Fifteen Years Is a Long Time in the Film World, and I Never Imagined That We

Home , Brian Tufano, Flower and Snake, Masayuki Suo, Pink film, Takahisa Zeze, Toshiharu Ikeda

Festival Director Elliot Grove Fifteen years is a long time in the film Festival Producer world, and I never imagined that we Jesse Vile Senior Programmer would have grown and developed so Suzanne Ballantyne Programming much. I attribute this to two facts: that Damjan Bogdanovic Jamie Greco Raindance has the most talented team Elliot Grove Andreja Kmetovic of hard-working individuals I know – all James Merchant Ronni Raygun passionate about film and filmmaking; Jasper Sharp Dominic Thackray and, we have had the most wonderful Jesse Vile films submitted by exciting filmmakers Editor Yinka Graves from the four corners of the globe. Designer Dominic Thackray This year sees a cornucopia of bold, Assistant Producer fresh independent international cinema, James Merchant Events Co-ordinator the best lineup we have had in our 15 Joe Pearshouse Sponsorship year history (and we have had some Simon Farley at Sponsorship By Design vintage years). In addition we are graced Print Traffic this year with the presence of Jonathan Tessa Williams Rory O’Donnell Caouette, who is making a documentary Technical Chris Thomas of our 15th anniversary for Canon. Website New this year is Raindance Online Heenesh Patel Festival Assistants in association with Tiscali: festival films Zach Boren Jules Garnett and highlights streamed full screen Raindance Training Will Pearce and hi-res on the internet. We are also Public Relations launching a new venue: The Rex, home to Nick Leese at Organic Marketing advance screenings of award-nominated Official Photographers Isma Arif films and special events. Andreas Tovan Xavier Rashid Added to this mix are a few parties. You Volunteer Co-ordinator can sleep when it’s over. Nour Wazzi Additional Reviews Issac Alexander Elliot Grove Smita Dey www.raindance.co.uk Alan Diment John Ribbins Ramchandra Solanki Alison Wrigley Print National Screen Services Stones the Printers Poster Collage Gee Vaucher

GESTALT [FORM FOLLOWS FUN] VENUES, MAP & SCHEDULE 4 JURY PRIZES 7 THE JURY 8 JEAN-LUC GODARD 14 RYUICHI HIROKI 19 JOHN SINCLAIR 24 PENNY RIMBAUD 32 RONNI RAYGUN 40 NOLLYWOOD 45

Opinions expressed in this MASAO ADACHI 46 SHORTS BEFORE FEATURES 49 SPECIAL EVENTS 51 magazine are the sole GODARD RETROSPECTIVE 55 HOMEGROWN CINEMA 57 province of the writer RAINDANCE SYMPHONY ORCHESTRA 61 UNITED STATES OF EUROPE 65 concerned and therefore do not necessarily reflect WAY OUT EAST 71 GLOBAL CELLULOID 75 NORTH AMERICAN INDIES 79 those of Raindance DOCUMENTARY 85 SHORTS PROGRAMMES 91 INDEX 96

OUR THANKS TO PRINCIPAL SPONSOR

Rachael Courtney, Clare McCollum and everyone at Cineworld, Kim Mortimer, Alice Clary and everyone at Diesel, Rob Andrews, Jon Salmon, Jodie Haskayne, Debbie Reynolds, Ross O’Sullivan and everyone at Tiscali, Kattarina McGrath and everyone at Delta Air Lines, Sally Reid and everyone at Ascent Media, Jaia Lloyd, Erin McGookin, Emily Mortimer and everyone at Soho Images, MAJOR SPONSORS Jens Hack, Melanie Dubois, Sasha Naod and everyone at Canon, Jules Stevenson, Claire Walton and everyone at GSP, Paul Logan, Adam MacDonald, David Ramsammy and everyone at National Screen Services, Robin Charney and everyone at Adobe, Agata Kacperczyk and everyone at The Rex, Jessica Turner, Tanya Gerber and everyone at Neil Reading PR, Angi Kuzma, Matthias Postal, Carl Schoenfeld and everyone at SAE Institute, Simon Winter and everyone at HMV, Jess Holliday and everyone at Fossil, Chris Houghton, Everett True and everyone at Plan B Magazine, Adam Barriball, Tinka Bose and everyone at Cobra, Kevin Karlsen, Jeremy Johnson, Patrick Stewart and everyone at Getty Images, Nick Franks, Julian Grace and everyone at Gibson, Anne Guidera and everyone at Kodak, Luigi Mammolini, Vita Moltedo and all at the Italian Cultural Institute, Candi Perez, Olvido Salazar Alonso and everyone at Instituto Cervantes, Jeremy Barraud, Susan Meehan and everyone at the Daiwa Foundation, Fionnuala Waters and everyone at the Sasakawa Foundation, Joe Utichi and all at Rotten Tomatoes, Petra Luckman and everyone at The Independent, MAIN SPONSORS Clare Elliott and everyone at GP London, James Mullighan, Tamsin Wright, Jess Search and everyone at Shooting People, Sian Walker, David Tew and all at Stones the Printers, Mariayah Kaderbhai, Dora Gorman and everyone at BAFTA, Claire Geddie and everyone at Stellar Network, David Pope, Becky Bazzard and everyone at the New Producers’ Alliance, Danny Miller and everyone at Little White Lies, Georgina Wilson-Powell, Laura MacDonald, Charlie Phillips and everyone at FourDocs, Davide Scalenghe and everyone at Current TV, Mark Ross and everyone at the Diorama Arts Centre, Andy Whittaker, Anna Oribe Godas and all at Dogwoof Pictures, Zara Ballantyne-Grove, André Burgess and everyone at Crucible Media, Angela Flintham and everyone at Team Global, Johanna von Fischer, Tessa Collinson, Deena Manley, Issac Alexander, Rebecca O’Brien, Ken Loach, Ann Cattrall, Benitha Vlok, Masha Vasukova, Art Ryzkoff, Lindsay Henderson, Simon Hunter, Patrick Tucker, Jonathan Caouette, Candida Richardson, Shizuka Hata, Basil Khalil, John Tobin at EM Media, Zak Brilliant and everyone at Icon Film International, Annette Jordan, Elisar Cabrera and all at SUPPORTING PARTNERS High Point Media, Edinburgh Film Festival, Rotterdam Film Festival, Elia Rulli, Clive Bradley, Désirée Ballantyne-Grove, Julian Richards, Kiyomi Nakazaki, Keiko Funato and all at Unijapan, Metrodome Distribution, Martin Myers, Miracle Communications, Sam Nichols at Momentum Pictures, William Clarke and Danny Perkins at Optimum Releasing, Soda Pictures, Hamish McAlpine, Laura De Casto, Phil Cairns and all at Tartan Films, Hubi and everyone at Vertigo Films, Yume Pictures, Gareth Tennant and all at The Works, Peter Furze, Richard Larcombe, Jane Lawson, Penny Woolcock, Sandy Lieberson, Tessa Ross, Jemma Rodgers, Tim Bevan, Michael Madsen, Mick Jones, Miranda Davis, Marky & Marion Ramone, Michael Mongillo, Will Stevenson, Dean Goldberg, Annette Jordan, Nick Leese, Junior Foster and everyone at Organic, Roger Burton and Tai from the Horse Hospital, Simon Channing-Williams, Brian Tufano, Jonathan Harvery, Edward King, Henry McGroggan, Melinda Walker, our Patron Saint this year Gee Vaucher, Penny Rimbaud, Alice Smith, Layke Anderson, Sam Béart, Oli Harbottle, Alis Cox, Emma Luckie, Rachael Castell, Jesse Galle, Tim Beckett, Ronni Raygun Thomas, Yumiko Tahata, Belle Thackray and all the volunteers and interns who have helped us oh so much CULTURAL PARTNERS

