T - Raindance Film Festival

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– – SHARE THE (FILM) LOVE, SUPPORT THE CAUSE… The Independent Film Trust was established to advance the cause of independent filmmaking The Independent Film Trust works with the British Independent Film Awards and the Raindance Film Festival with the aim of seeking out and showcasing the best in independent film, promoting innovation and celebrating the vitality and diversity of the sector The Independent Film Trust is proud to be the sponsor of: The Raindance Film of the Festival Award and the Raindance Film Festival trailer The Raindance Training Scholarships – The Raindance Film School in a Box programme Find out more at www.independentfilmtrust.org For further information contact Commercial Director Marcia Degia at marcia@independentfilmtrust.org And for regular updates please find our group on facebook Patrons Alan Parker / Michael Caton-Jones / Mike Leigh / Bill Forsyth / Tim Roth / Nick Broomfield / Samantha Morton / Faye Dunaway
‘ Mackendrick was never cosy, and never nostalgic. he did not present his work as art or himself as an auteur. Instead he was a craftsman’ as one of the high points of 1950s cinema, it wasn’t exactly a hit. Add to that his dismissal from HHL’s follow-up picture, The Devil’s Disciple, and then from The Guns of Navarone, not to mention MGM’s re-cutting of A High Wind in Jamaica: suddenly, compared to Lean and Reed, Mackendrick’s reputation seems diminished. Hollywood didn’t suit him. He said ‘At Ealing… I was tremendously spoiled with all the logistical and financial troubles lifted off my shoulders, even if I had to do the films they told me to do… When I arrived here… I found that in order to make movies in Hollywood, you have to be a great dealmaker… I have no talent for that… I realised I was in the wrong business and got out.’ Or it may be because he himself did not much like the so-called ‘cult of the director’. So he did not present his work as art or himself as an auteur. Instead he was a craftsman who, as a teacher, passed on his understanding of craft to his students. And it is largely through his book, On Filmmaking, edited by Paul Cronin, that his work has come to be re-appreciated by new audiences. Mackendrick, the consummate perfectionist, who wrote that ‘the great directors manage to disappear and dissolve into their work’, emerges inadvertently as an auteur, with preoccupations and thematic concerns running in rich veins throughout his work. Craft comes before art, and his dedication to craft allows us now, in retrospect, to appreciate the art of his work. Mackendrick left filmmaking to teach film direction at CalArts in Pasedena. There were precious few film schools at the time. Training back then was an on-the-job thing. The film schools, such as they were, were focused on appreciation, on criticism of film as an art. So Mackendrick was inventing a tradition for the teaching of directing and screenwriting from scratch. For that, we at Raindance and at film facilities everywhere, owe him a great debt. I wrote in the programme notes to the first Alexander Mackendrick lecture: ‘Where many can claim to have made films, few can say they made filmmakers. He could, and at Raindance that is something we respect beyond measure.’ So it’s with real pleasure that, this year, we restore the Alexander Mackendrick Memorial Lecture to the Raindance schedule. Fred Hogge interviews Terence Davies at the Alexander Mackendrick Memorial Lecture takes place at 8pm on Tuesday 6 October at the Apollo Cinema, followed by a screening Of Time and the City SEVENTEENTH RAINDANCE FILM FESTIVAL 15
Page 2: NEW TITLES FROM THE DOGWOOF KENNEL
Page 5: OUR THANKS TO Julia Brown, Amy Gust
Page 8 and 9: WEDS 30 SEPT THURS 1 OCT FRI 2 OCT
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Page 12 and 13: THE FESTIVAL JURY Riz Ahmed is an a
Page 15: Opposite Alexander Mackendrick, ©
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Page 25 and 26: Opposite Momoko Ando JAPANESE WOMEN
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Page 30: for several films in the first half
Page 35: Opposite Billy Bragg with Mick Jone
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Page 40: OLY RALFE FIRST CAME TO RAINDANCE I

T - Raindance Film Festival

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