Bristol Slapstick Festival 2012

By Richard Hogg

There is something about watching good comedy with a large group of strangers. Action films may leave the audience gasping; romance flicks may have everyone reaching for the tissues but comedy unites everyone in laughter – making us forget the troubles of the day for just a few hours. 

And if there was ever a film designed to create this feel good factor it is Monty Python’s The Life of Brian. Such was the level of affection and familiarity with the film that a constant chuckle could be heard; purring in the background as everyone slowly remembered which bit was coming up. Bigus Dickus, the People’s Front  of Judea, he’s not the messiah….all were preceded by a titter before the explosion of laughter.

The film itself needs no introduction but it got one anyway from the director, actor and Python member Terry Jones. Dressed casually he spoke with humour, warmth and a degree of humility that was refreshing for someone who has achieved so much. After the brief introduction the film started with English subtitles which were quickly cancelled thanks to a technician with the DVD control.

 After Michael’s Palin’s corpsing in the Bigus Dickus scene I found my jaw beginning to seize up thanks to the permanent and slightly inane grin I had been holding for the last hour. The end song allowed a few of the more mature viewers to express their admiration through a sing-a-long with Eric Idles classic ‘Always Look on the Bright side of Life.’

After the film Mr Jones returned for a chat with Sanjeev Bhaskar and the audience. Again he was modest and disarming in the simplicity of his explanations of how one of the funniest ever films was made. For example, how Spike Milligan became involved because he was on holiday and happened to be staying in the same hotel as John Cleese.

This remains at the pinnacle of film comedy and I heartily recommend you watch it again at the earliest opportunity.

Filmic festival takes place in Bristol in February and March, 2012

Forget Bogart and Bacall, Astaire and Rogers, Burton and Taylor, cinema’s most enduring relationship is with music, and to celebrate this partnership Watershed and St George’s are working together to produce Filmic, a brand new festival of film and music. Running throughout February and March, Filmic’s talks, concerts and films focus on two of the world’s best loved film composers – Ennio Morricone and Michel Legrand.

The festival launches on Thursday 9 Feb at St George’s with theatrical Aussie quartet the Spaghetti Western Orchestra, an endlessly inventive tribute to Morricone, the musical mind behind Sergio Leone’s operatic films. Featuring a good, bad and ugly array of unlikely instruments including cabbages, cornflakes, inhalers and balloon pumps alongside the more usual suspects, it’s bound to be a spectacle to behold. One of the highlights includes Sir Christopher Frayling, who will select a Sunday Brunch season of the best Spaghetti Westerns (The Good, The Bad and The Ugly, Big Gundown, Death Rides A Horse and Once Upon A Time In The West, and he’ll be joining us for a special illustrated talk on Sun 5 Feb about the genre’s revolutionary use of music.

Saturday 31 March sees Michel Legrand, triple Oscar winner and composer of over two hundred film soundtracks, making a special visit to Bristol. Responsible for such classics as The Umbrellas of Cherbourg and The Thomas Crown Affair as well as his long collaborations with the likes of Barbara Streisand and Miles Davis, Legrand will play a special concert performance of his work, at St George’s. Just before his St George’s gig Legrand will be at Watershed for an intimate talk about his life and career, giving a fascinating insight into the genesis of his film scores, his ‘natural instinct to always write sad music’ and how ‘critics are bums’. One of those so-called ‘bums’, incidentally, will be also be a highlight of Filmic. Film critic Mark Kermode’s rocking and rootsy country-billy band the Dodge Brothers will be slapping that bass at St Georges on Thu 8 March.

Mark Cosgrove, Watershed’s Head of Programme, said: “Would Hitchcock’s films work without Bernard Herrmann’s music or vice versa? Film and music are inextricably creatively linked, an artistic partnership that defines the uniqueness of the cinematic experience. This collaboration between Watershed and St George’s will explore this rich relationship drawing on our own unique strengths in presenting film and music events to celebrate the creative exchange between filmmakers and musicians.”

Phil Johnson, Contemporary Programmer at St George’s, added: “Film and film music has become such a part of our subconscious that we can imagine ‘surprise’ through crashing chords, ‘tension’ through taut strings, and transitions of mood and setting through dissolves of sound and vision.”