Raindance Patrons Nick Broomfield, Jonathan Caouette, Henrik Danstrup, Mike Figgis, Terry Gilliam, Ken Loach, Dave McKean, Martin Myers, Alan Parker, Jonathan Pryce, Marky Ramone, Vanessa Redgrave, Mark Shivas

Raindance Film Festival 81 Berwick Street London W1F 8TW MEDIA PARTNERS T +44 (0)20 7287 3833 F +44 (0)20 7439 2243 [email protected] www.raindance.co.uk

FIFTEENTH RAINDANCE FILM FESTIVAL 3 VENUES & MAP

Learn CINEWORLD SHAFTESBURY AVENUE 13 Coventry Street, London W1 Box Office 0871 200 2000 / www.cineworld.co.uk Tickets £9.20 / £6.50 [before 5pm] / £6.00 [concs] SPANISH CINEWORLD HAYMARKET Spoken by 400 million 63-65 Haymarket, London SW1 Box Office via Raindance on 020 7287 3833 people worldwide REX CINEMA + BAR 21 Rupert Street, London, W1 Easy to pick up Box Office Films and events at The Rex are unavailable to purchase individually. Access is exclusive to Raindance Rex pass holders. Book passes via Raindance on 020 7287 3833

Concessions at Cineworld Shaftesbury Avenue are available with proof of entitlement to Raindance Rex pass holders, students, disabled people and senior citizens. Please note that this programme and prices are correct at the time of going to print. Unforeseen circumstances may entail alterations. Details posted at box offices and www.raindance.co.uk

102 Eaton Square London SW1W 9AN (Near Victoria Station) 0870 780 4579 Courses for everyone - all times & levels Online courses Official Spanish DELE diplomas www.londres.cervantes.es [email protected] Free film screenings and cultural events from Spain and Latin America Library with 30,000 FOR ALL ABOUT RAINDANCE books, films & CDs FILM COURSES PLEASE VISIT The Instituto Cervantes is the official Spanish FILM COURSES PLEASE VISIT Government language and culture centre WWW.RAINDANCE.CO.UK

verticalad.indd4 FIFTEENTH 1 RAINDANCE FILM FESTIVAL 5/9/07 13:46:00 SCREENING SCHEDULE

CINEWORLD SHAFTESBURY AVE 4 CINEWORLD SHAFTESBURY AVE 7 REX CINEMA & BAR CINEWORLD HAYMARKET 1

TUES 25 SEPT 19:30 Weirdsville

WEDS 26 SEPT 15:30 Quickie: Adobe Flash CS3 18:30 Children 19:00 Manufacturing Dissent 18:30 Special Guest Screening: Ken Loach 20:45 Bog of Beasts 21:15 The Amazing Lives of the Fast… 21:15 The GoodTimesKid [Advance]

THURS 27 SEPT 14:00 Bog of Beasts [Repeat] 14:30 The Amazing Lives of… [Repeat] 15:30 Quickie: Adobe Photoshop 16:30 Shorts: The Politics 17:00 Flames in the Looking Glass 16:00 Manufacturing Dissent [Repeat] 18:30 Kodak Cinematography M’class 19:00 Day Watch 18:00 Delta Reception [Private Party] 20:45 Drink Up! 21:30 This Filthy World 21:30 The Devil Dared Me To [Advance]

FRI 28 SEPT 14:00 Drink Up! [Repeat] 14:30 Day Watch [Repeat] 15:30 Quickie: Adobe After Effects CS3 16:30 Shorts: Documentary 1 17:00 The Cream 16:30 Frank & Cindy [Advance] 18:45 Valerie 19:00 Being Michael Madsen 20:00 Adobe Filmmaker’s Party 21:00 Waz 21:30 In Search of a Midnight Kiss 22:00 Viva [Exclusive]

SAT 29 SEPT 12:00 What The Snow Brings 12:30 Shorts: The Relatives 14:30 Adobe Masterclass: Audio Mastering 14:15 Yokohama Mary 14:45 We Are Together 16:45 Up At Lou’s Fish [Advance] 16:30 Canon HD M’class: A Dod Mantle 17:00 Shelter 19:00 La Antena [Advance] 18:45 Congorama 19:15 Special Guest: Michael Madsen 21:15 Twenty To Life: John Sinclair [Excl] 21:00 The GoodTimesKid 21:30 The Devil Dared Me To

SUN 30 SEPT 12:00 The Devil Dared Me To [Repeat] 12:30 Shorts: The Urbanites 14:30 Notre Musique & The Old Place 14:15 The Man Who Would Be Queen 14:45 Off The Grid: Life on the Mesa 16:45 Adobe Masterclass: HD for Indie Film 16:30 One Two Another 17:00 Shorts: The Thrillers 19:00 The Book of Revelation [Advance] 18:45 Parents 19:15 The Killing of John Lennon 19:30 Quickflicks BAFTA

MON 1 OCT 14:00 One Two Another [Repeat] 14:30 Killing of John Lennon [Repeat] 15:30 Quickie: Adobe Premiere Pro 19:30 Live!Ammunition! & Party 16:30 HDFest: Shorts 17:00 Up At Lou’s Fish 16:30 Twenty To Life: John Sinclair [Repeat] 18:30 HDFest: We Are the Strange 19:00 Turks In Space 18:45 Exhibit A [Advance] 20:45 Tovarisch, I Am Not Dead 21:15 Uncle’s Paradise 21:00 The Boss of It All [Advance]

TUES 2 OCT 14:00 Uncle’s Paradise [Repeat] 14:30 Turks In Space [Repeat] 15:30 Quickie: Adobe Audition for Sound 16:30 U & Me & Tennessee 17:00 Kenedi Is Getting Married 16:30 Crazy Love [Advance] 18:30 Stellar Network Panel 19:00 Bunny Chow 18:45 Current TV Panel 20:45 Summer Scars 21:15 Under the Mosulin Bridge 21:00 Ex Drummer [Advance]

