Viva Brighton Issue #69 November 2018



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#69. NOV 2018




Viva Magazines is based at:

Lewes House, 32 High St,

Lewes, BN7 2LX.

For all enquiries call:

01273 488882.

Every care has been taken to

ensure the accuracy of our content.

We cannot be held responsible for

any omissions, errors or alterations.

I’m always amazed that movies ever get made.

It’s such a rigmarole. First, you’ve got to write

the thing and then find the funding to make it.

There’s casting, and planning the shoot: the hair,

the makeup, the costumes and those tricky location

logistics. Then all that post-production wizardry:

the editing, the sound track, the special effects…

Every time the credits roll I feel I ought to applaud

the herculean task.

And things were even harder in the pre-digital

movie-making business, before the days of

CGI. Whilst rooting around in The Richard

Attenborough archive this month, we found a call

sheet for the funeral scene in Gandhi that called

for a crowd of more than 300,000 extras! The

mind boggles. (Although catering were required to

provide breakfast and tea for *only* 5,500.)

With all the effort involved, it would be rude

of us not to spend hours holed up in a darkened

room watching the fruits of those labours. Lucky

then that we have some of the most comfortable

cinemas around, especially if you count the

ultraluxe Depot in Lewes and the Towner’s swanky

new auditorium (both of which host Cinecity

screenings this month).

In case you haven’t guessed yet, this issue is all

about the movies. Who made them first, who

makes them now, and how, just maybe – if a certain

Hove resident spots you on a station platform –

you might end up starring in one yourself.

So, switch your phones to silent, please, sit back

and pass the popcorn.





EDITOR: Lizzie Lower

DEPUTY EDITOR: Rebecca Cunningham

SUB EDITOR: David Jarman

ART DIRECTOR: Katie Moorman


ADVERTISING: Hilary Maguire,

Sarah Jane Lewis



CONTRIBUTORS: Alex Leith, Alexandra Loske, Amy Holtz, Andy Darling, Ben Bailey,

Cammie Toloui, Charlotte Gann, Chloë King, Chris Riddell, JJ Waller, Jacqui Bealing,

Jay Collins, Joda, Joe Decie, John Helmer, John O’Donoghue, Lizzie Enfield, Mark Greco,

Martin Skelton, Michael Blencowe, Nicola Coleby, Nione Meakin and Thomas Dadswell

PUBLISHER: Becky Ramsden

Please recycle your Viva (or keep us forever).


Open for Christmas Shopping on 14 & 15 December 11.00am-3.00pm


Sam Stephenson

Glyndebourne, Lewes, East Sussex, BN8 5UU

Every purchase supports the work of Glyndebourne



Bits & bobs.

10-25. Rebecca Cunningham’s cinematic

curtain call is on the cover; we’re

on location at the Royal Pavilion, and

experimental filmmaker Jeff Keen is on

the buses. Elsewhere, JJ Waller spots

some star potential; Joe Decie shares his

showreel; we’ve cats and kites and khazis,

and much more besides.

Quentin Blake, The World of Hats, mixed media, 2018, © the artist

My Brighton.

26-27. Director and screenwriter Eva Riley

on movie-making and coming home

to Brighton.


29-35. We swap our photography feature

for film, with a root around in Lord

Attenborough’s Archive, at The Keep.




37-41. Lizzie Enfield turns Wi-Fi

detective; John Helmer takes in a movie

matinee, and Amy Holtz has a theory

about Bradley Cooper.

On this month.

43-59. It’s the 16th edition of the Cinecity

film festival from the 9th until the

25th, so expect all sorts of adventures in

world cinema and a diverse programme

of events, from ACCA to Eastbourne.

Elsewhere, Ben Bailey rounds up the

best of the Brighton gig scene; we meet

the Artistic Director of the Brighton

Early Music Festival, and there’s a

celebration of queer poet Audre Lorde

at ACCA. Plus, Will Gregory geeks out

with his Moog Ensemble at the Dome;

there’s a Numbskulls-esque anatomical

odyssey at TOM; Matthew Floyd Jones

is not quite Richard Carpenter at Komedia,

and we visit an exhibition of movie

memorabilia at Rottingdean Grange.

....7 ....



Art & design.

60-73. We get our heads around Psychorealism

at the De La Warr Pavilion; meet

illustrator Ryan Gillett ahead of the Brighton

Illustration Fair, and visit the studio of

ceramicist Yolande Beer. Plus, just some of

what’s on, art-wise, this month.

The way we work.

75-79. Adam Bronkhorst snaps some

cinema sorts.


81-85. A Saturday lunch to savour at Pascere;

beetroot bourguignon at The Better

Half; Caribbean curry at Irma’s Kitchen

in Kemp Town, and a soupçon of the city’s

food news.


Photo by Adam Bronkhorst


Photo by Adam Bronkhorst


87-95. We talk shop with the photographic

film fanatics at Zoingimage; meet a woman

who is casting actors from the street; take

a look back at the city’s first movie-making

pioneers, and meet the latest with a peek

behind the scenes at the Brighton Film

School. Plus, the filmmaker who is helping

to keep the memories of lost faces alive in

the wake of the Rwandan massacre.


97. The enigmatic otter is caught on camera

in a Sussex waterway.

Inside left.

98. From Swingtime to roundabout. The

Vogue Cinema, 1979.

....8 ....



In January 2014, when I was still editor of

this magazine, I went with art director Katie

Moorman to the University of Sussex to

kick-start a project whereby their final-year

Product Design students designed a cover

for us, with the idea that the best one would

be used to front our March edition (#14).

There were two or three that were good

enough to use. One, however, stood out:

that of Rebecca Cunningham, featuring

three iconic Brighton & Hove buildings in

subtle pastel shades of yellow and blue. It

was, she now tells us, the first time she’d

ever used Photoshop.

The name ‘Rebecca Cunningham’ should

be ringing more than a few bells. We

were so impressed with the cover, and

the way Rebecca presented it, that

we asked her if she’d like to do some

work experience with us, over the

subsequent summer. Within a very

short time she was

on the payroll,

proving herself

an all-rounder

capable of

writing great

stories, taking

fine pictures,

and helping

with the

lay-out and

production of

the pages. She

eventually rose

to Deputy Editor

of both Viva

Brighton and its




march 2O14

The Brighton Centre



sister publication, Viva Lewes.

Four-and-a-bit years, and 50 issues down

the line, Rebecca is moving on from Viva, in

order to travel round South-East Asia, “until

my money runs out”. Once we’d got over

the shock, we thought it would be a neat

idea to ask her to design this month’s cover,

following our theme of ‘film’.

“If the cinema I’m depicting looks familiar,”

she says, “it’s because it’s based on the Duke

of York’s… with a lot of artistic licence.”

There’s some continuity there: Brighton’s

oldest cinema was one of the three buildings

she included in her original cover.

The masthead – in the place of the cinema’s

name – is a Photoshopped version of a




by Olivia Waller (#52). “I’ve

realised I like covers with people

in them,” she adds.

And so this image is peopled with

a variety of characters, stylised

from photographs Rebecca has

found on the internet. The girl,

hand-in-hand with her date, is

based on her; the projectionist is

from her own photo of the Duke

of York’s 35mm projectionist,

Jimmy, who she interviewed for

Viva a while ago.

We love it, of course, and we’re

delighted to say we’ll see it again:

Rebecca has promised to take the

issue with her and send us back

a pic for our Spread the Word

section in the December issue.

Bon voyage! Alex Leith

20s-looking font she found in a photo on the internet.

“I’ve added some shine, and roughed up the edges, and

added some skew, because the picture isn’t straight on,”

she says.

The colour scheme might look familiar, too. “It’s funny,

when I think back to my favourite Viva covers, a lot

of them have had yellow (or orange) and blue as the

prominent tones,” she says. In particular, she cites the

hipster on the seafront one, by Tommy Pocket (#28),

and the characters sliding down a printing press one,





Here’s Kevin Wilsher (a very accommodating

chap from the Regency Society who helps us

select the James Gray archive images for our Inside

Left feature) taking his ‘adventure’ issue on

its own escapade. ‘I’m just catching up with Viva

while on holiday in the Canadian Rocky Mountains,’

he reports. ‘Taking a break after a hike

along the Marble Canyon in Kootenay National

Park and wondering what the next James Gray

image is going to be. While everyone back home

has been enjoying the long hot summer I’m two

thousand metres up in the mountains ‘enjoying’

about five degrees centigrade! Ho hum.’

And Pete Bemmer was inspired to take his copy

into the great blue yonder. He spent a couple

of weeks kitesurfing (and catching up on what’s

what back home) in the waters off Fuerteventura.

“The shots are taken at Flag Beach,” he

writes, “one of my all-time favourite beaches to

kitesurf, but Shoreham is definitely in my top

five…” Impressive multitasking, Pete. Consider

the gauntlet thrown. Anyone want to take us

base jumping? Keep taking us with you and keep

spreading the word. Send your photos and a few

words about your trip to


“We are overjoyed

with the design and craftsmanship...”

We care

We don’t judge

Friendly Local Solicitors, serving

Brighton since 1773

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01273 838 674

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Specialists in commercial litigation, including:

• Commercial contract • Commercial property disputes


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• Intellectual Property • Professional negligence


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Howlett Clarke

Branches in Brighton & Southwick

01273 838 674


JEFF KEEN (Routes 5, 5B & 7)

Jeff Keen’s work defied easy categorisation. He was a pioneering and

prolific experimental filmmaker, Beat poet and artist who, despite

not picking up a film camera until he was in his late 30s, made

upwards of 70 films in his career.

Born in Wiltshire in 1923, his studies at Oxford were curtailed by

his serving in the army in World War II (a formative experience that

he would later explore in his films). Demobbed, he studied commercial art in Chelsea before moving

to Brighton where he worked as a landscape gardener. In 1956 he met and married his muse, Jackie

Foulds, an art student who suggested that Brighton Art College needed a Film Society, which Jeff obligingly

founded. He produced his first 8mm movie Wail in 1959 and would make many of his films in and

around the streets of Brighton, enlisting Jackie, and other friends and family, both on and off camera.

Inspired by Surrealism and Dadaism, Jeff experimented with ‘expanded cinema’, incorporating multiple

projections, poetry and experimental sound with live performance. He contributed to the artistic ‘happenings’

that typified the period and helped to set up the London Filmmakers’ Co-operative in 1966.

Rayday Film (named after his self-published magazine, Amazing Rayday) was screened at the International

Underground Film Festival at the National Film Theatre in 1970, and his films were shown to national

and international acclaim. Prolific until the end, he also made an enormous number of drawings,

paintings, sculptures and poems. He died in Brighton in June 2012, aged 88. Lizzie Lower

Illustration by Joda (@joda_art)




Andrew Nicholls filming in the Banqueting Room, 2015



In 1948, almost 100 years after Queen Victoria

sold it to Brighton City Council, the Royal

Pavilion first appeared as the centre-piece of a

feature film. The First Gentleman was set in Regency

times and tells the story of the attempts of

George, the Prince Regent, to find a husband for

his daughter, Princess Charlotte. The burlesque

depiction of George contrasts with Charlotte as

the tragic heroine who dies in childbirth. One

scene shows crowds cheering her as she appears

at the window of the Royal Pavilion, turning to

boos as George replaces her.

One of the most dazzling films shot in the Royal

Pavilion is Vincente Minnelli’s On a Clear Day

You Can See Forever, produced in Hollywood in

1970. It starred Barbra Streisand as Daisy, with

extravagant costumes by Cecil Beaton. Working-class

Daisy Gamble lives in contemporary

New York, but, under hypnosis, she remembers

her past life in Regency England as aristocratic

Melinda Wells. The Royal Pavilion is the setting

for a dream-like banquet attended by exquisitely

dressed Regency fops and beauties, with Melinda

in a crystal and silver décolletage. Against the

shimmering settings of the Banqueting Room,

the Music Room and the Saloon, Melinda

seduces Robert Tentrees, and the Royal Pavilion

is transformed into a place of seduction and

eroticism. The Brighton Herald (11 April 1969)

reported that ‘Barbra Streisand swept out of Brighton

yesterday and most of her 240,000 dollar

entourage went with her. After eight days and

that amount of money, Paramount had filmed

just 10-15 minutes of screen time of their lavish

musical… The rest of the film will be completed

in Hollywood.’

The Music Room is used in a very different way

in Richard Attenborough’s Oh! What a Lovely




Andrew Nicholls filming in the Banqueting Room, 2015

War (1969), as part of the film’s kaleidoscopic sketches

narrating the history of the First World War. The Royal

Pavilion’s exotic interiors also appear in Richard III

(1995), starring Ian McKellen and Annette Bening, with

the Banqueting Room as the King’s private dining room

and the Music Room transformed into his bedroom. In

Neil Jordan’s The End of the Affair (1999), Ralph Fiennes

and Julianne Moore attend a concert in a much more

sombre Music Room, reflecting the film’s melancholy

atmosphere. More recently, The Current War (2017) sees

Benedict Cumberbatch as the energy mogul Thomas

Edison striding through the Royal Pavilion.

The exterior of the palace appears in Rita Coolidge’s

opening theme ‘All Time High’ in Octopussy (1983), when

the singer is briefly shown against a soft-focus, palatial

Indian setting, recognisable as the Royal Pavilion. Its

Chinoiserie interiors have equally had an enduring

appeal for artists; in 2007 Fiona Tan made A Lapse of

Memory, in which an old man wanders the interiors

of the Royal Pavilion in a dream-like world exploring

eastern and western heritage. And, in the summer

of 2015, a group of Australian artists filmed ethereal

scenes inside the palace (pictured) and dramatic footage,

complete with a stallion, in the Royal Pavilion Gardens.