More information at www.watershed.co.uk/filmic

Torchwood will be more accessible, thanks to Netflix/BBC deal

Film and TV fans in Bristol are set for greater competition in the home entertainment market after the world’s biggest internet streaming service launched in the UK.

Netflix, which has 20 million members worldwide since launching its online streaming service in 2007, streams movies and shows online to TVs and computers for a monthly subscription.

It will offer unlimited access to local and global films and TV programmes for a monthly fee of £5.99.

In its bid to compete in the UK with Amazon-owned LoveFilm and BSkyB, it is offering a free one-month trial and has signed digital licensing deals with the BBC and Hollywood studios such as MGM, Miramax and Lionsgate.

Netflix’s deal with the commercial arm of the BBC means subscribers will be able watch older series of BBC shows, such as Torchwood and Spooks, via the service.

Analysts have suggested the UK launch of Netflix could provoke a new price war. Simon Woodward, of digital TV specialist ANT, told the Daily Telegraph: “2012 signifies a tipping point for the connected TV market. Manufacturers and retailers have been talking about the connected TV experience for some time, but in reality, the benefits are yet to be realised by the majority of consumers.

“2012 is the year where this is set to change – and we’re expecting a host of services like this one to be launched in the coming twelve months as the market responds to growing consumer demand.”

Despite its success in the US, it is set to have a much tougher time in the UK. In October Reed Hastings, the Netflix chief executive, warned investors of the scale of the task admitting that the venture is expected to take more than two years to achieve profitability in Britain, longer than in previous launch markets such as Canada.

Organisers of Bristol’s Afrika Eye Festival have described the event as a “resounding success” as demand for tickets outstripped supply over the weekend.

People had to be turned away from the full houses for both the opening film, Harry Belafonte’s Sing Your Song on Friday and for the UK premiere of Robert Mugabe… What Happened? on Saturday.

Longer theatrical runs are now planned for these two films in response to demand. The Mugabe film will be shown in cinemas UK-wide in the build up to Zimbabwe’s general election in March 2012.

The festival’s Eyefull programme year showcased the short films of young Bristolian filmmakers as well as films from Egypt, Tunisia and Ethiopia.

Simon Bright, co-director of Afrika Eye, said: “We showed films to all ages, young and old. The youngest I saw was three months old strapped to his mother’s back and the oldest was 91. There were people from all parts of Bristol – from Easton and Bedminster to St Pauls and Clifton.

“Our aim is always to unite an audience from all cultures through stories from Africa …after all that is where story telling started.”

Maddy Probst, programme developer for Watershed said: “We are delighted with this year’s Afrika Eye festival – we had an excellent turnout and a great reaction to all the weekend’s events, particularly the première of the Mugabe documentary which we could have sold twice over.”

Bristol’s African film festival, Afrika Eye, takes place this weekend at Watershed with a great line up of African cinema, live music and discussion inspired by revolutionary developments in North Africa.

The range of films and events demonstrate how music and song – as well as political events – can affect democratic change.

Afrika Eye opens on Friday night with Sing Your Song, a powerful reflection on American singer Harry Belafonte’s life in music, acting and the fight for democracy and civil rights. After the film, which starts at 8.30pm, visitors can get on the dance floor at the opening party where music maestro Hassan Erraji and his fusion band will be playing Moroccan-influenced beats.

The festival continues over the weekend with a documentary on politics in Ghana (An African Election), the premiere of Bristol-based exiled Zimbabwean director Simon Bright’s investigation into Robert Mugabe (Robert Mugabe . . . What Happened?), the regional premiere of a passionate documentary about the Tunisian revolution (No More Fear) and much more.

At 7pm on Saturyda, between the screenings of An African Election and Robert Mugabe . . . What Happened?, Lord Paul Boateng, the former Chief Secretary to the Treasury and British High Commissioner to South Africa, will speak on the challenges and opportunities for democracy in North and sub-Saharan Africa as part of the festival.

For the younger audience there’s a music documentary (Mwe Bana Bandi – for children between six and 10) that follows two school boys in the Zambian village of Wapamesa on a typical day during the harvest.

After the film, there’s a chance to take part in a free workshop with Zimbabwean musician Cecilia Ndlovhu where participants can make music using everyday objects.

Watershed has a special offer of buy four tickets and get the cheapest one free on all Afrika Eye events – and double points for Watershed loyalty card holders.