WEDS 3 OCT 14:00 Summer Scars [Repeat] 14:30 Bunny Chow [Repeat] 15:30 Quickie: Adobe Flash CS3 16:30 Shorts: Documentary 2 17:00 TBC 16:30 The Amazing Grace [Advance] 18:30 M 19:00 La Antena 18:45 NPA Producers M’class: Tim Bevan 20:45 South Coast 21:15 The Book of Revelation 21:00 Special Guest Screening: Mick Jones

THURS 4 OCT 14:00 South Coast [Repeat] 14:30 The Book of Revelation [Repeat] 15:30 Quickie: Adobe Photoshop CS3 16:30 Shorts: The Romantics 17:00 Silver Jew 16:30 It’s Only Talk [Advance] 18:30 Exhibit A 19:00 Straight8 18:45 FourDocs: Penny Woolcock 20:45 Phantom Love 21:15 Bakushi: The Incredible Lives… 21:00 Super-8mm + Live Performance

FRI 5 OCT 14:00 Tesla and Katharine 14:30 Exhibit A [Repeat] 15:30 Quickie: Adobe After Effects CS3 16:30 Shorts: The Offbeats 17:00 Life In Loops 16:45 Viva [Repeat] 18:45 The Boss of It All 19:15 Once 19:00 Day Zero [Advance] 21:00 Crazy Love 21:30 Ex Drummer 19:30 Shooting People Pub Quiz 22:00 Blitzkrieg Bop [Exclusive]

SAT 6 OCT 12:00 Belle Epoque 12:30 Shorts: The Animated 14:30 Éloge de L’Amour 14:15 Uranya 14:45 This Is Nollywood / Panel 16:45 Adobe M’class: Perfecting the Scene 16:30 Red Like The Sky 17:00 The Amazing Grace 19:00 SAE Masterclass 18:45 Frank & Cindy 19:15 TBC 21:15 Mala Noche [Exclusive] 21:00 Prisoner/Terrorist 21:30 Day Zero CINEWORLD HAYMARKET 1

SUN 7 OCT 12:00 Prisoner/Terrorist [Repeat] 12:00 Shorts: The Surreal 14:30 Once [Repeat] 19:30 Paranoid Park 14:15 Dolina 14:00 It’s Only Talk 16:45 Adobe M’class: Getting It Out There 16:30 The Inheritance 17:30 Oh Saigon! & Bolinao 52

Please note that this schedule is correct at the time of going to print. Unforeseen circumstances may entail cancellations and/or alterations. Details of changes will be posted at the box offices and full festival listings are available from www.raindance.co.uk

FIFTEENTH RAINDANCE FILM FESTIVAL 5

FESTIVAL JURY PRIZES

To recognise the outstanding achievements of the filmmakers showcased at the 15th Raindance Film Festival, a number of jury prizes are awarded. The winners will be announced before the screening of the closing night film Paranoid Park (see page 82) at the Cineworld Haymarket on Sunday 7 October at 7:30pm.

BEST INTERNATIONAL FEATURE BEST DOCUMENTARY The Amazing Lives of the Fast Food Grifters [Japan] Crazy Love [USA] La Antena [Argentina] Frank & Cindy [USA] The GoodTimesKid [USA] Off The Grid: Life on the Mesa [USA] In Search of a Midnight Kiss [USA] Tovarisch, I Am Not Dead [UK] Once [Ireland] Twenty to Life: Life and Times of John Sinclair [USA] BEST UK FEATURE BEST INTERNATIONAL SHORT Exhibit A The Demonology of Desire [USA] The Inheritance Dragonflies [Poland] The Killing of John Lennon Dunny [USA] Summer Scars Quincy & Althea [USA] Waz Real Men [USA]

BEST DEBUT FEATURE BEST UK SHORT sponsored by Delta Airlines Bunny Chow [South Africa] Cherries The Devil Dared Me To [New Zealand] The Girls Drink Up! [Spain] Over the Hill Ex Drummer [Belgium] The Truffle Hunter Valerie [Germany] Yours Truly

UK SHORT SPONSORED BY DELTA AIRLINES Delta Air Lines supports the Best UK Short Film Award with a prize of two return tickets to anywhere in the USA. It was designed to give UK filmmakers the opportunity to attend screenings of their film at US festivals. Last year’s winner, Osbert Parker, made it to Aspen Shorts Fest where he was awarded the best animation prize. TISCALI SHORT FILM AWARD The nominations for the Tiscali Short Film Award for the best UK short under ten minutes by a debut filmmaker is: Amelia and Michael, Badmouth, Blood on His Hands, The Collectors and Isabel. The winner will be presented with a cheque for £1000. Viewers can watch each of the entries and vote for their favourite at www.tiscali.co.uk/ entertainment/film/shortfilms/raindance.html SAE DIGITAL SHORT FILM AWARD Films shortlisted for the SAE Digital Short Film Award must have been entirely shot and edited using only digital From top to bottom means of production and must demonstrate a unique approach to filmmaking using new digital technology. The The Amazing Lives of the Fast Food Grifters, nominations this year are: Badmouth [UK], The End [Portugal], Forna [UK], The Stronger [UK] and Beauty is the La Antena, The GoodTimesKid, In Search of Promise of Happiness [UK] a Midnight Kiss, Once CANON BEST CINEMATOGRAPHY AWARD This year sees the introduction of a brand new award that focuses on the work of the cinematographer. The winner of the Canon Best Cinematography Award takes home a brand new Canon XH A1 HD camera. The award will be chosen by a panel of established cinematographers. The nominations this year are: Dunny [USA], Dragonflies [Poland], Pop Foul [USA], The Stronger [UK] and The Truffle Hunter [UK]. ADOBE ANIMATION AWARD 2007 marks the creation of the Adobe Animation Award for best animated short film. The winning film will be chosen for its originality and technical proficiency by the Raindance jury and an Adobe animation specialist. The nominations this year are: Animal Book [UK], Glitch [Canada], Pushkin [UK], Whale [UK] and Yours Truly [UK]. DIESEL FILM OF THE FESTIVAL For the fourth year running we are very excited to announce the Diesel Film of the Festival prize. The winners of last year’s award, Kasimir Burgess and Edwin McGill (Australia), were selected for their unique and original style of filmmaking as well as demonstrating a strong passion for their art. Diesel supported their win by funding their project to produce the 15th Raindance Film Festival trailer, which can be seen at www.raindance.co.uk

FIFTEENTH RAINDANCE FILM FESTIVAL 7 THE FESTIVAL JURY

Andrea Arnold was the recipient of the 2005 Oscar™ for Best Short Film for Wasp. Her feature debut, 2006’s Red Road, was the only first feature to be nominated for the Palm d’Or at Cannes and picked up the Cannes Jury Prize, five Scottish BAFTAs, two BIFAs, The Sutherland Trophy, Best British Newcomer at The London Film Critics Awards and The Carl Foreman Award at the UK BAFTAs.