With its exotic backdrops and sumptuous

interiors, the Royal Pavilion holds

an enduring fascination for filmmakers.

Nicola Coleby, Partnerships & Development

Manager, The Royal Pavilion & Museums

Video still by Andrew Nicholls, acted by Luca Gatti, 2015





Dine in the heart of a Sussex Vineyard from a

menu of seasonal, modern British cuisine









Tasting Room, Rathfinny Wine Estate, Alfriston, Sussex, BN26 5TU

01323 870 022





'Fantastic place, full of beautiful magazines. I just love this shop.’

the world of great indie mags is here in Brighton.

22 Trafalgar Street






The Royal Standard at

59 Queens Road was

recorded as early as 1859,

but its showy façade – it’s

worth taking a good look

at the building from over

the road – dates to the

turn of the last century,

probably 1899, when it was

taken over by a William

Frederick Baker. It gets a

mention in Pevsner’s Architectural

Guide, which praises

the ‘relief decoration to its

shaped gable’. Note the

little cupola on the roof.

It was subsequently run by a

succession of landlords; it’s

a fair bet that the one who

got the least trouble from

his customers was Tommy Farr, who took over

in 1956. Tommy, nicknamed ‘The Tonypandy

Terror’ was the British & Empire heavyweight

boxing champion, who in 1936 took World

Champion Joe Louis the full fifteen rounds.

I imagine Mr Farr ran quite a tight ship, which

can’t be said for the two landlords in charge in

June 2016. The place had become well known as

a hotspot for football-related violence, and when

it was raided by the police that month the pair

were found to be selling illegal smuggled liquor.

The pub was closed down, and only kept its

licence on the condition that the landlords were

banned from running the premises.

It’s since had a complete makeover, and a

change of name. It’s now called ‘Idle Hands’,

and, between the two terracotta hands that

stick out of the doorframe

greeting those who walk

in, you can read ‘…Are

the Devil’s Playthings’.

It’s an independent joint,

which has been running

for four months; walk in

and you’ll soon forget

you’re amid the gritty

bustle of Queens Road.

They’ve given it an early

20th-century look, with

wooden floors, claw-footed

tables, and black-andwhite

photos on the wall,

subtly defaced – Chapman

Bros-style – with pen

marks. There’s the skull of

an ibex wearing a jaunty

cycling cap, and a stuffed

crow above the bar. The menus are carefully

stacked in an elegant 30s sideboard.

On the window is written ‘craft beers, fine wines

and artisan spirits’: it’s clearly now a place which

takes its alcohol very seriously. There’s a menu

board for beer, with prices, strength, and the

slogan ‘we accept cash, cards or blood sacrifices’.

I choose a Redchurch Brick Lane Lager (4.6%,

£4.50) which goes down pretty well: in a more

adventurous frame of mind I would have tried

the whisky-aged cider (6.9%, £5). I’ll get that

next time, to wash down one of their interesting-sounding

‘Cub Burgers’, perhaps the ‘Wolf’

(4oz patty with Swiss cheese, avocado salsa,

lettuce, criolla onions, crispy pork belly and

pineapple salsa, at £9.50).

Alex Leith

Painting by Jay Collins


Photo by Ben Bentley


What do you do at Into Film? We support

a network of 9,000 extra-curricular film clubs

across the UK. We train teachers in how to use

film in the classroom, to teach about film as well

as through film. We provide teaching resources

for use in clubs, in the classroom and beyond, to

help teachers get the most out of each screening,

giving them preparatory work to actively engage

the children in the film and follow-up work for

afterwards. Then there’s a whole industry-access

arm to what we do, which is about training

young reporters and encouraging young people

to consider film as a career.

Which age groups do you work with? The

whole lot: 5s to 19s. That’s predominantly children

in education (including home education).

What do they gain from it? If we’re talking

about trips to the cinema, the real benefits of

coming out of school to learn about film are that

it opens their eyes to new cultures and ideas and

stories. We introduce some young people for the

first ever time to their local cinema, and to films

they might not normally choose to see. And then

within the classroom, there are a whole range of

benefits: we tie in with the curriculum in each of

the nations around the UK and find direct links

to each subject area.

How do you choose which films to show? We

have a team who pick from the best of the output

and select films that speak directly to teachers,

tying in with what they’re teaching throughout

the year, or with calendar events, like Anti-Bullying

Week or Black History Month. We try

to create a bit of a journey that the teacher can

lead the children on – maybe they’ll watch a big

mainstream animation, and then move on to

some classical or stop-motion, and even some

Japanese anime – taking them from something

they’re familiar with onto some more challenging


What’s on during the Into Film Festival?

Across the UK, we’re holding 2,500 free screening

events, divided into several topical strands.

The Year of the Woman is a particularly strong

strand this year. We’re working with F-Rated

to show films that are directed and written by

women, starring women, like The Breadwinner,

which is a beautiful animation – if you haven’t

seen it, it’s definitely one I would recommend.

There will also be workshops and discussions: in

Brighton we’re running a film stunt workshop

at Fabrica, where the students will get to learn

a fight scene. The events are all designed for

teachers or educators to bring groups of students

along to – all they need to do is go to the website

( and find out what events

are happening near them. They can filter by age

group, sensory impairment – we have access for

the visually and hearing impaired – and there are

autism-friendly screenings as well.

As told to Rebecca Cunningham by Sam Wilson

Into Film Festival, 7th – 23rd November





Extrovert Chair-Scratcher Seeks Conversation Partner

Name: Tigger.

Age: 11.

Occupation: Windowsill Bird Traffic Controller.

Me: My mother was a farm mouser but I grew up in the

great indoors. I’m super chatty and will discuss any topic

at length, even when by myself. They say I carry a few extra pounds, but I say this makes me extra cuddly.

Occasionally mistaken for Ed Sheeran.

Interests: Early morning callisthenics, indoor climbing, chairleg-whittling, ginger beer, watching from the

window for your return home and searching your shopping bags for treats. Bird watching.

Seeking: Generous human with a penchant for leaving the fridge door open and who is willing to share

their pillow. Must have an abundance of chairs for sculptural endeavours and sleep surfaces.

Dislikes: Jokes about my famous name-sake in Winnie the Pooh, house-proud fusspots, restrictive diets, ginger-based

discrimination, lad culture, being man-handled (or woman-handled) and generally being rubbed

up the wrong way. Words and picture by Cammie Toloui,, Instagram: @cammie669

Find Tigger and friends at Raystede Centre for Animal Welfare.

E S T A B L I S H E D 1 9 3 8

Celebrating 80 years of trading

01273 474150 |



129 Western Rd


(01273) 329406



327 Euston Rd


(020) 73872189

Chocolate Workshops, Kids Parties

Chocolate Art Adventures.

Creators of the ‘Cumberbunnies’ as seen on ‘The Ellen Show’!

402b Brighton Road, Shoreham by Sea, West Sussex.

Email: 01273 809689




“The low winter sunlight throws up a cinematic feel to the city’s streets,”

says JJ Waller. “There are certain magical corners where, for short moments,

the lighting looks straight out of a Hollywood feature. And, Brighton being

Brighton, it doesn’t take long for the star to walk into shot.”





Can a magazine shop review

a book? Is that allowed?

Should magazine shops even

stock books? Do we want

Waterstones to start carrying

independent magazines? No,

we don’t. It’s a small audience

we reach at the best of times.

It would probably kill us.

So, why do we stock books,

then? Here’s the rule. Unless

it’s December when we stock

a few as gifts, all of our books

are connected in some way to our magazines.

That’s the rule.

Little White Lies is a film magazine. Opinionated

but with a great classificatory system including

‘does this film match your hopes and expectations?’

I love the reviews of films we all expect to

be turkeys that turn out to be way better.

We’re eagerly awaiting the arrival of the next

issue, but what we do have in the shop – and

have had to keep re-stocking all year – are copies

of the Little White Lies Guide to Making Your Own

Movie in 39 Steps. We’ve sold

lots of them. With that title,

the book doesn’t need much

explaining but here’s the gist

of it from the introduction:

‘What you use to shoot your

film isn’t important. What you

choose to shoot, and how you

choose to shoot it, is.’ The

book is stuffed with the key 39

lessons that are going to help

you do that better.

What’s cool, though, is that

there is even more. Dotted throughout the

book are lists of films to watch and learn from.

The last 20 pages provide you with a budgeting

guide, a layout for a shooting schedule, an

equipment checklist and, as we keep on saying,

much, much more.

One small book with lists of films to watch, great

advice on how to make your own movie and

checklists to keep you on track. That’s a pretty

good deal for close to the cost of just one cinema

seat. Martin Skelton, Magazine Brighton


Really? It seems a little beneath Banksy to deface a picture of

the Smurfs’ nemesis, Gargamel. And if he had been here, this

bathroom stall would be worth a bomb. But you’d better

beware the toilet roll dispenser just in case. Your fingers

might be in for a shredding.

But where is it?

Last month’s answer: Marwood Bar & Coffeehouse




Photo by Adam Bronkhorst,




MYbrighton: Eva Riley

Director and screen writer

Are you local? I’m originally from

Edinburgh, but I’ve been living in Kemp

Town since 2012. My boyfriend moved

here to do a PhD at the University of

Sussex. I think I’d only been to Brighton

for half a day before that and I hadn’t seen

my flat when we moved in, but I’ve loved it

since we got here. I studied at the National

Film and Television School in London

and would come home to Brighton at the

weekend. Since I graduated I’ve been living

here full time.

Is Brighton a good place to be a

filmmaker? I spend most of my time

writing and I find it’s a peaceful place to

work. There isn’t tons of directing work to

be had, but I’ve just shot my first feature

film here. The main locations were in

Woodingdean and Portslade. I love the

different areas in and around Brighton, but

I also chose to shoot it here so that I could

sleep in my own bed. The film is called

Perfect Ten, and it’s about a teenage gymnast

who has lost her confidence. When we were

looking for actors, we met a lot of young

people in gymnastics clubs and youth clubs

in the city and around the south east. We

found one of the lead actors in the crowd

at a boxing match in Hastings. I’m very

passionate about casting people who haven’t

been to drama school; there is so much

talent out there. Lots of the young people I

got to know were extras in the film. It was

nice to involve local people.

Are you always walking around Brighton

scouting for locations? Not so much for

locations but definitely for ideas. I used

to work in a café in town, and there were

always interesting people coming in and

passing by. I would sit in the window seat,

people watching.

What do you like most about living in

Brighton? These past few weeks I’ve been

editing my film in London, and I love the

feeling of coming home on the train. It’s

fresh and airy. I’m very much at home here,

and I can cycle everywhere. I’m not that

much of a party girl. For eating out, I like

Planet India and Terre à Terre, and the

Hand in Hand is my favourite pub.

What do you like least about the city?

That there are so many homeless people; I

feel so bad for them. It’s a place where you

can see the disparity between rich and poor.

It’s a great place to be if you have money,

but it’s not so nice for everyone. And train

fares to London drive me insane.

Where would you live if you didn’t live

here? I’d like to live in Glasgow. I love

Scotland. I like the culture, the people and

the politics. Glasgow is quite a happening

place with lots of art and culture and a good

film industry. Things like Netflix, Amazon

and the renewed interest in TV are putting

money back into the industry. It feels like

not a terrible time to be making a living as

a filmmaker.

Interview by Lizzie Lower


What will you discover?

Masters and PhD Open Evening

Wednesday 21 November 2018 – 5pm to 7pm

University of Sussex campus

Discuss courses. Meet staff. Speak to students

Postgraduate study at Sussex could improve your career prospects,

deepen your understanding of a subject or enable you to discover

new areas of study.

With generous scholarships, Government Masters Loans and PhD

Loans, postgraduate study could be more affordable than you think.




The Richard Attenborough Papers

Lights, camera, archive

The papers tell the story of

Lord Attenborough’s life and

work. There are examples of his

early work, and items relating

to him and Sheila Sim, who he

met at RADA and who went on

to become his wife. Others refer

to films he made in the 40s, 50s,

and 60s, and to Brighton Rock,

and then it becomes apparent,

from the 60s onwards, he was

thinking about making Gandhi.

Of course, it turned out to be an

eight Oscar-winning film, but

his involvement started early.

There are letters relating to

the lack of financing, and to people who didn’t

want to do it.

His papers contain information about

everything that was needed to make a film

in the pre-digital age. There are call sheets

detailing who’s coming on to set at what time

and what everyone is going to need; notes about

casting; letters to the producers; letters back

and forth to the cast, and annotated scripts. It’s

probably the last big, pre-digital collection that

we will receive.

The call sheets are really interesting. There is

one that is a Guinness World Record holder for

the number of extras; 300,000 for Gandhi. The

call sheet lists ‘breakfast for 5,500’! It’s never

been beaten, and it won’t be now, because of

CGI. These were supreme undertakings and are

documented almost day by day. It’s fascinating.

He kept everything about his work, his

personal and business life and his philanthropy,

so you can really get a sense of him as a person.

His correspondence is extensive. There are

letters from everyday people, from actors

wanting to work with him,

Prime Ministers and Princess

Diana. He had a huge reach

and, from what I’ve gleaned, was

universally liked. When he was

casting Chaplin, he wanted to

use a child actor who was also

appearing in a Stanley Kubrick

film. There are letters between

him and Kubrick about whether

they could both use this boy.

