Channel 4 colleague, Online Producer Marie James, focused on The Mill, a historically accurate drama set in 1831. We managed to range across a lot of territory around what interactivity brings to History TV and from a lot of perspectives (indy producer, broadcaster, support services, commissioner), driven by questions from the audience, so it felt free-flowing, flexible and practically useful. Went down well, felt good.

Andre Singer

Andre Singer

At the other end of the day I went to see a new history documentary, Night Will Fall, directed by Andre Singer. I can’t write about it yet beyond what’s already in the public domain but suffice it to say it’s a very impactful film about the filming of the Holocaust. It will be showing on Channel 4 in January coming. One unexpected aspect of the story is that Alfred Hitchcock was involved in this filmic recording of the Holocaust by Allied troops. I chatted with Andre and his wife Lynette, who wrote the commentary for the film, on the way out. Also the producer Sally Angel, who I first met last year through an online project via my friend Steve Moore. We had a lively discussion about what age is best to first introduce young people to the imagery of the Holocaust. I believe it should be 16+. The person from the BFI thought younger was OK on the basis that kids get to see horror films (not an argument I buy – the documentary footage in Night Will Fall is another world from scripted drama).  I first crossed paths with Andre and Lynette when I was starting out on my career and they ran an outfit in Covent Garden called Cafe Productions (that name’s just come back to me after all these years). I went on a bus ride with Andre last May (2013) to Yad Vashem when he first told me about the film. It’s been nestling in the back of my mind since then.

So a day steeped in History.

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And today started out in similar vein. I went to see Brilliant Creatures: Rebels of Oz, a 2-part BBC/ABC documentary about 4 Australians who made good in London in the 60s, bringing a fresh perspective to a country only just emerging from the War. The Creatures in question are Germaine Greer, writer Clive James, art critic Robert Hughes and comedian Barry Humphreys. Jacobson considers Germaine Greer the most rebellious and radical of these. It’s a fabulous story – woven together by novelist Howard Jacobson (who himself wrote startlingly about the Holocaust in the brilliant Kalooki Nights, which sits on my Shelf of Honour).  I had a brief chat with him after, mainly congratulating him on pulling together such an illuminating story. He said he was in search of the secret to the Oz “zest for life”.

Howard Jacobson, Greg Sanderson (BBC), Germaine Greer

Howard Jacobson, Greg Sanderson (BBC), Germaine Greer

I got close to having a chat with Germaine Greer but it didn’t quite happen. I wanted to talk Frank Zappa with her as the BBC recently released a wonderful radio documentary she made about him. There was a great clip in the film of her hanging with Robert Plant and Led Zep.

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Over breakfast this morning I had a great plan-hatching session with a couple of documentary makers (one from Leipzig where my dad was born) which was also a kick.

So it’s been a couple of days with a heartbeat of History. I had to give it up as a subject in formal education after O Level (apart from a small burst of it as part of my German/Modern Languages degree) but at heart I’m still a History Boy.

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