Oli Harbottle produced the Raindance Film Festival for three years from 2003 to 2005. He is now the film release coordinator at Dogwoof Pictures, one of the leading distributors of independent film in the UK.

Jonathan Harvey is an established cinematographer who is also a head lecturer at the National Film and Television School.

Mick Jones is a musician and music producer. He was the lead guitarist in The Clash and was inducted into the Rock and Roll Hall of Fame in 2003. He formed Big Audio Dynamite with Don Letts in the mid-80s, and also produced both albums by The Libertines. His current project is Carbon/Silicon, a band with Tony James.

Edward King is the content producer of the MySpace Film Channel and MyMovie MashUp: the world’s first user-generated feature film.

Sandy Lieberson was the president of major studios 20th Century Fox from 1979–1980 and MGM International from 1989–1993. He is also a renowned film producer whose credits include Nicolas Roeg and Donald Cammell’s Performance and Terry Gilliam’s Jabberwocky.

Iggy Pop’s career has spanned over thirty years. Films he has appeared in include Jim Jarmusch’s Coffee & Cigarettes (Raindance 2004) and John Waters’ Cry-Baby. He is currently on tour with the reformed Stooges.

Anthony Quinn has been film critic of The Independent since 1998. Before that he was film critic of The Mail on Sunday and arts editor of Harpers & Queen. He also writes for The Daily Telegraph and The New York Times.

Jemma Rodgers is the founder of Junction films and a BAFTA award-winning producer. She has developed several scripts under the Junction Films label across both comedy and drama. These include the first ever produced original screenplay by Irvine Welsh and his screenwriting partner Dean Cavanagh, Wedding Belles.

Tessa Ross has been the head of drama for Channel 4 since 2000 and the head of Film4 from 2002, and in 2004 become controller of film and drama. Projects she has commissioned include This is England, The Last King of Scotland, The Motorcycle Diaries, The Road to Guantanamo and Shameless.

Davide Scalenghe started his career at CNN International. After a stint at Time Out, he moved to NYC and worked at MTV International. He quickly became the point-person in London for all US productions, working on shows such as The Osbournes, VH1 Bands Reunited and All Things Rock. He left MTV to produce the award-winning hit show of 2003, Queer Eye for the Straight Guy (UK and US), and supervised the international productions. He now manages the VC2 (viewer created content) Outreach department at Current TV.

Brian Tufano is one of the UK’s leading cinematographers. His work has included such significant films as Quadrophenia, Shallow Grave, Trainspotting and East Is East. More recent projects have included the teen drama Kidulthood and Amy Heckerling’s forthcoming I Could Never Be Your Woman. He is currently filming an adapta- tion of David Hare’s play My Zinc Bed, starring Uma Thurman and Paddy Considine.

Joe Utichi is the editor of Rotten Tomatoes UK, the influential reviews website for films and video games.

Penny Woolcock is a writer/director. Her films include the recent Exodus, Mischief Night, The Principles of Lust and The Death of Klinghoffer. She has also made documentaries for television including The Wet House and Shakespeare on the Estate. She’s currently developing a musical about gangs in Birmingham.

8 FIFTEENTH RAINDANCE FILM FESTIVAL Creative Clarity

Canon is proud to support independent moviemaking at the 15th Raindance Film Festival.

Raindance celebrates the spirit of cutting-edge film and so does Canon. Our camcorders are the tools that help moviemakers bring their ideas to life.

Call it Creative Clarity.

CANON AT RAINDANCE

Canon’s activities at Raindance include Anthony is joined by Stefan Ciupek, sponsorship of a new award that a leading HD guru. Close collaborators recognises Best Cinematography on a number of projects, many of which in a short film. Judged by a panel of were shot on Canon HD, Anthony and leading DoPs, the most exciting new Stefan are our dream team: and if you cinematographer will receive a Canon want the lowdown on HD production, XH A1 – the indie moviemaker’s the Canon HD Masterclass is not to camcorder of choice. be missed. Canon is also hosting a special HD Make sure you also visit Canon’s Masterclass and we’re delighted to HD Touch & Try stands, located welcome Anthony Dod Mantle, one of in London’s Trocadero Centre over Europe’s most respected DoPs, as host six days during 27-29 September and Anthony Dod Mantle Stefan Ciupek for the session. An HD pioneer, Anthony 4-6 October. Canon experts will be on was one of the first people in Europe to hand to demonstrate the ins and outs shoot on the XL H1. of our HD range. Canon wishes you a great festival. ^HZPU[YVK\JLKPU[VYLJVNUPZL[OL ;OL+PLZLS-PSTVM[OL-LZ[P]HS(^HYK UL_[NLULYH[PVUVMÊSTTHRLYZHUK[VNP]L[OLT[OLVWWVY[\UP[`[VZOV^JHZL [OLPY^VYR[VHUPU[LYUH[PVUHSH\KPLUJL

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Diesel_RaindanceAdvert.indd 1 23/8/07 11:10:01 ^HZPU[YVK\JLKPU[VYLJVNUPZL[OL ;OL+PLZLS-PSTVM[OL-LZ[P]HS(^HYK UL_[NLULYH[PVUVMÊSTTHRLYZHUK[VNP]L[OLT[OLVWWVY[\UP[`[VZOV^JHZL [OLPY^VYR[VHUPU[LYUH[PVUHSH\KPLUJL

Diesel_RaindanceAdvert.indd 1 23/8/07 11:10:01 model shown FS4244 • info line 08702 246 633 www.fossil.co.uk DELTA AIRLINES & RAINDANCE

DELTA SPONSORS THE RAINDANCE FILM FESTIVAL FOR THE SECOND YEAR RUNNING

Last year Delta supported the Best UK Short Film Award which sponsored the winning filmmaker with two return trips to any US mainland destination. The award was designed by Delta and Raindance to give the winning filmmaker an opportunity to travel to film festivals in the US, in order to showcase their film.

Last year’s winner, Osbert Parker, who won the award for his mixed-animation Film Noir, travelled on Delta to Aspen Shortsfest where he collected the Best Animation award for his new short film Yours Truly which is one of the five films competing for this year’s Best UK Short.

Delta also supported the Raindance Director in Residence event with Chinese director Zhang Yuan who presented his latest award winning film Little Red Flowers, a story of a young boy revolting against his teachers and the adult-enforced conformity around him. After the screeing, Zhang Yuan took questions from an audience of aspiring filmmakers.

In sponsorship with Delta, the 2007 Raindance Director in Residence features Japanese independent icon filmmaker Ryuichi Hiroki who will have three films screening during the festival.