They are ever so civil, ever so

polite. These two prominent

movie pioneers just having a

civilised chat. He seemed to

speak to everyone like that, from

the production runners to the script editors.

The archive now belongs to the University

of Sussex. It arrived here in 2015. Lord

Attenborough was at one time the chancellor

of the University, and his son, Michael, who

attended Sussex, asked if the archive could

come here. It took two archivists and an intern

working full-time for 18 months to catalogue the

collection. There are 700 boxes translating to

around 8,000 catalogue entries. Anyone can access

the catalogue online, and the archive is available

for people to come and see at The Keep.

It’s a starry collection. At the University of

Sussex, we are famous for the Mass Observation

Archive, containing the stories of everyday

people, which are just as valid, but, when you’re

looking through the Attenborough material,

there are 1980s pictures of Michael Keaton and

Tom Cruise, letters from Clint Eastwood and a

signed photo from Picasso. Just as a fan, those

things make it fun. As told to Lizzie Lower by

Karen Watson, Special Collections Archivist at the

University of Sussex

From the collection of Lord & Lady Attenborough. Accepted in lieu by HM Government in 2018 and allocated to the University of Sussex




From the collection of Lord & Lady Attenborough. Accepted in lieu by HM Government in 2018 and allocated to the University of Sussex

Actor ‘mock ups’ for casting the role of Gandhi, featuring Ben Kingsley. Photographs and acetate




From the collection of Lord & Lady Attenborough. Accepted in lieu by HM Government in 2018 and allocated to the University of Sussex

Actor ‘mock ups’ for casting the role of Gandhi, featuring Ben Kingsley. Photographs and acetate




From the collection of Lord & Lady Attenborough. Accepted in lieu by HM Government in 2018 and allocated to the University of Sussex

Call sheet no 55. Call sheet for filming Ganhi’s funeral procession, 31st January 1981




From the collection of Lord & Lady Attenborough. Accepted in lieu by HM Government in 2018 and allocated to the University of Sussex

Call sheet no 55. Call sheet for filming Ganhi’s funeral procession, 31st January 1981



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Lizzie Enfield

Notes from North Village

Illustration by Joda (@joda_art)

“Goodbye Chloe Banks,” I say, as I leave the café,

doing something I have always wanted to do but

never before had the nerve.

She looks over her shoulder, a little mystified, and

her expression says ‘do I know you?’

She doesn’t but I know her name from her Wi-Fi


It always makes me feel a little Sherlock

the way they come up: Ian0345’s phone,

Rachel1992’s phone – or often more playful

variations: chattycassie’s phone, shazzathedazzler,

jackthehack etc.

You can learn a lot about people just by sitting

near them in cafés and on trains and on this

occasion I learn that the young woman sitting

opposite me, busily checking her Instagram

feed, is none other than Chloe Banks (not her

real name).

For years I have given nothing away in return,

retaining an air of mystery by being the person

whose Nokia brick phone barely allows internet


I’ve had my reasons: being a luddite, being rooted

in the past, not liking change, not liking change

for the sake of it, liking the fact the battery on

the brick lasted about two weeks, liking the fact

that the only contact people can make when I am

out is by text or phone (and that’s enough), not

wanting to become the sort of person who sits in

a café checking their Instagram feed or posting

every moment of their life.

But there’s been pressure from lots of different

directions: my phone provider, family, friends,

publisher, and agent…

I think it was my publisher’s assistant who

laughed so much when I produced said Nokia

that I started to think about it. And a lot of press

trips this year where I began to realise it would

make sense when travelling hand luggage only,

not to be carrying a laptop, camera, phone, iPod

and kindle but just one phone that could do

everything and fit in my pocket.

So, I made the leap, bought an old iPhone off

eBay, took it away on a trip somewhere, had to

admit I found it quite useful having all those

functions in my pocket but switched the sim back

to my trusted brick on my return.

Then the next trip came around and I switched

the sim a few days before leaving and left it in

a few days after my return. One thing led to

another and now I appear to be a fully-fledged

card-carrying member of the iPhone community

– albeit one who is still a bit slow to get to grips

with it.

“Why does my phone come up as your iPod?” I

ask my son, as I plug it into my computer.

“You just need to rename it,” he replies.

That’s easy for him to say. I enlist his help.

He sorts it.

My phone no longer claims to be son’s iPod; it is

clearly labeled “Old Woman!”

Now, whenever I am on a train or in a café,

everyone will know….


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John Helmer


Illustration by Chris Riddell

“Oh no.”

In the foyer of the Duke of York’s cinema,

pensioners queue to take advantage of their

midweek free coffee offer. It’s our wedding

anniversary, and Kate and I have decided to

celebrate with a good lunch followed by an

afternoon at the pictures; skipping pudding in

favour of the excellent ice cream they serve. But

now this grizzled horde of antediluvian cineastes

is clogging up the refreshments area. And the film

is about to start.

“Don’t worry, I’ll get the ice cream and see you in

there,” I volunteer selflessly.

Kate smiles and disappears through the door into

the already darkened auditorium.

Having purchased our tubs of dairy deliciousness,

I belatedly realise that I don’t know whether

Kate is upstairs or down. I plump for the balcony,

figuring that if she’s not there, I will have a good

vantage point from which to spot her down below.

Luckily there is almost nobody in the balcony

(perhaps the pensioners don’t like the stairs), so

I get a good front row seat. I place the two ice

cream tubs on the balcony rail in front of me and

start scanning heads.

The smell that rises in the popcorn-scented dark

triggers early memories of when my mother

would send my little brother and I with a few

coins to the local Mascot in Southend. Sitting in

the front stalls, we would eat ice cream from tubs

just like these, skimming their cardboard lids at

the rats who liked to run back and forth along the

back wall below the screen. Oh, the memories.

Before I really know what I’m doing I have taken

the lid off my tub and started eating the ice cream.

Double chocolate. Gorgeous.

Meanwhile, I am doing a very poor job of locating

my wife. Though her beauty shines out in any

crowd I always feel, from the back, her look is, to

be honest, not all that distinctive.

Distracted by the big faces on screen, another

memory comes to me – of the time when I

found myself, for a time, on the other side of the

camera. Turning up for a shoot one morning

with a whacking great cold sore, I appealed to the

makeup lady, who seemed to be able to perform

all sorts of miracles, for help.

“No problem,” she said, diving for her box of

tricks. Perhaps I expected some extra-heavy

panstick to be produced – instead of which she

surfaced with a pair of tweezers in one hand and a

bottle of surgical spirit in the other.

“This is going to hurt,” she said.

“Where have you been?” whispers Kate when I

finally slip into the seat beside her.

“Looking for you.”

“Where’s my ice cream?”

“It was melting,” I say, “so I had to eat it.”

“You ate both of them, mine and yours?”

“It seemed the only sensible course of action.”

She sighs heavily. “Happy Anniversary.”


cards and gifts

3 4 b o n d s t b r i g h t o n b n 1 1 r d

0 1 2 7 3 7 2 2 4 3 7



Amy Holtz

The truth is, I’m a Minnesotan

It’s a rainy Saturday night and

we’re trying to agree on a

movie to rent, which usually

takes as long as the movie itself.

“I bring forward Pitch Perfect 3.

And you’ve chosen... Solo.” My

partner nods as I sigh. You may

sense where this is going.

“What’s yours about?” He

sounds diplomatic, but it’s

delivered on sardonic wings.

“Well, I’d imagine you got the

gist from the first and second iterations of the

franchise – which, YES – don’t shake your head

at me – you’ve seen,” I say, my voice rising to a

soprano squawk. “Besides, you fancy the redheaded

one.” A blank look, another swig of beer.

I sigh again. “How about we watch both trailers

and take a vote?”

The Pitch Perfect 3 trailer is a delightful

confection and I’m singing along, really selling

it, but I can tell from his face that he isn’t having

it. “What’s wrong with you – don’t you like

American college girls singing? They’re doing

Freedom! ’90!”

“And now,” he says, cutting off the final fireworkpunctuated

notes, “Let’s watch the Solo trailer.”

His fingers can’t hit the ‘back’ button fast

enough. “This one has Khaleesi in it.”

“Oh God.” There’s no hope now. I sit crossarmed

as the room fills with pew-pews and

ker-burrrrrrrrrghs. A minute later and when

I’m getting another beer, he accidently selects

‘purchase’ I can’t even be bothered to protest.

Because I actually do want to watch Solo too.

But what tends to happen when he picks out

the movie is that they turn out to be complete

rubbish. It’s like a curse.

“Remember when you made me watch Silver

Linings Playbook?” I say.

“I liked Silver Linings Playbook.

Besides you love that Dylan

song in the middle.”

“The one where Dylan and

Johnny Cash howl over each

other like sexually frustrated

rhinos? That’s the only good


“Hey,” I say, excitedly, “do you

want to hear my film theory

about Bradley Cooper’s face?”

His face says no, but I know

he’s secretly very thrilled by my film theories, so

I lay it out over that bit of Star Wars where it’s

just writing on the screen and therefore not that


“So, if Bradley Cooper’s face is really shiny and

his hair is clean, the movie is a frat-boy fistbump

of a turd. BUT, if both are dirty, the movie is 50

gazillion times better. That’s why Silver Linings

Playbook is so meh. But Guardians of the Galaxy –

that was good.”

“He’s a raccoon in Guardians.”

“Yup, very hairy. You can’t see his face.”

“Ok, what about The Hangover?”

“Ah, I’m glad you asked. That film only gets

marginally better when Bradley gets messed up.

And punched.”

“That one where he takes the pill and gets really

smart was terrible.”

“Precisely; he’s super shiny in that.”

“But he was good in A Star is Born.”

“Yes, exactly – see? Because he looks and sounds

like Jeff Bridges. And his hair is super greasy.”

“Personally, I think it’s a half-baked theory.” His

eyes are now permanently glued to the screen.

“Hey look, it’s Chewie!”

“Now if Bradley Cooper were Chewie?” I

summarise, “that’d make this movie really









Piano Concerto No.3


Symphony No.7

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Ticket Office

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9.11 | The Old Market, Brighton

Gruff Rhys

11.11 | Rialto, Brighton


15.11 | Green Door Store, Brighton


19.11 | Green Door Store, Brighton

Mr. Ben

& The Bens

22.11| Green Door Store, Brighton

The Lucid


Discounted parking

at NCP Church Street

just £6 between 1-6pm


27.11 | Ropetackle, Shoreham


29.11 | St George’s Church, Brighton*

Ride (unplugged)

:::::: 2019 ::::::

22.1 | The Greys, Brighton

Daniel Knox

31.1 | St. George’s Church, Brighton


6.2 | Green Door Store, Brighton

Micah P.


7.2 | St George’s Church, Brighton

The Residents

22.3 | St Luke’s Church



Tickets for shows are available from your local record shop, or the venue where possible.

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Hofesh Shechter Company


Tue 6 Nov

The Will Gregory

Moog Ensemble

Wed 7 Nov

The British Paraorchestra

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Sat 17 Nov

Black History Month

Family Day

Sat 24 Nov

Now booking for Christmas

Pirates of the Carabina


Sat 15 - Sun 23 Dec

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HOME © Idil Sukan



Ben Bailey rounds up the local music scene


Thu 1, Brunswick, 8pm, £8/6

Another double headline show

from a pair of musicians who

shared the same stage almost

exactly a year ago. Sam Walker

is something of a one-man

band whose talents on guitar, keys and percussion

give his solo sets more grooves and a wider set of

sounds than you’d expect from a singer-songwriter.

He used to release music as The Muel and also

played drums for Shona Foster (pictured). We’ve

not seen much of Shona in quite a while, but it

seems she’s back with a bunch of new songs and

a different band in tow. Having released a couple

of classy ballads back in 2011, she shouldn’t have

a problem recapturing audiences with her pensive

and pristine vocals.


Sat 10, Quadrant, 1pm, £5

Brighton promoters Fresh Lenins put a crazy

amount of effort into their shows, ensuring they all

feel like unique one-off events. Whether the duo

behind the gigs are actually hardline leftists remains

to be seen, but they sure like balloon animals. This

all-dayer features a mix of weird rock, art punk and

uncategorisable guitar noise. Ham Legion make

mischievous and inventive math-rock, while headliners

Dog of Man’s accordion-driven acid punk

entices you to dance while aiming to wrongfoot you

at every turn. Frank & Beans are a Brighton-based

Northern Irish ‘anti-punk’ duo; Light Brigade claim

to be inspired by Clint Eastwood and Hermann

Hesse; and four-piece Paramnesiac say of themselves:

“If this band were a Disney princess it would

be a DeviantArt depiction of Jafar in a catsuit.”

Photo by Steve Gullick


Thu 8, Green Door Store, 9pm, £11

Fresh from their annual Halloween

shindig in Hackney, The

Wytches are back in town for

another tongue-in-cheek horror

show at the Green Door Store.

Originally scheduled for June, this gig sees the

garage/grunge band making a rare local appearance

to help launch a new live music club night

called Crest of Death (original tickets still valid).

The line-up also includes DJ sets from Laura

Mary Carter of Blood Red Shoes and Rhys Webb

of The Horrors. Do you spot a theme developing

here? We’re also promised horror movie projections

– just in case you’ve not had enough Halloween

by then. At least the wigs and spooky tat in the

corner shop will be nice and cheap.