Bristol Business News is proud to be a media partner of Afrika Eye. For more information, visit the Afrika Eye website…

A movie director has launched a competition for musicians in Bristol to create a “so-bad-it’s-good” tune for a new film.

Eight Minutes Idle, a twisted romantic comedy set in a Bristol call centre, stars up-and-coming young British actors Tom Hughes and Ophelia Lovibond.

Currently in post-production, it already features music from Bristol’s very own Kid Carpet, West Country favourites The Wurzels and international superstars Gorillaz.

The next band it features could be yours, helping to set the scene at a student house party which was filmed at a house on Kingsdown Parade opposite the Kingsdown Wine Vaults pub.

Eight Minutes Idle Director Mark Simon Hewis, who lives in Bristol, said: “We’re looking for someone with a love of music production and a twisted sense of humour to write a tune that’s so bad it’s good.

“It’s the kind of music that’s playing when you walk home with someone you really fancy and find your drunk flatmates’ friends busting your speakers and having a threesome in your bed.”

As well as hearing their music in cinemas and broadcast on the BBC, the winning composer will also receive two tickets to the official UK premiere of the film.

To enter the competition:

• Visit Eight Minutes Idle’s new Facebook page to view the clip – www.facebook.com/EightMinutesIdle
• Write a great tune (more than two-minutes in length)
• Upload it to YouTube with the clip provided as an unlisted video
• Email the URL to party@8minutesidle.co.uk along with your contact details

The closing date for the competition is midday on November 16. Each entry will be judged by the filmmakers and representatives from BBC Films and the BFI.

Lord Paul Boateng, the former Chief Secretary to the Treasury and British High Commissioner to South Africa, will speak on the challenges and opportunities for democracy in North and sub-Saharan Africa as part of Bristol’s Afrika Eye film festival.

In an event co-hosted by Afrika Eye and Bristol Festival of Ideas, Paul Boateng will give a talk and Q&A session entitled Africa Rising . . . Challenges and opportunities facing North and sub-Saharan Africa. It will expand on the festival’s core themes of democracy, dictatorship and revolution in Africa.

Paul Boateng, who was MP for Brent South between 1987 and 2005 and the UK’s first black cabinet minister, said: “This exciting festival provides a welcome opportunity to focus on the challenges and opportunities that Africa presents at this critical time.”

His talk takes place at Watershed, Bristol, on Saturday, October 29, at 7pm – between screenings of? An African Election, a documentary about Ghana’s 2008 election, and Bristol-based exiled Zimbabwean filmmaker Simon Bright’s Robert Mugabe… What Happened? – the fascinating story of a man who built a country and then destroyed it.

A full interview with Simon, founder of the Afrika Eye festival, will appear on Bristol Business News next week along with the full festival programme. For further details go to http://afrikaeye2010.blogspot.com/p/programme.html

Click here to view the embedded video.

The official video to celebrate the See No Evil street art project is now available to view, after an exclusive press screening on Monday.

The See No Evil event saw more than 60 renowned street artists from across the globe transform Nelson Street in the city centre into the UK’s largest street art installation.

The official video produced by Hurricane Media, named Who’s Lenny, shows behind the scenes shots from the week-long installation. Hurricane Media’s John Lanyon directed the video which gives viewers a bird’s eye view of the street. Meanwhile the time lapse, filmed across four nights, shows the artwork come to life.

The documentary features interviews with world class artists, from El Mac to Tat’s Cru and Nick Walker and focuses on both See No Evil and the history of Bristol’s graffiti culture.

The trailer, which was filmed and edited on the weekend of the event, has already gone viral on You Tube with more than 47,600 views. Hurricane Media hope for the same success with the 16-minute documentary which captures the electric atmosphere and unorthodox spirit of Bristol.

Deputy council leader Simon Cook said: “See No Evil has successfully transformed a drab city centre street into a tourist attraction, whilst providing an interesting and exciting place for Bristol’s residents.

“We place high importance on cultural development within the city and consequently Bristol pushes boundaries with innovative, imaginative and forward thinking events; we hope this video will demonstrate this to an even wider audience.”

Jon Mowart from Hurricane Media added: “It’s a pleasure to be involved with a project as pioneering as See No Evil which challenges attitudes towards both art and our environment. Bristol’s creative drive and passion is second to none and any opportunity to highlight that at an international level simply must be supported.”