Osbert Parker collects his trophy for Film Noir, This year Delta Airlines are pleased to announce its US filmmaker’s showcase which allows three selected US having won the Best UK Short, sponsored by Delta Airlines, at Raindance 2006 filmmakers the opportunity to attend their screenings in London. The filmmakers featured are Michael Mongillo (Being Michael Madsen), Azazel Jacobs (The GoodTimesKid) and Alex Holdridge (In Search Of A Midnight Kiss) and were selected by Delta for their originality and their demonstration of a strong independent spirit.

DELTA AT A GLANCE

Did you know that Delta is the number one US carrier across the Atlantic, flying to the US from more European cities than any other US carrier. Delta serves the most domestic US destinations of any airline and is the only airline to serve all 50 states. Delta offers up to 8 flights a day from the UK to Atlanta, New York JFK and Cincinnati with quick, hassle-free onward connections to over 230 cities in the USA and beyond.

Delta Airlines operates service to more destinations than any global airline with Delta and Delta Connection flights to 328 destinations in 56 countries. Since 2005, Delta has added more international capacity thanall other major US airlines combined and is a leader across the Atlantic with flights to 36 transatlantic markets. To Latin America and the Caribbean, Delta offers more than 600 weekly flights to nearly 60 destinations. Delta is a founding member of SkyTeam, a global airline alliance that provides customers with extensive worldwide destinations, flights and services. Including its SkyTeam and worldwide codeshare partners, Delta offers flights to 481 worldwide destinations in 105 countries.

FIFTEENTH RAINDANCE FILM FESTIVAL 13 – THE ACE OF SHADES –

JAMES MERCHANT FINDS MUCH OF THE SPIRIT OF RAINDANCE IN THE WORK OF JEAN-LUC GODARD

F EVERYTHING THAT HAS ever been said or written approached his craft with a wealth of knowledge before him, something about Jean-Luc Godard, you can be sure that nobody he regarded with great importance. In an early essay he makes a signifi- has labelled him as merely ‘alright’. Certainly, to many cant point on how Orson Welles was one of the first directors to have of today’s filmgoers, his works may appear to be cold, been born after the popularisation of film, and hence had to ‘study-up’ on distant, even self-indulgent. His unconventional, highly what had been done before, unlike other key visionaries such as Lang intellectualised works may not appeal to some. And of and Eisenstein (who experienced the medium from its infancy through to Ocourse writers, cinematographers, amongst other vital crewmembers may the emergence of synch sound). Throughout his days as a journalist, it curse the day he championed the word auteur. But to many filmmakers is reported that he watched around 1000 films a year (even more than and fans alike, Godard will always be among the most significant post-war a Raindance programmer). When the frustrated and helpless Jean-Paul directors and one of the key cultural influences of the twentieth century. Belmondo turns to a framed photograph of Humphrey Bogart for solace in Coming to the production side of cinema via criticism, along with his À Bout de Souffle (1960), the image points to Godard’s own acknowledge- Nouvelle Vague contemporaries Rivette, Truffaut and Rohmer, Godard ment of the golden age of Hollywood and all that preceded it.

14 FIFTEENTH RAINDANCE FILM FESTIVAL Anna Karina and Jean-Luc courtesy of Optimum Releasing Godard on the set of Alphaville (1965),

If Godard had forty years of filmmaking to contend with, today’s indie cinephile who desperately seeks advice as to which Godard film s/he filmmakers have it even harder. But that makes the emergence of original should start with. Please note I make no judgement, for I was there myself and interesting ideas even more exciting. Every year we consider more not so long ago. I likened the director’s canon to the discographies of Bob than 800 feature films and 1500 shorts for the festival, of which around Dylan or Leonard Cohen, they appeared so impenetrable due to the abun- seventy to hundred of each will make the final line-up. Every film we view dance of entries and yet demanded exploration. has its merits, yet there are those who triumph against the odds of lim- Settling on 1965’s Alphaville, a film located within his narrative-based ited budgets. Films are endlessly discussed, debated and more often than period, I found myself challenged, astounded and rewarded. Where else not argued about. However when the final schedule is unveiled there will could you find a genre-bending dystopian view of Paris without the use always be the constant presence of innovation, originality and boldness of of sets, or such bizarrely original ideas as the death penalty issued via vision, factors that sum up the films of Godard. automatic rifles in a swimming pool amongst synchronised swimmers? Scour any internet message board devoted to the man and there will Even more noteworthy to me was its defiant attitude towards any notions always be a post from an avid, usually young, possibly a bit pretentious of what I thought cinema was or should be. Shots were edited in an

FIFTEENTH RAINDANCE FILM FESTIVAL 15 Untitled-1 1 09/08/2007 16:16:37 Stills from Notre Musique (2004), courtesy of Optimum Releasing

unconventionally jagged way, the dialogue drifted in and out of existential of thought-provoking, feel-good cinema. It can also be noted for its refer- contemplations, and the climax featuring the inversion of the film to display ential nod to Jules et Jim (1962), where Jeanne Moreau’s character from a negative effect, left me simultaneously confused and stunned. Truffaut’s film appears briefly, decades before Tarantino established a con- As my explorations progressed I was continually taunted and re-edu- nection between the Vega brothers from Reservoir Dogs and Pulp Fiction. cated by this defiant attitude that permeates his work. In the publication Shades of the film are also prominent in this year’s The GoodTimesKid, Godard on Godard he freely admits that he is essentially an essayist where elements from all aspects of film history are met with post-punk whose preferred medium is film due to the aesthetic possibilities offered. attitudes, in a tale of stolen identities and human chemistry. What better way to imply ones frustration at the state of the French bour- As the title-card reads at Week-End’s bizarre yet worryingly satisfying geoisie, than by tracking a near apocalyptic traffic jam for a full twelve climax, ‘End of Cinema’ seemed to signify the end of the director’s interest minutes without a single edit, as in Week-End (1967)? Even in Le Mépris in narrative cinema. Moving instead to deeply political works that resemble (1963), arguably the closest to mainstream cinema he ever ventured, the dream-like snippets of thought, the films retain many of the mesmerising colourful palette and stunning mise-en-scène are intertwined with the qualities that characterised his earlier career. A fine example of the begin- metaphorical subtext of producer Prokosch (Jack Palance) and director ning of this period is 1968’s Sympathy For the Devil, part Rolling Stones Fritz Lang’s fight over artistic integrity versus marketable value, reflecting documentary, part political essay. In a year that is defined for its political Godard’s own thoughts and concerns in relation to the inner workings of significance and output of great music, the film demonstrates Godard’s the film industry. melding of pop and high culture within his own experimental framework, Since joining Raindance I have found this defiant attitude to be at the blurring the lines between documentary and fiction. In the post-Blair Witch core of the company’s ethos. In a prominent sense we have been noted world of independent cinema where the importance of fact against fiction for proudly screening provocatively controversial features, such as this is considerably debated, his works take on a new light of influence. year’s brutal yet technically stunning Ex Drummer, or films entitled Fuck Godard is one of the few remaining great directors of his generation, a the Disabled (Raindance 2003) and Wristcutters: A Love Story (Raindance group that has sadly decreased this year with the passing of Bergman and 2006). More importantly however, Antonioni. Yet unlike many film- the festival has always sought to ‘But even more noteworthy to me was makers who came to prominence challenge perceptions of cinema, Alphaville’s defiant attitude towards following the New Hollywood peri- looking to discover filmmakers od such as Coppola, Spielberg or who use any means necessary to any notion of what I thought cinema Lucas, Godard the man remains materialise original ideas. Films something of an enigma. When shot on mini-DV are judged as was or should be’ Raindance selected Jean Luc fairly as those shot on 35mm. During a scene from 2004’s Notre Musique, Godard as their second retrospective director (following the success of Godard himself is asked ‘Can the new little digital cameras save cinema?’ last year’s Kubrick events), we contacted his manager, barely expecting The director remains silent, seemingly inviting the audience to contemplate a response. However a few weeks later we received a fax of our original the potential of new cinematic technology and its impact on the film form. email, complete with hand-written text that requested three specific films, Raindance proudly gives filmmakers the opportunity to demonstrate their signed Jean Luc Godard. Who were we to argue? talent, regardless of their chosen format. Raindance proudly presents Eloge De L’Amour, Notre Musique and The Aside from the confrontational content, Godard’s work is also laden Old Place, selected by the man himself. We hope they will continue to with imaginative scenes, sharp dialogue and interesting characters. Une inspire a new generation of indie filmmakers. r