Steve Gullick


Thu 22, Brighton Dome, 7pm, £30.50

Levellers were huge in the 90s,

a fact eclipsed by a backlash

that probably owed more to the

lifestyle politics of the day than

the music. In any case, they never went away. This

year the band marked their 30th anniversary with

a new album called We The Collective, for which the

folk-rockers dropped the rock and focussed on the

folk. The result was a largely acoustic and semiorchestral

collection of old songs, re-recorded with

extra strings provided by musicians from Brighton’s

Mountain Firework Company and Moulettes. The

calmer arrangements don’t mean Levellers have

mellowed over time – the two new songs on the

record are politically charged tunes about the plight

of refugees and the travesty of undercover policing.




(REGGAE 1971)














01273 678 822

University of Sussex, Gardner Centre Road, Brighton BN1 9RA




Blue Live

Jarman in Brighton

Derek Jarman, outside The Duke of Yorks in 1988, photo by Barry Pollard

Avant-garde filmmaker, artist, diarist, gardener

and gay rights activist Derek Jarman’s final

offering was Blue, 79 minutes of pure blue

screen with various narrators, including DJ

himself, talking poetically, politically and

autobiographically, punctuated by ambient

music and found sounds. Four months after its

winter 1993 release, Jarman died of an AIDSrelated

illness, aged 52.

25 years on, and the soundtrack’s composer,

Simon Fisher Turner, who also did the honours

for other Jarman films, is at the helm of a live

performance of Blue at the Duke of York’s, as

part of Cinecity. In the early 70s, Turner came

near as damn it to being the UK’s David Cassidy,

with a recording career overseen by Jonathan

King, a heap of children’s TV roles, frequent

appearances in Jackie magazine, and a fling with

Britt Ekland.

“I first met Derek when I was living in a flat off

the King’s Road, this would be 1978 shortly after

he’d finished shooting Jubilee (Jarman’s singular

take on the punk movement). It was a crazy,

drug-crazed area; Marianne Faithfull was in the

basement flat below me, rents were ridiculously

cheap. The people who looked after Derek asked

me if I wanted a job, and could I drive? I did,

and I could, and I started driving for Adam &

The Ants, and for Derek. When they got the

money to make The Tempest (1979), Derek said

‘go and get 3,000 beeswax candles from the

Catholic Church in Clerkenwell’ and I did, so I

was now the driver and the runner.

“By the time of Caravaggio (Sean Bean and

Tilda Swinton’s first film roles) I was hiring

the extras and listening to all the cassettes that

the potential composers had sent in. I’d given

Derek an album I’d made on my own label, and

after he listened to the other composers he still

wasn’t 100% sure about any of them, so he said,

‘look, why don’t you do the music?’ And that

was it. So I danced down Charing Cross Road,

thinking ‘this’ll be a laugh’. I didn’t have a clue,

not an iota, but I thought ‘right, classical plus

found sounds from the shoot’. I recruited some

brilliant musicians and we were away.

“Derek first mentioned Blue to me maybe five

years before it was made. Initially it was adapted

from a story he wrote as a student, a strange

political fantasy based on old English tales.

Later, when he was diagnosed with AIDS he

changed the whole concept and made it more

about his life, and about the state of the world.

It’s actually the most uplifting piece of work

I’ve been involved with. It’s a visual radio play,

a mood piece. It’s very brave; a good grown up

way of looking at things.

“The last time I saw Derek was when he was

dead. He was lying in a room at the morgue, and

he’d been dressed up like the Pope. He looked

fantastic. I spent five minutes chatting to him.

‘Thank you, what an amazing man you were!’”

Andy Darling

Blue Live, Duke of York’s, 25th Nov, 7pm.



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Thinking Queer

Responses to Audre Lorde

The Marlborough Theatre’s Abby Butcher is

struggling to summarise all the reasons they

have chosen American writer and civil rights

campaigner Audre Lorde – a self-described

‘black, lesbian, mother, warrior, poet’ – as the

subject of their forthcoming Thinking Queer

event. “I don’t know, man,” she sighs eventually,

“She’s just wicked.”

Those not familiar with Lorde’s many novels

and poetry collections may recognise lines taken

from them – ‘Your silence will not protect you’,

or ‘I am not free while any woman is unfree,

even when her shackles are very different

from my own’ – many of which have acquired

renewed weight more than 25 years after her

death in 1992. “We thought, wouldn’t she be

an amazing person to respond to?” explains

Butcher, the theatre’s creative producer. “So we

did an open call for artists and were immediately

inundated with applications – which highlights

how influential a figure she is.”

The four commissioned to produce new,

15-minute pieces for the event are all “black,

queer women making stuff that responds to

different elements of Lorde’s work, her identity,

her practice.” Butcher says Paula Varjack’s work

is “especially fascinating” because of the parallels

between her life and that of Lorde’s. Like Lorde

– who lived in Berlin after the fall of the Wall

and witnessed the rise of racist violence in the

city – Varjack too has spent time in Berlin, and

experienced racism while there. “Paula’s working

with video and I think is planning to go back to

Berlin to explore this idea of shared history.”

Toni Lewis will look at “ritual practices” around

Lorde’s work, while spoken word artist Mia

Johnson is “a young queer woman, gutsy, blunt

and really smart in the way she uses language”.

Lastly, there is dance artist Zinzi Minott, who

underlines the ongoing relevance of Lorde’s

writing with a piece informed by her thoughts

on the Windrush scandal.

The Audre Lorde event is the second in the

theatre’s Thinking Queer programme, an informal

night of ‘reflection, resistance, poetics and

power’ held in ACCA’s café-bar – “So it’s pretty

chilled.” It follows a launch last year inspired by

the Bloomsbury Group that featured artist Jacob

V Joyce, from whose 2018 ‘Black Herstory’ calendar

of radical black women the above image of

Audre Lorde is taken.

Joyce spoke of the problems they had with some

of the Bloomsbury Group’s attitudes – and, says

Butcher, that was great. “Performers don’t have

to respond positively to the subject. They can

say ‘This work is really alien to me, really dense

and heavy and I, as a queer person in 2018, just

don’t get it.’ That’s totally fine. We want people

to feel they can be honest. Although, you know,

no one has had that response to Audre Lorde.”

Nione Meakin

Thinking Queer, ACCA, 7th Nov, 8pm

From the 2018 ‘Black Herstory’ calendar by Jacob V Joyce




The Modern Marvels Film Booth

Brighton’s movie-making heritage reimagined

George Albert Smith and James Williamson,

Brighton’s pioneers of film, have inspired a great

many movie makers since their first forays into

the moving image, in the 1890s. Most recently,

their films have been reimagined by a group of

young people with learning disabilities.

In a collaboration between disability-led arts

organisation, Carousel, and Screen Archive South

East, 30 students from Downs Park School,

Downs View Life Skills College and Headstart

School have been exploring filmmaking with

Jason Eade and Tina Dickinson, two of Carousel’s

experienced artists, and facilitators including local

filmmaker, Kitty Wallace.

“We work really inclusively to involve everybody

in the workshops,” explains Kitty. “There’s no

judgement or expectation. We teach the skills and

then enable the young people to explore them,

letting them be creative and wild. There’s no

right or wrong answer. Sometimes a story line

comes out of it, and sometimes it will go off-piste,

and that’s alright.”

Sessions included scriptwriting, storyboarding,

sound effects and creating original soundtracks

with the Carousel House Band, and the

participants studied early filmmaking techniques

like stop-frame animation, as well as more

contemporary technology. “Because we didn’t

have the budget to film on location, we took all

the equipment into the schools and would shoot

against the green screen, and then edit in the

background during the post-production back at

the office. We had a space scene, a graveyard, a

train, all using the young people’s artwork for the

sets and backgrounds. We had props, makeup and

hired costumes. The students had a great time.”

“We find a way to include everyone in whatever

way they are able, working with the staff to

involve people as much as possible. Teamwork is

a big part of it. If someone can’t think of a way

to express an idea, someone else will.” Titles like

Ghost Train and Spooky Horrors hint at a popular

genre, but, Kitty explains, they also made a film

“about a magical teapot, which smashes, and a

laser cat comes out and zaps them all up into

space. It gets a bit surreal.”

The four films were launched at an event at

ACCA in the summer, and the hope is that they

will be screened at Carousel’s biennial Oska

Bright Film Festival next year, but they’ll have

to get past the selection committee first. For

now, you can see them – and the early films

that inspired them – in the Modern Marvels

Film Booth, which you might have encountered

on its tour of the city over the summer. This

month you can find it at the Duke of York’s

Cinema, from the 9th until the 25th. “Bring an

open mind” concludes Kitty. “Carousel is about

enabling artists to explore their creativity and

be recognized for their art. Imaginations can go

wild.” Lizzie Lower




Dead Good

Caring for our dead

Do you remember the 2008 Japanese film

Departures? About a young man working in

an undertakers? So beautiful. And I was put in

mind of that when I first read about Dead Good,

Rehana Rose’s feature documentary about the

ritual of care after death, which is screening at

the Depot on 13th November.

It too is a beautiful film, full of moving testimony,

as it follows three groups of mourners,

each supported by ARKA Original Funerals,

based in Brighton. “I think the women there are

pioneers”, Rehana says. “They’re empowering

people about the ritual of care that’s disappeared

from our society.”

The film includes footage of the mourners tending

to their dead – washing and dressing them,

for instance. It took just under three years to

make. “It took the first six months of filming for

me to work out what part of the death process

to focus on, but that is it: the uncharted territory

between point of death and ceremony.”

Rehana said her interest came when, in three

consecutive years, her mother, an ex-partner and

a young friend died. “If you’ve never organised

a funeral before,” she says “you go with what

you’re told to do. You can be on autopilot, too,

because of your state of mind. But the third of

these funerals was supported by ARKA, and it

opened my eyes. There were choices you could

make. Death is a normal part of life.”

There’s a striking lack of pomp or pretension

around all the interactions we witness in the

film. The two funeral directors, Cara and Sarah,

are so matter of fact, while clearly compassionate

– “we’re just normal people” – and this seems

to reassure as well as empower their customers.

Cara is our main guide throughout the film. Her

inspiration to become a funeral director also

came, partly, from the personal experience of her

own mother’s death: “it just happened”, she says

in the film, of the funeral. She felt she herself

had no real, hands-on involvement.

“It’s all about offering people choices”, says

Rehana. “There’s a growing movement of people

wanting to open up the conversation around

death. More and more are realising that they

can decide what they want, and how involved

they personally want to be.” It’s clear she feels


I ask about the practicalities of making the film.

“It was very difficult. It was a big ask, for my

camera to be invited in: I knew that. But people

allowed me.” The music in the film was important

to her too – to reflect how music is used at

ceremonies – but getting permissions can be a

minefield. (Any music can be used in a funeral,

but for her to film and then release this, not so.)

“Robert Smith of The Cure was great”, she said.

“After watching an early edit, he re-recorded a

track especially for our film! Such generosity.”

Charlotte Gann

The Depot, Lewes, 13th Nov, 6pm.

Part of Cinecity,



Reuben Mednikoff, March 20, 1936 (The Stairway to Paradise)

Private Collection, Photo: Ivan Coleman




Continues until 20 January

Installation image courtesy of Rob Harris




The Will Gregory Moog Ensemble

‘There’s certainly a nerdy side to it’

As one half of

Goldfrapp, Will

Gregory has twiddled

his way around more

synths than most, but

his latest tour finds

him on an almost

evangelical mission

to spread the love

for classic analogue


We’re ten people playing monosynths of a

certain vintage. The idea is that there’s nothing

digital, it’s all analogue. It’s basically listening to

circuits. There’s certainly a nerdy side to it. I’m

not saying we’re all on the spectrum, but there’s

an element to it that appeals to that kind of

personality and another that appeals to us purely

as musicians.

The Minimoog was the first affordable

electronic instrument to go into mass

production. That’s what things like Popcorn

were played on and funnily enough Roobarb and

Custard. The Beatles used it all over Abbey Road,

and it was there with The Beach Boys. One of

the things that made it popular is the fact it

didn’t use patch cables, so you didn’t need to be

like a telephone engineer to operate it. If you

look at any synthesizer made since then, it looks

more or less like a Minimoog.

The idea for the ensemble came when I

was driving and Wendy Carlos’ Switched-On

Bach came on the radio. It sounded incredible. I

thought if that was done in the studio as a multitrack

project, why has nobody tried to play this

music live? At that point I’d done two or three

records with Goldfrapp and I had collected quite

a lot of synths. Alison and I share a love of the

Photo by York Tillyer

melancholy, wistful

quality that some of

these instruments

have. There were a

load of them lying

around and I thought

well, I’ve got enough

synths to play Bach’s

Brandenburg No.3

which is in nine parts.

Why don’t we get a

bunch of people together and try it out?

The people in the ensemble are all amazing

musicians in their own fields. Adrian Utley

from Portishead is one of them, he’s been a

synth aficionado for many years. Then there’s

Graham Fitkin who’s a contemporary composer.

Eddie Parker is another one, he’s a Loose Tubes

jazz musician. It’s a real mixed bag, but they’re

all wonderful players.

We are trying to show off the instruments

to their best advantage. We do some Bach

in honour of Wendy Carlos, but we also write

new music and do a couple of film scores by

John Carpenter and some Kubrick stuff. What

we don’t want to do is become a 70s film score

tribute band.

The Moog was seen as a novelty when it first

arrived. But how many instruments can you say

were invented in your lifetime? People think

of them as retro, but they’re not. We moved on

quickly to digital instruments, but we’re saying

hang on a minute... these synths are instruments

that we might still be playing in two hundred

years, like violins. I could be wrong, but isn’t it

worth trying that out?