Click here to view the embedded video.

Bristol Business News

Aardman, the Bristol-based animation studio best known for its Wallace and Gromit characters, has released a new trailer for its latest yuletide movie – Arthur Christmas.

The CGI-animated film, which will be in cinemas from December 11, features the voices of a who’s-who of British acting talent including James McAvoy, Jim Broadbent, Imelda Staunton, Bill Nighy and Hugh Laurie.

It tells the story of Santa (Broadbent) and his vast army of highly-trained elves who produce gifts at their secret, technologically-advanced operation at the North Pole and distribute them around the world on Christmas Eve.

At the heart of the film is a story with the ingredients of a Christmas classic – a family in a state of comic dysfunction and an unlikely hero, Arthur, with an urgent mission that must be completed before Christmas morning dawns.

Every operation has a margin of error and when one of 600 million children who receive gifts from Santa is missed, Santa’s misfit son, Arthur (McAvoy), steps in.

He executes an unauthorised rookie mission to get the last present half way around the world before dawn breaks on Christmas morning.

Aardman has produced the movie as part of its distribution deal with Hollywood studio Sony, which it signed in 2007 following the end of its five-film arrangement with Steven Spielberg’s DreamWorks. Despite their critical acclaim and success in winning industry awards, Aardman’s full-length films failed to pull in the kind of box-office takings major studios demand.

By Joanna Papageorgiou

The British Board of Film Classification has been in the news these past few days after banning the film Human Centipede II. Apparently no amount of footage could be cut to make the film suitable for any classification so it can not be seen or distributed in the UK legally.

The original movie is about a surgeon who creates the first human centipede by surgically connecting three tourists via their gastric systems. The sequel, which was already planned with the release of the first movie, is meant to be even worse and was described as ”sexually violent and potentially obscene”.

Bristol24-7 asked Mark Cosgrove, head of programming at the independent cinema The Watershed which showed Human Centipede in 2010, what he thought of the BBFC’s ruling and their censorship.

“I think [the BBFC] have given it a very considered intelligent judgement which then raises a hosts of issues,” he said. “First up censorship – I fundamentally don’t believe in censorship, however I do fundamentally believe in responsibilities. Where those meet is an interesting point. I would reference the recent report on the sexualisation of young people here.”

Cosgrove is referring to the government report by Reg Bailey called Letting Children be Children released on June 6, on the “commercialisation and sexualisation of childhood”. Suggestions from government have come forth about “putting age restrictions on music videos and ensuring retailers offer age-appropriate clothes for children”.

The freedom of manufacturers to do as they please is contrasted with their responsibility towards children and their parents. In the case of the BBFC, its function is to oversee what is classified and they conclude “that the explicit presentation of the central character’s obsessive sexually violent fantasies is in breach of its Classification Guidelines and poses a real, as opposed to a fanciful, risk that harm is likely to be caused to potential viewers.”

This isn’t an unknown element for those in the film industry and Cosgrove mentions the same concerns raised by “Russian filmmaker Alexander Sokurov vis-a-vis depicting violence on screen” and “the moral and ethical responsibilities of the creative in depicting images”.

“I always find it paradoxical that a group of people decide what I can or can’t see – more often can. But those people have looked at the images they have decided I/we cannot see. Very peculiar.”

The Watershed screened the first Human Centipede movie between August 20 and 28 in 2010. We asked him if they would have screened the sequel. It is a moot point of course since the Watershed cannot legally do so.

That “would depend how good it was – good of course is a very subjective term and a longer discussion. Jaws was a great film, Jaws 2 a load of old nonsense. Ditto The Magnificent Seven/The Magnificent Seven Ride Again”.

As Cosgrove points out, the BBFC are a regulatory body whose ruling could be overturned such as for Shane Meadows’ Made in England.

“I got Bristol City Council to change the BBFC 18 cert to 15 because I felt the target audience was older teenagers. We won.” Cosgrove says. “If there was enough mobilisation people could potentially overturn their recommendation for HC2 via local authorities. Will that campaign be started?”

Most importantly however it comes down to taste as well. “I don’t feel the weight/need of going to argue for [Human Centipede II]” says Cosgrove. It may not be a bad thing that the film will never grace Bristol cinemas.