Femme Est Une Femme (1964) shows the director mixing elements from Notre Musique and The Old Place play at 2:30 on Sunday 30 October at The Rex. Éloge de Hollywood musicals with his wry sense of humour to create a stunning piece L’Amour plays at 2:30 on Saturday 6 October at The Rex. See page 56 for details

FIFTEENTH RAINDANCE FILM FESTIVAL 17 005004-greenshoots-adV4.2:Layout 1 29/8/07 15:14 Page 1

Think you can write, produce, direct, edit and dub your own film to tackle climate change? Good news. Your idea’s just been ‘green-lighted’ for production. Grab a camera, web-cam or mobile and get started. That’s what ‘Green Shoots’ is all about. We’re giving every budding Tarantino 60 seconds to save the planet. Be inspiring. Be entertaining. Believe you can make a difference. And we’ll be picking the freshest, tastiest Green Shoot (1 minute or less) to serve up for our viewers early in 2008. Closing date for entries is December 31st 2007. Go on - impress the whole film industry, change the world. Join The Bigger Picture.

Sky.com/greenshoots Entrants must be 16 years or older. Further terms apply. Below Ryuichi Hiroki, courtesy of Jasper Sharp. All other stills from Bakushi: The JASPER SHARP LOOKS AT THE WORK OF DIRECTOR Incredible Lives of Rope Masters, courtesy of Gold View Company IN RESIDENCE RYUICHI HIROKI AND UNCOVERS the pink origins of some of JAPAN’s top Masters

T OFTEN COMES AS a source of surprise to learn that many of the Japanese moviemakers currently plying their trade in the commercial industry originally started their careers making low-budget theatrically-released sex films, known in Japan as ‘pink films’ (pinku eiga). Two of the best examples are Yojiro Takita and Masayuki Suo. Takita graduated from making decidedly non-politically correct slapstick sex romps, such as his contributions to the highly-popular Molester Train (Chikan Densha) series in the mid-part of the decade, to helming high-profile mystical martial arts fantasies like The IYing-Yang Master (parts 1 and 2, released in 2001 and 2003 respectively) and Ashura (2004), as well as the samurai drama When the Last Sword is Drawn (2003). Meanwhile, Suo’s comic flare was amply demonstrated in his porno pastiche of Yasujiro Ozu, the world-renowned director of films such as Early Summer (1951) and Tokyo Story (1953), with the hilarious Abnormal Family: Older Brother’s Bride (1983). He later scored one of Japanese cinema’s greatest international crossover successes with the heart-warming ballroom drama Shall We Dance? (1996), the top-grossing Asian film ever to be released in the US, before it was knocked off its perch by Crouching Tiger, Hidden Dragon and later subjected to an insipid Hollywood remake starring Richard Gere and Jennifer Lopez. Less successful but certainly significant are Rokur Mochizuki, whose moody pre-millennial re-envisioning of the yakuza genre in titles like Another Lonely Hitman (Shin Kanashiki Hittoman, 1995), Onibi: The Fire Within (1997) and Yakuza in Love (Koi Gokudo, 1997) rank among the best the decade has to offer, and Banmei

FIFTEENTH RAINDANCE FILM FESTIVAL 19

Takahashi, whose recent non-pink works range from Rain of Light (Hikari films (Hana to Hebi) directed by Takashi Ishii and released in 2004 and no Ame, 2001), a recreation of the real-life violent internecine expurgation 2005. The pink film network thus remains detached from the rest of the conducted by members of the Japanese terrorist group the United Red Japanese film industry. It caters for its own distinct audience and has Army in the early ’70s, to Hibi (2005), the poignant story of a woman pot- developed its own conventions. Because the films are exhibited as triple tery expert whose son contracts leukemia. bills, they are roughly an hour in length and customers tend to wander in Ryuichi Hiroki also began working in the pink industry in the early ’80s, and out of the theatre during the screenings regardless of where the films and has similarly migrated onto pastures new. His recent works such as start or end. Sex scenes appear at regular intervals, around one every ten Vibrator (2003) and It’s Only Talk (2005) picked up considerable critical minutes to maintain the audience’s interest. plaudits on the international festival circuit. In style and content, the two For the makers of these films, this format has several advantages. As films are very much cast from the same mould. They both star Shinobu patrons are attracted predominantly by the sexual content of the films, the Terajima, surely one of the most powerful screen actresses to have directors are given pretty much a free hand as to what to do in the scenes emerged in Japan in recent years, and were written by Haruhiko Arai, a bridging the five or six nude numbers that make up the running time. They prominent scriptwriter and the publisher of the important film magazine can effectively make any film they like. It should be pointed out that the Eiga Geijutsu, as well as the author of several books on Japanese cinema. vast majority of practitioners in this field do not exploit this flexibility. In Both films are sensitive portrayals of the problems faced by modern-day fact, though the pink genre still turns out just shy of hundred titles a year, Japanese women who don’t quite match up to the impossible romantic a scant few are of interest or merit, and one can infer that the directors ideals that the media constructs. Shot very much from a woman’s perspec- who have moved on from this market sector to what might be seen as a tive, one could perhaps ascribe to them the label of feminist. more legitimate filmmaking career are the exception rather than the norm, It almost seems ironic then that Hiroki’s first film, released in 1982, went and have done so because of their talent and ambition. The other limiting by the sensational name of Sexual Abuse! Exposed Woman (Seigyaku! factors are that the budgets are notoriously low and the shooting sched- Onna O Abaku). It also might seem surprising that the director sees his ules short. As Hiroki says of his early career: ‘The thing I liked about pink work as belonging to a strict continuum, and that the only real difference films is that you are able to write your own scenarios and make them into between his pink and non-pink work is not so much in the content, but that films very quickly. But there were also economic restrictions, so you have they are produced for different audiences. to shoot everything in four days and there’s just never enough money to While it is a truism that the pink film is characterised by its sexual con- make the films properly. But I don’t really make any distinctions between tent, it doesn’t follow that all sex films produced in Japan are pink films. the type of films I make. They’re all the same.’ Strictly speaking, the pink film is defined by the fact that it’s exhibited The other main drawback to working in the pink industry is that the in specialist adult-only cinemas. This therefore sets the genre apart from director has no say over how the film is marketed. The distributors choose films shot entirely for the video market (whether softcore or hardcore), the titles, which seldom have anything to do with the content of the film but or films with strong sexual content, which are screened in conventional are purely intended to be as sensational as possible in order to catch the cinemas, such as the glossy SM fantasies of the two Flower and Snake eye of would-be patrons. Hiroki’s early pink work was released under