As told to Ben Bailey

Brighton Dome, 7th Nov, 7.15pm




Richard Carpenter Close To You

Photo by Mark Dawson

When Matthew Floyd Jones struck on the idea of

writing a show about Richard Carpenter, he didn’t

have to look far for inspiration. The pianist had

spent nine years performing with vocalist Laura

Corcoran in cabaret double act Frisky & Mannish

and knew just how it felt to play second fiddle to a

charismatic frontwoman. “I thought that if Laura

and I were The Carpenters of cabaret, then I was

definitely Richard,” he says. “Karen Carpenter

was the one people really responded to; she was

the one with the iconic voice, that face, whereas

Richard is a bit awkward, a bit more controlling

and cerebral.”

The more he learned about the sibling stars, the

more parallels he saw in his relationship with

Corcoran: “I remember doing a TV interview

with Laura and I barely said one word because the

interviewer was only interested in Laura. When

you’re sitting side by side like that, you can’t help

but feel overlooked and that’s when paranoia and

jealousy settle in.” It is this tension – the desperate

desire to step out of someone else’s shadow and

be seen as a talent in one’s own right – that drives

the black comedy of Close To You. It imagines

Richard, the man who was once ‘on the top of the

world, to the left of (and slightly behind) Karen’,

finally telling his story.

“I didn’t want it to be a biography or a tribute

because I wanted to tell some of my story, based

on my experiences in Frisky & Mannish. But also,

there are legal difficulties in doing a show about

a real, living person. I was advised to make it very

clear this is a parody.” Jones doesn’t use actual

Carpenters’ songs in the show for similar reasons.

But his thinly disguised versions of classic tracks -

‘How come fish jump out of the sea, when you’re

walking on a beach next to me?’ – only underline

Richard’s attempt to take back control. “This is

a show that’s all about Richard and as he tries –

and fails – to show he can do it alone, it just adds

another layer of poignancy.”

It seems something of a departure from the camp,

high-energy pop fun of Frisky & Mannish but

Jones insists his sensibilities have always leaned

towards the darker side. “What Laura and I did

was pure entertainment. But the comedy I love

is darker stuff, stuff with heart. I like subverting

people’s expectations.”

In real life, he is on good terms with Corcoran

– in fact they are planning a tenth anniversary

Frisky & Mannish show next year – but he says

it has taken time for him to make peace with his

role in their partnership. “I used to be desperate

to control how people saw me, as Richard is in

the show, but now I’m through the other side of

that and feel much more relaxed in my own skin. I

guess that’s really what the show’s about – how to

stop worrying about what other people think and

accept yourself.” Nione Meakin

Komedia, 29th Nov, 8pm




C hristmas

C oncert

1st December 7:30pm

Trinity St John sub Castro, Lewes





Maria Wloszczowska, Tim Crawford, Beatrice Philips - violin

James Boyd, Adam Newman - viola Hannah Sloane - cello

Come and join musicians from the Lewes Chamber Music Festival for

their annual Christmas fundraising concert!

Mulled wine and mince pies included

TICKETS: £15 || FREE for 8-26yrs

Charity No 1151928 01273 479865 and at Baldwins Travel



Brighton Early Music Festival

Early music, contemporary themes

The Brighton Early Music

Festival reaches its climax

this month with a concert

entitled Reformation

Remainers: Musicians,

zealots and loyalists in Tudor

England. When I talked to

Artistic Director Deborah

Roberts it was clear that

Brexit, and parallels with Reformation England,

are much on her mind. “Musicians have always

been migrants. If freedom of movement becomes

restricted, what will it mean for them?”

BREMF started the way so many creative

projects start – the question “what if...?” over

a cup of coffee. Singers Deborah Roberts and

Clare Norburn had recently met; Deborah was a

member of top vocal group The Tallis Scholars,

but, she says, “interested in more than just

singing.” The women discovered a shared desire

to bring early music (from the 12th to the 18th

centuries) to a wider audience – both listening

and performing.

From its beginnings in 2002 the Festival has

morphed into Brighton Early Music – a yearround

programme of concerts, workshops and

educational outreach, with several choirs drawn

from the community and a mentoring scheme

for young musicians. The appeal is broad. Many

BREMF Community Choir members join

without being able to read music, “but they want

to learn, and they do. There’s a thirst for this.

Not all newcomers to choirs want to just sing

show songs.”

Fine musical programming is one part of the

mix, then there’s the drama. “It’s vital to inject

contemporary energy into the music – the same

energy it would have had five or six hundred

years ago.” explains Deborah. “Most of this

music was never meant

to be listened to in the

traditional concert setting

we see today, with the

audience sitting silently.”

Strong themes and

unconventional stagings are

characteristic of BREMF

events. This year features

a Swedish wedding celebration at which the

audience sits cabaret-style, eating and drinking

while the music is performed around them.

“Dressing up is encouraged!” Deborah assures

me. At another concert you’ll encounter street

dance. And young musicians taking part in

BREMF Live! will sing and play in city pubs. It’s

classical music, but possibly not as we know it.

Reformation Remainers features three English

composers who were writing in times of religious

and political upheaval. The Catholic John

Taverner converted to Protestantism – at which

point, Deborah tells me, he stopped writing.

Thomas Tallis was also Catholic but “took the

strategic view”. And William Byrd was Protestant,

but converted. It’s not difficult to find hidden

political messages in much of the music of this

period, according to Deborah, “as well as sorrow

at what the country was going through.”

You can hear the BREMF Consort of Voices

directed by Deborah Roberts in the dramatic

interior of St Bartholomew’s on 10th November.

“St Bart’s is great – you can perform from

different spaces, have the sound circling around

the audience. There’s an element of surprise,”

says Deborah, “and ultimately it’s an uplifting

message – there’s always music. And there’s more

to music than pop.” Robin Houghton

St Bartholomew’s Church, 10th Nov, 7.30pm.

Tickets £18, under 12s free.





Microscopic maintenance crew

When I was a kid

I used to buy The

Beano and there

was a strip called

The Numbskulls

about people who

lived inside the

human brain. I was

just fascinated by it.

Then I saw a 1966

sci-fi movie called

Fantastic Voyage and,

in the early ’90s, Inner Space – two Hollywood

movies that took the idea of miniaturising

people, putting them in submarines and sending

them through the human body. I thought these

were ideas just ripe for a theatre production,

and particularly for a company with expertise in

puppetry – which allows you to do things that

would otherwise be difficult to stage.

We started thinking about why you might

be sending people inside the human body

and came up with the idea that in the future we

might have personal cleaners – we call them

intronauts – to carry out body maintenance.

So if you had, say, an ingrowing hair they

could go to that part of the body and push it

out from the inside. Intronauts use a sat-nav

to get from one part of the body to the other

and, using automated machinery, they can carry

out tasks. But of course the body has its own

defence mechanisms – and those can cause huge

problems for someone inside it.

The beauty of using puppetry is that it allows

you to do these cinematic things on stage.

Our intronaut appears not only as a physical

actor but also as a micro puppet of 12cm and

a taller one of 35cm. If we want to do a big

cinematic wide shot

of her floating away

or repairing her

craft we can choose

to do that on one of

those three scales

and switch between


That’s how we

approach puppetry

– it’s about using the

right tools for the

job. I teach puppetry and I get a bit despondent

when someone wants to make a puppet show just

because they think puppets are cool. I encourage

them to think the other way round. Start with

the story you want to tell, work out if there’s a

scene that actors can’t do and that’s when you

bring in the puppetry.

There’s been a great sea change in the

way puppetry is seen. When I joined Green

Ginger in the late ’80s we stopped using the

‘P word’ to describe what we did. We’d say we

did ‘animations for street and stage’. The word

puppetry did not exist on our publicity and it

wasn’t just us. A lot of companies were trying

to get away from the stigma of being defined as

children’s entertainment. Now we’ve had huge,

large-scale, populist shows like The Lion King or

War Horse that have changed the way it’s seen.

It’s the continual challenges that appeal to

me. Every time I approach a new performance,

I have to come up with innovative ways to grab

and hold onto an audience’s attention. There’s

always more to learn.

As told to Nione Meakin by Chris Pirie, artistic

director of Green Ginger

The Old Market, 10th & 11th Nov




Cinema By The Sea

Sussex on celluloid

“I’ve always been intrigued by the show

business associations that Rottingdean has with

the rest of the world,” says Marcus Bagshaw,

self-confessed film fanatic and curator of the

Cinema By The Sea exhibition at The Grange

Museum in Rottingdean. “This exhibition is

a celebration of the Golden and Silver ages

of British Cinema and their associations with

Sussex, Brighton in particular.”

The associations are numerous: the 1953 comedy

classic Genevieve was partly shot on location

in Brighton, as was, of course, the 1947 film

noir Brighton Rock. Both are explored in the

exhibition. Other displays showcase glamorous

Hollywood idols with local connections: In April

1969 Barbra Streisand spent eight days filming

in the Royal Pavilion for the fantasy musical On

a Clear Day You Can See Forever. And Elizabeth

Taylor, whose breakthrough film was the 1944

Hollywood adaptation of Enid Bagnold’s National

Velvet, became lifelong friends with Bagnold and

regularly visited Rottingdean to see her.

“Another star attraction is Audrey Hepburn”,

says Marcus, “she was photographed by Illustrated

magazine as a 23-year-old starlet in June 1951

on Rottingdean beach, by the village pond and

posing next to Rottingdean windmill, much

of it in vivid colour. This was one of the great

discoveries of the exhibition, for me. To have

those associations with a star who became so big

and is still loved, revered and celebrated today.

It truly did start in Sussex and ultimately in

Rottingdean, who could have predicted that?”

The photographs offer an extraordinary glimpse




of a future icon on the threshold of superstardom.

“This exhibition reflects the time in history

when people really did go to the cinema, and

a lot of people went three, four or five times a

week. When I put this collection together one

of the most difficult things was deciding what

to include because I was absolutely spoilt for

choice.” The exhibition celebrates down-to-earth

cinema-going and the displays are constantly

evolving. One is currently being developed about

Gracie Fields, a huge name in 1930s stage and

screen: “she was a massive, massive star of her

time and we have her gold-plated gramophone.

She was the highest paid entertainer in the world

and she made her home in Peacehaven where

she also founded an orphanage.”

“Cinema By The Sea is made up of rare ephemera

by the way of dazzling film posters, lobby cards

and costumes. It is proving to be really captivating

for visitors. Most people can relate to film, they

grew up with film, they went to the cinema in

the days when cinema was at its height. They

remember these films, they remember the stars


that are highlighted here and for them it’s really a

rush of nostalgia. What I hope this achieves is that

there will be a reawakening of interest in these

stars and their cinematic triumphs. The very fact

that it was all happening under the Sussex skies is

quite something.” Thomas Dadswell

‘Cinema By The Sea’ continues at The Grange

Museum, Rottingdean until Easter 2019.

10am-4pm Tuesday to Saturday, 2pm-4pm Sundays.

Entry is free.



Reuben Mednikoff, January 3, 1938, 11am – January 4, 1938, 6pm. Private Collection. Photo: Andy Keate

A Tale of Mother’s Bones

Dali meets Freud

Reuben Mednikoff and Grace

Pailthorpe met at a party in

February, 1935. He was 29,

a graduate of St Martin’s

School of Art and an ad

designer. She was 23 years

older, a psychoanalyst, who

had been a surgeon in WW1,

and a doctor in a goldmine in

Western Australia.

Sparks must have flown when

they met. They soon embarked

on an investigation that was

to last them the rest of their

lives, living and working

together, exploring how art

could be used to free the mind

and prevent violence and

oppression. One of them would

paint a picture, and the other

would concoct a psychoanalytic

study of what it revealed.

And vice versa. They called it

‘Psychorealism’. She got better

at painting; he got better at


The first exhibition of their

work for 20 years – A Tale of

Mother’s Bones – has started at

the De La Warr Pavilion, cocurated

by Dr Hope Wolf, of

the University of Sussex, who

shows me round the gallery

two days before the exhibition

opens. It’s an absorbing


The pair were well known, in

British Surrealist circles, in the

1930s, Hope tells me, as she

walks me through paintings

which represent six phases

of their career together. In




1936, they were shown in

the International Surrealist

Exhibition in London,

alongside works by the likes of

Duchamp, Picasso and Dali.

André Breton was said to have

called their art ‘the best and

most truly Surrealist’ of the

contributions by English artists.

“Early on, the subjects that are

coming through include the

trauma of birth – how it was

thought to be the root of adult

emotional complexes – and

sibling rivalry,” Dr Wolf tells

me, as we examine powerful,

colourful images. There are

stylised wombs, and foetuses,

and figures emerging from

small houses.

The couple escaped to America

and Canada during WW2, to

protect their growing archive

of notes, texts, photographs,

and paintings from bombing

raids. Their work had by then

become more political, though

no less psychoanalytical.

Hitler and Mussolini were

seen as “greedy ex-babies,

unable to share their cradle

with others…” Pailthorpe also

had much to say about wars

between the sexes, and argued

that better ideas would be

created by men and women

working together.

In later life, back in England,

they became interested

in Buddhism, Creative

Meditation, and Agni

Yoga, and their paintings

– particularly those by

Pailthorpe – became more

abstract, and even more

colourful. It all seems a lot

freer, perhaps. Dr Wolf

ponders whether they found

release from the demons that

haunted their earlier work.

“Or do the monstrous and

maternal forms that emerge…

suggest they were unable to

start afresh?”

The couple spent their last

years in Sussex, running ‘The

Little Georgian Antiques

Shop’ in Battle. Despite their

age difference, they died a

year apart, in 1971 and 1972,

not as celebrated as they once

were, but not quite forgotten:

their paintings were exhibited

in Hastings in the last year of

Pailthorpe’s life. Alex Leith

A Tale of Mother’s Bones: Grace

Pailthorpe, Reuben Mednikoff

and the Birth of Psychorealism

is at the De La Warr Pavilion

until 20th January 2019.

Reuben Mednikoff, The Blue Hill. Private Collection. Photo: Ivan Coleman

Grace Pailthorpe, Private Collection. Photo: Ivan Coleman






An Arts Council Collection National Partners Exhibition

29 September 2018

6 January 2019

Towner Art Gallery

Free entry

Conceived by Birmingham Museums Trust, in partnership with Towner Art Gallery

as part of the Arts Council Collection National Partners Programme 2016–19

Image: Jean-Luc Vilmouth, Five Heads, 1981. © The artist’s estate. Arts Council Collection,

Southbank Centre, London. Installation photo by David Rowan, courtesy of Birmingham Museums Trust




In town this month...

It’s getting to be that time of the year and, with Christmas in mind,

Brighton Museum & Art Gallery has a real treat for the kids

(and their parents) with an exhibition of artworks from Raymond

Briggs’ much loved The Snowman, until the 5th of January. The

Christmas Artists Open Houses festival, as ever, sees artists’

houses and studios open to the public along several trails right

across the city and beyond, on the last weekend of November, and

the first two of December. Check for the full line-up.

Hello Marine at MADE Brighton

And whilst you’re gift shopping, there’s the design and craft fair MADE

Brighton (24th) in St Bartholomew’s Church for the third year

running. It’s right across the road from the home of organisers Tutton

and Young at Atelier 51 (well worth a visit). Also, this month, Philippa

Stanton, the synaesthetic photographer who has half a million Instagram

followers (and a new book out), is showing her work at 64 Sandgate

Road (Nov 17th-18th / 24th-25th). Check out the King’s Arches on

the seafront, where Castor & Pollux has a new batch of owner Mike

Levy’s prints

and ceramics, while the nearby Brighton

Photography Gallery sells glorious Sussexshot

scenes, and the 2019 Brighton & Hove

Calendar. This Christmas staple features 52

photos by 21 photographers, the full year’s

tide tables and local event diary. Also available

from City Books (Western Road) and

Kensington Gardens. []

Brighton & Hove Calendar 2019

It’s a busy month for the city’s independent galleries. Cameron

Contemporary Art, in Hove, continue their exhibition of Kevin

Hendley’s stylised portraiture (see VB #68), while down the road at

Whistleblower Gallery you can see Radiohead cover artist Stanley

Donwood’s Watermarks until the 4th. At 35 North, in North Laine,

there’s an exhibition with a difference… The Mitre’s Touch sees the

framers choose the artwork, rather than vice versa (Nov 22nd - Dec

22nd). []

Fall by Stanley Donwood


© Snowman Enterprises Ltd, 2018

An exhibition of the

original illustrations

20 October 2018

to 6 January 2019

Brighton Museum & Art Gallery

Free with Brighton

Museum admission

Open Tue-Sun 10am-5pm

Closed Mon, 25 & 26 Dec

03000 290902


British Painting and


We look forward to welcoming

you to our gallery in Hove.


Mon—Sat 10.30am—5pm

Sunday/bank holidays 12pm—5pm

Closed Tuesday

For more details visit




In town this month...

Marcelina Amelia at Brush Gallery

At Brush, in Gloucester Road, you can see the latest of Marcelina Amelia’s

dreamy and darkly innocent folk-inspired work. At Gallery 40 there’s a

solo show featuring work by our February cover artist Mark Charlton

(12th-25th). And at ONCA, Lily Rigby’s semi-abstract land and seascapes

form the show Where Sky Meets Land (Nov 3rd-11th). If you want, in the

meantime, to check out some more modern design and art, try the new

Design Renaissance Gallery, at 70 Western Road in Hove, featuring oneoff

and collectible furniture from France and Italy,

as well as contemporary art, all for sale. If you’re

looking for something a little quirkier, check out

the Hans Christian Andersen show The Nightingale

(at the Old Ship Hotel on Nov 29th-Dec 2nd), where all the locally made

props, costumes and sets will be on sale, to pick up after the last performance.

The Nightingale

Out of town...

There are two related exhibitions at Ditchling Museum of Art

+ Craft that run till April 28th. MacDonald ‘Max’ Gill is famous

for a body of illustrative advertising which embraced the modern

age while drawing heavily on the past. Much of this is on display in

Max Gill – Wonderground Man, alongside the show Changing Lives –

Ditchling Artists in WW1, telling the stories of three artist-soldiers:

Joseph Cribb, Louis Ginnett and David Jones.

Beachy Head Lady

© Eastbourne Borough Council

Towner Gallery in Eastbourne continue with

their exhibition The Everyday and Extraordinary,

featuring artists’ use of the found object, drawn

from the Arts Council Collection (till Jan 6th).

While you’re there, check out oil painter Simon

Ling, famous for depicting the dilapidated urban

buildings he finds near his East London studio

(till Jan 27th). The Devonshire Collective and

Writing our Legacy are putting on a show in the DC1 Gallery in

Eastbourne called Diverse Sussex (5th-24th), featuring artists who

have responded to Sussex’s diverse heritage, including Maria Amidu,

Akila Richards and Amanda Jobson. There are other exhibits,

including a forensic facial reconstruction sculpture of the skull of

Roman-era sub-Saharan Beachy Head Lady.

Lewes’ Martyrs’ Gallery

offers a real treat to art lovers

between 10th Nov and 16th

Dec: Something Glowing and

Alive, an exhibition featuring

work from three veritable

luminaries of twentiethcentury

art, Marc Chagall,

John Piper and Graham

Sutherland, originally

commissioned by Walter

Hussey, former Dean of


Marc Chagall


BRUSH Gallery

84 Gloucester Road BN1 4AP

@brushbrighton 07535 118513



Out of town...

Photo by Axel Hesslenberg

At Charleston you’ve got till the 6th of Jan to see Orlando at

the present time, a series of responses in the Wolfson Galleries by

contemporary artists – such as Kaye Donachie, Delaine Le Bas

and Matt Smith, to Virginia Woolf’s ground-breaking 1928 novel.

The South Gallery, meanwhile, features striking LGBTQIA+

portraits by Zanele Muholi, while the Spotlight Gallery hosts

Vanessa Bell and Duncan Grant’s Famous Women Dinner Service.

Now the house is open year-round, join them on the 25th and 26th

for the festive Frost Fair, bringing 30 contemporary makers into

the refurbished barns with plenty of Christmas goodies and gift ideas. There will be winter lunches, hot

toddies and mince pies, and natural wreaths, swags, garlands and Christmas trees in the Barnyard.

Cruise to the Edge II © Roger Dean

Trading Boundaries, near Sheffield Park,

have a long-standing relationship with

Lewes-resident artist Roger Dean, most

famous for his phantasmagorical covers for

the prog rock bands Yes and Asia. He’s got

a solo exhibition from 1st Nov to 9th Dec

called Crossing the Line.

Finally, if you

fancy a trip up

to Maresfield,


Manor Barns

are holding the

Hendall Arts

Exhibition on

3rd-4th November with work by over 20

local artists and makers.

Vanishing Point 7 © Barbara Walker

Three exhibitions started

up at the Jerwood in

Hastings in late October,

which all run till Jan

6th. We mentioned

the collaborative work

of Maggi Hambling

with her artist friends

Sebastian Horsley,

Sarah Lucas, Julian

Simmons and Juergen

Teller, on in the main

gallery, last month. In

Vanishing Points upstairs, you can see the thoughtprovoking

work of Barbara Walker, who has

picked two paintings featuring black subjects from

the National Gallery (by Tiepolo and Giordano)

and has juxtaposed these with her own works,

to examine the historical masterpieces in a fresh

context. And there’s a bit of light relief with

Quentin Blake’s Hats. Oh, and

while you’re over that way,

why not check out the

exhibition of Marilyn

Stafford’s iconic fashion

photographs, from Biba

to Chanel, at the Lucy

Bell Gallery in St Leonard’s

(27th Oct – 17th Nov).

Quentin Blake, The World of Hats, mixed media, 2018, © the artist



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Ryan Gillett

at the Brighton Illustration Fair

Brighton Illustration Fair is back for its fourth

year. This year’s selected local artist is Ryan

Gillett, whose vibrant, playful designs will be

brightening up the Sallis Benney theatre for the

event. “I feel like my happiness comes through

in my drawings quite a lot,” he says. “I’m not a

very serious person. I’m not really one for crazy,

in depth conversations… I’d rather hang out

with dogs, and skate.”

Ryan was set on drawing from a young age:

“When I was seven years old my dad drew a

plane in front of me after dinner – he’s in the

RAF so all he draws is planes – and I was like,

‘wow, how did you do that?’ Since then I’ve

been trying to draw.” He went on to study art

and design and then did a degree in Illustration

at Southampton Solent University. “As soon as

I left uni I thought, I need to find a style that

no one else has – which is obviously really hard,

because there are so many great illustrators

around. I tried out lots of different stippling

techniques and sponges and brushes. I would do

something for a couple of months and then try

something else.”

Eventually Ryan found his style, which he

creates by drawing on a very small scale with

a super-soft 6B pencil, and then scanning his

work and scaling it up. “The pencil pretty much




disintegrates while I’m drawing, because

it’s so soft,” he says, “so when you blow

the image up you can see all the grainy

bits. Then I just bump up the contrast

in Photoshop and it comes out like

that.” The unique look has earned him

commissions of all sorts…

“I’ve done a lot of editorial illustration

work,” he says; some of his past clients

have included Smith Journal and Culture

Trip. “Sometimes you get sent an article

that’s quite dry and you have to think

of a way to boost it up, but this one”

– an illustration of a pig curled up on

a toothbrush – “was for a Canadian

magazine called Cottage Life. The article

was about bacon-flavoured products and

how things had got out of hand and this

guy had been given bacon-flavoured

toothpaste for his birthday. That was an

amazing article.”

Earlier in the year, Ryan was

commissioned by local menswear store

Peggs & son and clothing brand Folk to

come up with an illustration for a new

t-shirt collection. “I always see these

surfers standing on the seafront, but

there’s no waves in Brighton, so that’s

what I imagine they’re daydreaming

about…” His illustration Gnarly,

featuring a would-be surfer with a minime

surfing through his flowing hair, was

sold by P&s with profits going to the

local charity Amaze.

Check out more of Ryan’s work at and on Instagram (@

ryanpetergillett) or go along and say “hi”

to him at BIF on the 3rd & 4th, where

there will be workshops, screenings and

talks across the weekend. Tickets are

£5 (per day, £7 for the weekend) and

available via Eventbrite.

Rebecca Cunningham




Yolande Beer

Painterly pots

My decoration is quite

figurative and that comes

from my love of life drawing.

Most people just put their

drawings away, but I thought

‘I want to use this.’ My tutors

said, ‘you’re mad to put figures

on pots. The Greeks mastered

it.’ But I did it, and I’m still

doing it now, more than thirty

years later.

I studied three-dimensional

design at Brighton College

of Art, with a view to

becoming a jeweller. I loved to

draw, and all of my drawings

were huge, but my jewellery

was tiny. I’d spend three

months on one brooch and I

felt so confined, as opposed

to feeling liberated when I

did life drawing. So, in my

final year, against some of the

tutors’ advice, I switched to

working in ceramics so I could

work more freely.

At my degree show, I was

offered an exhibition at

a new gallery that was

opening in Chelsea. Then

I applied to South East Arts

for a grant, which enabled me

to set up a studio in Brighton

and it all took off from there.

After three years I got a

scholarship to travel to Japan.

Before that time my work

was mostly sgraffito [a type of

decoration made by scratching

through a surface glaze to

reveal a contrasting colour

beneath], because that was

one of the techniques taught

at the Brighton ceramics




department. I got a job making

tableware in a Japanese factory where I

used a brush to decorate the work, and

that allowed me to bring together my

love of ceramics and drawing.

In Japan I was making mostly

stoneware, but now my showroom

is divided between stoneware and

earthenware. I throw the majority

of my work on the wheel, but I do

find coiling a great pleasure. It’s time

consuming but so simple. I also use

plaster moulds to make large plaques

and then I’ll carve and hand model,

push, pull and pinch the pieces.

I decorate with natural pigments

– iron oxide, cobalt and copper – on

my stoneware work, because they

can survive the high temperature

firing. On my earthenware pieces I

use commercially prepared pigments

to give me a broader range. They

come in every colour of the rainbow,

but if I used them on the stoneware,

they would burn away. Then I apply

a transparent glaze to bring out the

different colours.

My painterly pots used to be in

the shop at Charleston. I love the

figures painted above the fireplace

in the drawing room there. They are

charming and so free. I’m inspired by

the style of Vanessa Bell and Duncan

Grant. Their ad-libbing. They hardly

used pencil. To have an idea and to just

go for it... that’s something after my

own heart.

As told to Lizzie Lower

Yolande Beer will be at MADE Brighton

at St Bartholomew’s Church, Ann

Street, on Saturday 24th of November.