FIFTEENTH RAINDANCE FILM FESTIVAL 21 ‘While it is a truism that the pink film is characterised by its sexual content, it doesn’t follow that all sex films produced in Japan are pink films. Strictly speaking, the pink film is defined by the fact that it’s exhibited in specialist adult-only cinemas’

names such as Teacher, Don’t Turn Me On (Sensei, Watashi no Karada so many great directors, especially during the ’50s and ’60s, collapsed. All ni Hi o Tsukenaide, 1984) and Pervert and Skirt (Chikan To Sukato, 1984). of the major companies stopped taking on new staff to train as directors, Such titles and the rather grimy nature of most of the pink theatres mean the only exception being Nikkatsu, who by this time, noting the success that these films predominantly play to a narrow, specialist audience who of the pink film, had committed itself to making its own more generously- are by and large not really concerned with the quality of the script, the budgeted erotic films under the brand name: Roman Porno (which ran camerawork or the performances. from 1971–1988). Among the directors currently active in the mainstream The pink industry began at a grassroots level in the early ’60s, a period who received their training at Nikkatsu are Toshiharu Ikeda, Takashi Ishii, during which the long-established vertical production-distribution-exhibi- and most significant of all, Hideo Nakata, the man who unleashed a tidal tion system dominated by the Big Five major studios of Toei, Toho, Daiei, wave of J-horror with The Ring (1998). Shochiku and Nikkatsu (a sixth, Shintoho, went bankrupt in 1961) began During the ’90s, the pink industry was finally recognised as a breeding breaking down, as cinema attendances waned under competition from ground for new filmmaking talent, with the emergence of a group of direc- television. The major studios at this time operated an apprenticeship sys- tors known as The Four Devils, which included Takahisa Zeze, Toshiki Sato, tem, cherry-picking potential directors from Japan’s top universities and Hisayasu Sato and Kazuhiro Sano. Unlike the previous generation, these grooming them over a ten-year period as assistant directors before allow- filmmakers attracted attention through their attempts to push the pink film ing them to helm their own films. A career as a bona-fide filmmaker was into the realms of high art. None have really gone on to achieve the same therefore an option denied to many. degree of commercial success as their predecessors however (although In its early years the pink film of today was referred to as the eroduction Zeze did direct the sci-fi spring blockbuster Moonchild for Shochiku in (erotic production). The genre was born through the efforts of a handful of 2003). Instead they are predominantly making small independent works opportunistic producers who recognised a niche for independent produc- for the arthouse market, with Zeze and Toshiki Sato periodically returning tions, which could fill up the lower slots on double or triple bill programs to make films in the pink genre. The pink film today still attracts young in the conventional theatres, especially in rural areas, that were left empty directors, although there are numerous other avenues into movie directing due to the decreased output of the major studios. The films were cheaply nowadays such as via the routes of pop promos and TV commercials, and made and their appeal hinged mainly on their erotic content. Their direc- it seems unlikely that any of today’s newcomers will ever make much of an tors were mostly drawn from what was then seen as the lowly milieu of impact outside this genre. television, attracted by the possibility of making genuine films, no matter The ’80s represented a vital training ground for commercial directors what kind, for the big screen. like Suo and Takita, who are now making mainstream films for mainstream By the end of the decade the eroduction had mushroomed from a tiny audiences. These directors seem to have severed all links with their pink handful of four titles released in its first year of 1962 to a peak of 250 titles filmmaking past. Their origins are seldom ever discussed, but perhaps this in 1969. From the mid-60s up till now their number has made up a signifi- is less to do with shame or embarrassment than the fact that their recent cant percentage of total domestic output, ranging between a third to half films bear little resemblance to their earlier titles. of all films released theatrically. By the early ’70s the various independent While Hiroki has also never returned to the pink genre, in contrast his interests had merged to form a large alternative distribution network of heart remains fiercely loyal to a more artistically-motivated independent specialist adult cinemas, the films’ running times had reduced from the sector, a milieu in which he has been able to realise his more personal standard feature-length of 90 minutes to about an hour, and the term projects and develop an oeuvre that is as consistent as it is interesting, and pinku eiga took over from eroduction. in doing so has not strayed as far from his roots as some of his contempo- In its early years, the pink genre offered an opportunity for less-well edu- raries. After a brief spell working in television during the early ’90s, Hiroki’s cated or less intellectual individuals to make films. By the end of the ’70s, it first non-pink title came with the straight-to-video production Sadistic City offered one of the only chances for newcomers to learn the ropes of film- (MaMtai, 1993), which he followed with the athletic youth movie 800 Two making. Facing a seemingly interminable decline, many of the established Lap Runners (1994), voted 7th best film in the year of its release by the directors at the major studios, in an ironic turnaround, moved from film to critics of the prestigious Kinema Junpo magazine. Which is not to say that television. But more significantly, the apprenticeship system that created Hiroki hasn’t made his share of more populist works produced and dis-