Photos by Lizzie Lower


Designers - Makers - Artists - Vintage - Veggy food -

Workshops - Live Music



Fri 9 Nov



Sat 17 Nov

£1 Entry




- 5pm



Sat 24 Nov


Fri 30 Nov

Brighton Unitarian Church, New Rd, Brighton BN1 1UF

box office 0844 847 1515 *

*calls cost 7p per minute plus your phone

company’s access charge


This month, Adam Bronkhorst met five members of staff at the Duke of York’s and

Dukes at Komedia, capturing them at work (some working harder than others).

We asked them: what’s your favourite film? | 07879 401333

Ellis Shergold

“City of God.”


Carolynn Reddell



Graeme Dalling



Lewis McNulty

“Raging Bull.”


Isaac Carroll

“Withnail and I.”

“To renew or refurbish!

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Shell the kitchen bare

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Discard drooping doors and

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something gay and painted bright

Maybe a Farrow and Ball

Semi-gloss slipper satin white.”

‘It is a weighty matter

Mr Hamilton

And requires thoughtful


We have thirty years

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Call Stephen Hamilton our

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A Saturday lunch to savour

With its understated

elegance and intimate

atmosphere, Pascere is

the perfect choice for

an evening out, but, as

my friend Frances and

I discover one autumn

afternoon, it also makes

for a decadent lunch


From the comfort of

the smart interior and

our seat in the picture

window, we watch

the Saturday shoppers being blown about a

blustery Duke Street. Decked out in deep teal

woodwork, marble-topped tables and brushed

golden surfaces, Pascere is a very civilised place

to hide out from a wet weekend.

The menu is equally refined, with three

choices each ‘to start’, ‘to follow’ and ‘to

finish’. We both choose BBQ brassicas,

trompettes, girolles and Tunworth to start,

then tuck into the springy beetroot focaccia

served with whipped Jersey butter.

Soon, an artful arrangement of seared

brussels sprouts, broccoli and the most

delicate mushrooms is served. The dish is

small but perfectly formed with a superb

balance of flavours.

Frances chooses the cornfed chicken breast

to follow. It is, she reports, perfectly cooked,

with a crisp skin and a melt-in-the-mouth

texture, served with a sweet potato cream,

parsnips and golden beetroot. She savours

every bite. It becomes clear that sharing is to

be limited to slivers.

Likewise, my confit Pippa potato, smoked

savoy, brown sauce and black truffle is

Photo by Lizzie Lower

something I’d rather

keep all for myself. I’m

not sure how one goes

about smoking cabbage,

but it is sublime, with

a little tomato adding

sweetness to the salty

smokiness. Combined

with the soft, waxy

potato, the lightest

pecorino foam, al dente

root vegetables, and

dabbed with the intense

sauce, it is one of the

most delicious plates of food that I’ve eaten in

a long time.

The service is excellent, too. The staff are

warm and conversational; not overdoing

the notes on provenance and preparation

but enthusiastically knowledgeable when we

want to know more. And this is food worth

talking about; the sort of food that has earned

Pascere a spot in The Good Food Guide (one of

just 23 Brighton restaurants that feature).

We’re not ready to rejoin the world yet, so

we order cheese and gelato. The cheese is

very nice, but it is eclipsed by the gelato. One

quenelle of pistachio with an intense taste

of marzipan is complemented by another

flavoured with coffee, and all scooped up on

a wafer of bitter chocolate brioche. A mild

scuffle breaks out over the last spoonful.

At £78 (without wine), it’s not an average

Saturday afternoon lunch bill, but it’s been far

from an average lunch. Pascere has garnered

its fair share of rave reviews since it opened

in the summer of 2017. Here’s another (well

deserved) one to add to the pile. Lizzie Lower

8 Duke Street,




Photo by Adam Bronkhorst,




Beetroot bourguignon

A cosy winter dish from the new

menu at The Better Half

I think vegetarian cuisine is the toughest

food business in Brighton at the moment.

I have a lot of experience – I used to work

at Food for Friends, and before that at

1847 – so I’m usually in charge of coming

up with the veggie options on our menu

at The Better Half. I’m not vegetarian

myself but I’ve learnt to be very creative

with my cooking. It’s difficult to be

different. The vegetarian restaurant scene

is very competitive and if you don’t keep

mixing things up, people get bored.

I’m originally from Hungary, and I get a

lot of inspiration from different cuisines

from different countries. I used to live in

Mexico and I had a small restaurant in a

brewery, where we served international,

beer-related food. For example, I made

pierogi from Poland, which went with

a Polish beer. I had a goulash from

Hungary, with a Hungarian beer. Fish and

chips from England with an English beer.

Our new menu at The Better Half has a

greater focus on food and drink pairings;

we already support local producers in the

kitchen, so it makes sense to be able to

recommend a local cider to go with your

locally sourced meat.

This is a simple dish but very tasty.

Basically, you slow-cook the beetroot,

vegetables and herbs in beetroot juice,

until the liquid reduces down to a rich

consommé. Then you spice it up with

some ingredients you might not expect…

It’s served with roasted vegetables, and a

sprinkling of locally made goat’s cheese.

To go with the bourguignon I’d

recommend a wintery red wine, maybe a

Malbec. I’m a big fan of Malbec though

so perhaps I’m biased, but it does go

especially well with goat’s cheese.

To make the base, chop some fresh

beetroot, carrots, celery and onion into

large cubes. Finely slice an onion and

a few cloves of garlic, and fry in a large

saucepan for a couple of minutes. Add

the chopped vegetables, and some fresh

rosemary and thyme. Semi-cover the

vegetables with beetroot juice and a glug

of red wine, then simmer the mixture over

a low heat until the juice reduces down to

a thicker consistency.

Roast a mixture of vegetables in the oven:

we use sliced portobello mushrooms, baby

potatoes, carrots, and butternut squash.

Cover them in a little oil and sprinkle

over some star anise and rosemary.

When the beetroot base and the roasted

vegetables are ready, remove a few basil

leaves from their stems and fry until

slightly crispy. Plate up the roasted

vegetables first, top with the beetroot

mixture and pour over some of the juices.

Sprinkle over the goat’s cheese, basil

leaves, and a small handful of chopped

raspberries. Enjoy! As told to Rebecca

Cunningham by Beata Koszta

The Better Half, 1 Hove Place

Now taking Christmas bookings – visit / 01273 737869


A-news bouche

November 2nd is Day of the Dead and there

are plenty of places to get into the spirit: La

Choza have a week of celebrations (29th Oct

to 3rd Nov) with special menus and activities at

both restaurants; Wahaca are serving a feasting

menu (traditional dress encouraged!); Carlito

Burrito have had their window done up

by illustrator Freddie Marlborough,

or why not try Pakal Taco Bar

(gluten-free tacos), Zona Rosa,

Tlaloc pop-up at Osetta Café or

DeadGood Burrito?

There’s loads on at The Community Kitchen;

our pick this month is ‘Make your own

Charcuterie’ with Craig from Barfields. Make

traditional British bacon and more, 1st Nov, 7pm,

£45. Jen Lindsey-Clark – aka the Chocolatician

– runs workshops, where you’ll learn chocolatemaking

fundamentals like tempering and

decoration []. And if you’re in a

chocolatey mood, the Chocolate Cocktail Club

are at the Vine Club serving ‘chocolate

twists on classic cocktails’ from 15th

Nov to 15th Dec (Thurs-Sat only)

Tickets £10.


Croque shop


made in Brighton Sausage rolls

Local Organic Pork sausage meat

Vegetarian and vegan options

9 Duke street Brighton BN1 1AH

Celebrate ‘Thanksgiving on our Side of

the Pond’ at Bolney Wine Estate on the

23rd, where they’ll be serving a traditional

Thanksgiving menu, accompanied by a glass

of their own Lychgate red or white. Tickets

£23 (two courses) or £26 (three courses)

from And a big happy

birthday to FareShare Sussex, the food-waste

redistribution charity, who turn 15

this year. They’re celebrating

with a fundraising meal, hosted

by zero-waste partners Silo, on

22nd Nov. Tickets £38.50 via





Irma’s Kitchen

Caribbean curry in Kemp Town

Last year I was invited by a lady called Natalie to

try out her home cooking. She was of Guyanese

heritage, and had got a group of ‘tasters’ together

to get some feedback. I went along and was served

up dish after dish of scrumptious Caribbean fare.

The result of this planning was a café you’ve very

possibly passed on St James’s Street, called ‘Irma’s

Kitchen’, Irma being Nathalie’s nom de cuisine.

Next time you’re round there, make sure it’s

lunchtime, and that you walk through the door.

Or breakfast time, for that matter. Natalie has

made Irma’s Kitchen an interesting hybrid, where

you can get a full English, if you don’t fancy

a Guyanese speciality. I’m here with my wife

Rowena, and we very much go for the latter. She

chooses a Guyana Curry Beef (£7.10), I choose

a Spicy Creole Cajun Chicken & Rice (£7.20).

Just after

we order, a


Caribbean group sits at the last available

table: we take this as a good sign.

Natalie is apologetic that we might have to wait a

bit for our food - everything’s made pretty much

from scratch, she says, and the place is jammed.

She points to a picture on the wall saying ‘Irma

says: good food takes time’; I don’t care, especially

when I learn they do pints of Stella.

Twenty minutes later, my dish arrives, with fried

platanos, a salad and a spicy sauce. Turns out it’s

tell-all-your-mates-about-the-place delicious,

fruitily spicy, and well, well worth the wait.

Alex Leith

85 St James’s St,

Photo by Alex Leith

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The Brighton School

An Edwardian legal drama

When the movies were in

their infancy, in the early

part of the twentieth century,

the Brighton and Hove

conurbation had the right to

think of itself as the cinematic

capital of the country. Sadly

the ‘Brighton School’ ended in

acrimony, with a complicated

legal battle involving two of its major

protagonists, George Albert Smith and William


Brighton was, at the time, the country’s most

popular seaside resort. The entertainment

industry here was a competitive and innovative

melting pot, with many photographers at work.

It was, then, a natural place for the movingimage

industry to incubate, and it became

the workplace for an inordinate number of

important cinematic innovators.

Smith cut his teeth as a hypnotist, illusionist

and magic lantern projectionist, before he got

involved with cinema. The skills he learnt were

solid groundwork for his future career as a film

director. This began in 1896, when he purchased

a prototype cine-camera from Alfred Darling, a

brilliant Brighton-based engineer who sold selfmade

film apparatus around the world. Darling

also helped Smith set up a film studio in St Ann’s

Well Gardens.

Over the next fifteen years, Smith was

prodigiously creative, making hundreds of short

films. In doing so he invented much of the

grammar of filmmaking, including close-ups,

double exposure and point-of-view shots.

Enter stage right William Friese-Greene, a

Bristol-born inventor who had built a motionpicture

camera in 1889 - years before Edison

or the Lumière Brothers - and now had set up

a workshop in Middle Street,

where he developed a method

for showing films in colour.

Friese-Greene was brilliantly

innovative, but he was no

entrepreneur, having returned

from a brief spell in prison

for borrowing money when


In 1911 Walter Speer, who ran the Queen’s

Electric Theatre - a prototype cinema in Western

Road - formed a company to start making and

showing films using Friese-Greene’s ‘Biocolour’

system. This was the start of all the trouble.

Charles Urban, the London-based American

film entrepreneur, had financed Smith to

develop a colour filming process. After many

years of research, this was finally launched

commercially as ‘Kinemacolor’ in 1909. Even

though Friese-Greene had patented his system

as early as 1906, Smith and Urban took out

an injunction against him, claiming that it had

copied from Smith’s system. The case went on

for several years. Smith and Urban won the

first round, but, backed by money from the

flamboyant racing driver Selwyn Edge, Friese-

Greene successfully appealed. A counter appeal

went as far as the House of Lords in 1915, which

Friese-Greene again won.

George Albert Smith’s patent was revoked, and

Charles Urban’s Natural Color Kinematograph

Company went into receivership. But this didn’t

do Friese-Greene much good. By then, colour

film-making had taken a back seat to the war

effort, which effectively signalled an end to

his work, as well as that of Smith, and thus the

demise of the Brighton School.

Alex Leith, with thanks to Peter Domankiewicz

Image: Friese-Greene test - Kino The Girl Of Colour © BFI





Photographic film fanatcis

We opened ten years ago, around the time

that Lomography started to become popular.

Lomography is a very basic form of photography

which produces photos that are really not perfect

at all – you get light leaks – and there are lots

of different types of film you can use that give

lots of different effects. This was also iPhone 3/

iPhone 4 era, so there weren’t so many apps that

gave you filters and that kind of thing – the only

way to achieve those effects at the time was with

film. It was really fashionable, but like everything

it kind of faded away – yet film photography has

remained very popular.

Film photography has always been a passion

of mine. In the last few years it’s had a real

resurgence; every day we get people coming in

who want to have a go, young people especially.

I think it’s a bit like vinyl: people recognise that

there’s something quite unique and special about

film. A photograph taken with a film camera is

not the same as one taken with a digital camera.

First of all, you’re not going to take thirty of the

same picture! You’re going to be more selective.

Then there’s the thing of having to wait for the

image. And the photograph itself – the grain, the

quality – is not at all like a digital image. At least

I hope that’s why it’s popular – I suspect a lot of

people like it because film cameras look cool…

All the photos in the shop are taken by me. I

still shoot mostly on film, especially for my own




Photos by Rebecca Cunningham

personal use. If there’s an event on in Brighton

and I want a quick image so that I can produce

it on a print for the weekend, I’ll take it on my

digital camera – within two days I can have a

product ready. But if I go on holiday with the

family, or when I’m walking around town, I use

film. I don’t think one medium is better than the

other; they each have their own uses.

I would say the main things we sell are the

pictures of Brighton and the souvenirs – the

postcards and canvases and fridge magnets – all

of which we make here in the shop. We do

digital printing, inkjet printing and large-format

printing, so for all the products that we sell, we

offer a service where you can have your own

photo put onto them. We don’t process film

on-site, but we work with a local lab called

Colourstream so we can offer this service. We

sell second-hand film cameras – anything from

£20 point-and-shoot cameras to an SLR, if you

want to take it a bit more seriously – and we sell

lots of film, especially small-batch film.

Sometimes I wonder what the next trend in

photography will be. Surely for film to have

come back into fashion, we must have gone

full circle. But I guess the progression of film is

about the sharing aspect of it; now, when people

shoot on film, they have the ability to get the

images in a digital format, not just in print. So I

guess we’ll see…

As told to Rebecca Cunningham by Serge Rolland

1 Sydney Street,




23rd - 26th November 2018


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Casting Director, Lucy Pardee

I’ve got a reputation as somebody who will

go and pick people off the streets to be in

films. People who’ve never acted before but

have something we’re looking for that matches

the role in the film. I work with a brilliant set of

female assistants and scouts. In our game, you

have to be able to talk to people. A lot of the

communities we work in are supposedly ‘hard to

reach’ because they are working class or BAME

- but usually because no-one is asking them to

be part of things.

I’ve worked with Andrea Arnold on three

of her films; American Honey most recently,

and Wuthering Heights and Fish Tank before

that. I spotted the lead for Fish Tank on a train

platform, shouting at an ex-boyfriend. I was

looking for a young woman with fire and she

was burning with it. When I spot someone,

something about them will strike me. It’s usually

about their energy more than their look. I’ll go

over and chat with them, ask them if they’ve

done any acting before and explain what I’m

doing. Surprisingly, I get very few people who

tell me to shove off.

I try to cast as authentically as possible. For

Perfect Ten (see pg 26) we needed a gymnast,

so we went to lots of gym clubs. For American

Honey, we stood on the beach in Florida for

weeks during Spring Break and went driving

around places like West Virginia and rural

Texas, looking for people who were also looking

for something in a way. The kids we cast were

amazing young people, all open to adventure.

That’s an important quality.

If I’m looking at schools, I don’t leave it up

to the staff to select who comes forward.

They aren’t looking for the same kind of energy

that I am. Quite often the kids that are perfect

for casting aren’t necessarily going to toe the

line in school. It takes a lot of guts.

When we were casting for Perfect Ten,

the Youth and Employability Service in

Whitehawk were hugely supportive. They

put it out on Facebook and encouraged people

to come and audition. I always thought that

Brighton and places like Peacehaven would be

interesting for casting. They have great energy

and great faces, and people are just outside a lot

more here, so it’s easier to spot them.

Conventional casting doesn’t take too long,

but street-casting is different. It’s a needle-ina-haystack

business. A lot of young people aren’t

represented in the mainstream media, or in

drama school. They don’t see people who look

or sound like them on screen. I’m interested in

filling that gap. We need to populate the film

industry, front and back, from all walks of life

because it’s still a very white, male-dominated

and privileged space. Everyone needs to have a

seat at the table. I don’t want the kids I’m casting

to only be in social realism. The hope is to blow

the doors off and let them tell the stories they

want to tell.

As told to Lizzie Lower




Brighton Film School

Cath Pick, Head of Second Year

“It’s a good time in the industry,” says Cath Pick,

Head of Second Year at Brighton Film School.

“There are more and more openings. A good

percentage of our recent graduates are already

working for local production companies, one

has been given an internship at the BBC, and

another one at Warner Brothers.”

Cath’s job – with the rest of her team – is to

prepare budding film makers for a career in the

film and television industry. “There are three

distinct areas you can go into,” she explains.

“There’s editorial or creative, which is writing,

directing or producing; technical, which includes

camera and sound and editing, and then there’s

organisational, so production managing, line

production. But increasingly students need to

have a working knowledge across all three of

those areas to hit the ground running.”

All students begin by studying the fundamentals

of camera work, editing, sound and lighting,

using industry-standard equipment and software.

Across the two sites – one on London Road, the

other off Ditchling Road – the school has an

editing suite, theatres set up for screenings, a set

and a full range of cameras – including Super 8

and 16mm film cameras. “I think our technical

staff would very much like everyone to use film,”

Cath says. “Some of the students have shot on

Super 8 and some third years are shooting on

16mm at the moment. The cameras are beautiful

machines, and you can shoot on film and then

transfer it to digital for editing purposes.




The problem with film, of course, is it’s very

expensive, but in a way, the constraint of

using film is a really good discipline because

you can’t afford mistakes. You have to get it

right much quicker than you do with digital.”

Cath herself has worked in TV for over

25 years. “I’ve done the usual run up, from

runner to researcher, to production manager,

and then I settled as an archive producer for

many years. I still do little bits – I did some

work for the BBC over the summer – and

I think it’s important that the tutors here

retain their relevance. All our tutors are from

the industry, and are either still working or

have a good body of work behind them.”

Even so, in such a current industry, is it

difficult to keep their teaching up to date?

“The technology changes, but the underlying

aim stays the same,” Cath says. “The same

problem was faced by people at the birth of

film, as is faced by our students today, which

is to express their story in a valid way. It’s all

about the story.”

Brighton Film School are holding an open

day for prospective students on Saturday

17th November. Applicants are welcome

from a range of backgrounds: “What they

need to show is some experience and some

knowledge of what they’re getting into,”

Cath says. “We always check that they have

at least made a short film themselves, so they

know how arduous it can be, how much time

it can take, how much stamina is involved.

Some people come to us at quite an advanced

level already, others have a lot of potential. I

guess what they all share is the passion.”

Rebecca Cunningham



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The Faces We Lost

Documentary filmmaker Dr Piotr Cieplak

“It’s not just a photo. It’s

almost like it’s actually

him. As if he’d never


A young Rwandan woman

is looking at her only

photograph of her father,

who was among the

victims of her country’s

genocide in 1994 in which

nearly one million people died.

It’s one of many touching moments in a

documentary by University of Sussex filmmaker

and lecturer Dr Piotr Cieplak, whose work focuses

on the interaction between memory and the still

and moving image.

Shortlisted for the Best Research Film of the Year

in the Arts and Humanities Research Council’s

(AHRC) 2018 Research in Film Awards, The Faces

We Lost incorporates interviews with survivors, and

those who are helping to keep alive the memories

of the dead with a vast archive of photographs.

One of the interviewees describes running into

the Gatagara forest to escape Hutu killers, and

witnessing acts of extreme barbarism against her

own children. The killers ransacked her home, but

left her photos scattered in the dirt. She salvaged

them, and when she wants to remember her lost

loved ones, she looks at the photographs “to release


At the Kigali Genocide Memorial, in the capital

of Rwanda, between 6,000 and 8,000 photographs

of those who were killed have been stored in an

archive, at the site of ten mass graves of 250,000

people. The senior archivist explains on camera

how images more than numbers invoke emotion.

“You look at a picture and you ask yourself why a

person could kill a little kid, or an old man, or an

older woman… or kill anyone?”

The film is the

culmination of a ten-year

research project for Piotr

and involved working

with a trauma therapist in

Rwanda to identify and

approach participants.

“It’s often the case that the

words of survivors in films

about Rwanda are used

only to illustrate a wider point – sort of auxiliary

– usually made by an academic or journalist or

some other kind of expert,” he says. “I wanted to

tell a story that was more personal for the survivors

and victims of a genocide that has been mediated,

especially internationally, through images of

mutilated bodies and anonymous refugees.

“I didn’t want this to be a history lesson,” he adds.

“There are a good many films out there that do

that. History tends to homogenize events, make

them manageable and digestible. Actual experiences

and memories are more subjective, messier. This is

more what the film is about.”

Piotr, whose films and essays have won awards

and been screened at international film festivals,

including Africa-in-motion Film Festival and the

Montecatini International Short Film Festival, felt

it was important to move away from the more usual

representation of anonymous African suffering.

“Many Rwandans commemorate their dead,

privately and institutionally, with images showing

life rather than death: a passport photo or a group

portrait from a wedding, for example.

I wanted to show Rwandans as active users of

images, rather than only their subjects.”

Jacqui Bealing

Piotr will find out on 9th November at a ceremony at

BAFTA if his film has won an AHRC Award. Watch

the trailer at


Christmas at Sheffield Park

and Garden

Stroll among the decorated trees and

sculpted figures in the garden that create

a festive atmosphere for winter walks.

Children's trails will be running weekends

and during the school holidays.


Call 01825 790231 for details

© National Trust 2018. The National Trust is an independent registered charity, number

205846. Photography © National Trust Images\Nina Elliot-Newman




The return of the celluloid heroes

Illustration by Mark Greco

Sleek muscular physique. Dynamic aquatic killer.

Mysterious enigmatic loner. You can see why

otters shared the cinema box office with James

Bond in the 1960s and 70s. Otters are natural

film stars. The Sean Connery of British mammals

(with a slightly hairier chest).

I remember two otter-based films from my childhood.

I caught Tarka the Otter at the local Odeon

and the superior Ring of Bright Water always won

over Goldfinger on the TV at Christmas. From

the opening man-meets-otter sequence (both the

greatest and silliest scene ever committed to celluloid)

through to Val Doonican’s closing credits

crooning – it’s a classic!

But behind the otter’s silver-screen celebrity status

lie a darker, sadder tale. Wild otters in Britain

were in trouble. Throughout most of the last

century our rivers and wetland habitats were in a

shocking state – polluted, drained and destroyed.

Otters were forced into exile in the far flung corners

of Britain. The last Sussex otters struggled

on until the 1960s.

And with our heroes out of the picture the bad

guys muscled in. American mink, which escaped

or were ‘liberated’ from fur farms, rose to the top

of the food chain and terrorised our waterways.

These voracious predators attacked our native

wetland wildlife, wiping out entire populations of

water voles across Sussex.

But this screenplay has a happy ending. Over the

past decades we’ve cleaned up our act and a lot

of work has been undertaken to improve rivers

and wetlands in Sussex. Otters are wandering,

territorial animals – each otter needs 40km of

river to make its home – but projects undertaken

by conservation groups such as Sussex Wildlife

Trust, working with local landowners, have

provided these connected, wetland habitats. And

what is good for the otter is good for us too. By

undertaking wetland habitat improvements for

wildlife – such as planting floodplain woodland or

creating water meadows – our countryside regains

its powers as water purifier, erosion controller and

flood regulator.

Over the past years, footprints, droppings and

fleeting glimpses have given tantalising evidence

that these mammalian movie stars are attempting

a comeback in Sussex after half a century.

Recently night vision trail cameras were rolling

and filmed a female otter as she made her Sussex

small screen debut – possibly the first time a wild

otter has ever been filmed in our county. But the

real showstopper came when these cameras later

captured footage of one – or possibly two – otter

cubs; evidence that otters are breeding again in

Sussex. With this dramatic plot twist there is

plenty of potential for a sequel. The dream that

one day we could see these incredible animals

swimming in all the restored and vibrant rivers of

Sussex is a step closer to becoming a reality.

Michael Blencowe, Senior Learning & Engagement

Officer, Sussex Wildlife Trust




There was quite a reaction when I put up a

picture of the interior of this building on the

Brighton Past site on Facebook, with the comment

‘the Vogue Gyratory is thought to be the

only one-way system in the country named after a

porn movie cinema’.

The picture, from the James Gray collection, was

taken in October 1979, when the cinema - by

then called The Classic - was in its death throes,

having been earmarked for demolition.

‘The Classic’ was the fourth and shortest-lived incarnation

of the cinema, which was purpose-built

as ‘The Gaiety’ in 1937 and opened with a

screening of Swing Time, starring Fred Astaire and

Ginger Rogers. In those days the six pilasters on

the façade reached fifty feet into the sky, and were

highlighted at night by neon strips. It seated no

fewer than 1,400 people, and was considered one

of the jewels in the crown of Brighton’s thriving

cinema scene.

In 1965, during a far bleaker period for the industry,

it was renamed The Ace, in a vain attempt

to pull in a younger, trendier clientele. And it was

rebranded again in 1971, becoming The Vogue,

with a screen upstairs showing soft porn movies

(and monthly strip shows) to club members, and a

bingo hall downstairs. ‘The films were very tame

by today’s standards’, we’re told by then-manager

John Langsbridge, via Facebook. Another FB

poster remembers them as ‘tits and bums films,

nothing stronger’. The Alternative Brighton 1973

Guide remembers it for ‘dirty pics and occasional

strip clubs, both for members only’. It wasn’t

unknown for husband and wife to go to the venue

together, we hear, each to their own event. It ran

as The Vogue until 1979.

Many Brighton Past Facebook posters remembered

the cinema in its pre-sixties pomp, as The

Gaiety, and bridled at the notion that the building

should be remembered as a porno cinema, and

it is a pity that the one-way system should recall

the least salubrious incarnation of the building. It

was even suggested on Facebook that the unloved

multi-road-junction should be renamed to reflect

the cinema’s golden era, rather than its tacky

last chapter. But would a campaign to call it the

‘Gaiety Gyratory’ persuade the Council to act? It

does have a pleasing ring to it, doesn’t it?

Alex Leith

Thanks, as ever, to the Regency Society for permission

to use this picture, from the James Gray



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