22 FIFTEENTH RAINDANCE FILM FESTIVAL tributed by major companies such as Daiei and Toho. In 1995 he directed I Sadomasochism may seem a strange choice of subject for what in genre Want to Make Love until the Ski Slopes Melt, a romantic drama set on the terms is probably best viewed as a romantic comedy, but it is really only the snowy slopes of New Zealand, while more recently he made The Silent Big backdrop for a story which is predominantly concerned with male-female Man (2004), the story of a mute teacher who goes to teach on an island relationships. It focuses on the character of the eponymous fetish novel- in the Inland Sea, and the teenage coming of age drama Love on Sunday ist who is so tied up, if you’ll forgive the pun, in committing his own erotic (2006). But it is important to bear in mind that these somewhat atypical fantasies to the page, that he barely recognises, yet alone fulfills, his wife’s projects were undertaken as contracts solely for the money. emotional and sensual desires, leaving her to seek satisfaction in the arms The film industry in Japan is notoriously tough to make a living in, so it is of her more physical but unsophisticated American tennis partner. It is rare that an independent director is able to support himself by making one through his wife’s eyes that the story is predominantly framed, in this chal- film a year. This explains the vast filmographies of directors like Takeshi lenging and potentially offensive, though at the same time intelligent and Miike, who flits between low-budget indie work, disposable straight-to- often highly funny film. video affairs, and more graciously-budgeted mainstream work. Though the I Am an SM Writer certainly boasts its sexy moments but the nude genres he works in, mainly violent gangster movies and action, are very scenes are neither as lengthy nor as frequent as in the standard pink film, different from Hiroki’s dramas, in this respect the directors are similar. nor are they as perfunctory. Here, they can actually be said to serve some With around 40 films to his name, Hiroki is a prolific director, albeit not higher dramatic purpose, not just titillation. quite to the same extent as Miike. In 2004 alone he made The Silent Big There is another element in I Am an SM Writer which conveniently Man, L’Amant, Girlfriend: Someone Please Stop the World and a segment brings us back full circle to our discussion of the pink genre. It is in the in the omnibus movie Female (Fimeiru). Moreover his past films have all casting of Ren Osugi in the lead role. A respected actor of both the stage been made for different markets and under different production circum- and screen, most familiar to Western viewers for his supporting parts in stances. Midori (1996), for example, was produced by a consortium that the films of Takashi ‘Beat’ Kitano such as Sonatine (1993) and Fireworks included Fuji Television, Pony Canyon and Tohokushinsha. Tokyo Trash (Hana-bi, 1997), many of Osugi’s early appearances were in pink films. Baby (2000) was realised as part of a series of six low-budget stories He actually made his screen debut in Banmei Takashi’s Tightly Bound from different directors, all shot on digital video and produced by a com- Sacrifice (Kinpaku Ikenie) in 1980. He also appeared in a number of titles pany named Cinerocket. The films were intended as straightforward video aimed at gay audiences produced by the company ENK, formed in the releases, but also received a tiny theatrical release on a single screen in early ’80s by a former Nikkatsu employee. Osugi appeared in the first ever an independent cinema in Tokyo. He has also made several titles for the gay erotic move, Beautiful Mystery (Kyokon Densetsu: Utsukishiki Nazo) straight-to-video market. in 1983, which was directed by Hiroki’s former mentor Genji Nakamura, The most enduring trait in Hiroki’s work is his focus on the stifled emo- and also appeared in several other ENK films in the company’s first year, tional worlds of modern-day urban women, recounting their stories from a including Hiroki’s own Our Season (Bokura No Kisetsu). female perspective. When asked why he concentrates on predominantly The pink genre has played a crucial role in launching many a career, and female subjects, he plainly states that it is because the market for films in the case of Ryuichi Hiroki in particular, should not be viewed as a shady about women and targeted at women has been poorly catered for. And or distinct part of his oeuvre. As the director himself notes: ‘I didn’t change yet, when pressed, he will admit that ‘Even when I was making pink films, so much as the circumstances around me. I don’t really care if you label a I usually described women who were strong-minded or selfish and there film like I Am an SM Writer as a pink film, an indie film, a mainstream film would always be a weak guy who would get tangled up in some situation or whatever. It’s just the film I wanted to make. In that sense there hasn’t with them. I always tried to describe liking sex and falling in love as two really been a transformation in my filmmaking. I just want people who don’t different things. The most common narrative in my films is that a man and go to pink theatres to see my work.’ r a woman meet, they like each other and they fall in love and have sex, and then the woman starts worrying: maybe I don’t really like this guy.’ Bakushi: The Incredible Lives of Rope Masters plays at 9:15pm on Thursday 4 October at Cineworld Shaftesbury Avenue. M plays at 6:30pm on Wednesday 3 October at Cineworld These themes lie at the heart of the film I Am an SM Writer, released Shaftesbury Avenue. It’s Only Talk plays at 2pm on Saturday 7 October at Cineworld originally in Japan as Season of Uncertainty (Fukei no Kisetsu). Shaftesbury Avenue. Hiroki will introduce all the screenings. Please see pages 62 and 72

FIFTEENTH RAINDANCE FILM FESTIVAL 23 DOMINIC THACKRAY gets Eggs Benedict with the man whose WORDS & EXPLOITS have ILLUMINATED the underground for FORTY years TRANSCRIPTIONS BY JULES GARNETT & YINKA GRAVES

THINK IT WAS IN Head On that Julian Cope talked about the So I research a bit about the film on the Internet. And one thing leads to Opposite bag of ten thousand acid crystals that kept him entertained on another and I discover that he’s in London for an interview with Headpress.

tour in America. I can’t really remember because it was a long I procure his email address and the next day we’re on Old Compton Street John Sinclair, photograph by Michael P Smith time ago that I read that book. But I mention it because this eating Eggs Benedict, me, John, my daughter Belle and good old Jesse, year’s box of documentary submissions and requests was a lit- the surrogate babyboomer from the Raindance basement. tle bit like Cope’s ten thousand trip bag, a little bit like that and I ‘Warner Stringfellow was a Detroit narcotics detective spose, a little bit like Forrest Gump’s mother’s famous box of chocolates. I who busted John the first time for reefer. So John decided Well there weren’t quite ten thousand documentaries this year, although to write The Poem for Warner Stringfellow. The poem went it certainly felt like it at times, and they certainly weren’t all pleasant experi- something like: “Warner, what are you gonna do when ences, and it isn’t quite true that I wasn’t quite sure what me or anyone else your kids smoke pot? What are you gonna do when all the was going to get when I pulled a DVD out of the box of docs. There were, lawyers in the world smoke pot? Warner, what are you for example, at least seven films about the Dalai Lama this year. It was as if gonna do, you small-minded asshole?’” the living God had been obliged to do nothing but talk to indie filmmakers Wayne Kramer, Please Kill Me for the last twelve months. These were not particularly good documentary trips nor were they much like Mrs Gump’s box of chocs, what I mean is that I’m sort of excited, but I remember a bit of advice someone once gave me with a lot of these films you knew exactly what you were going to get. about how you should always do your homework on the day it’s given to Anyway this is about one of those DVDs that turned out to be some- you. So, on the train on the way in, I speed-read Legs McNeil’s scholarly thing of a treat, a real peach in fact. It felt like I must have watched about masterpiece Please Kill Me one more time. And Wayne Kramer’s talking 300 shitty films in a row and was using other people’s rusty needles to hold about Warner Stringfellow as Sinclair’s nemesis, the guy who busted him, my eyelids apart. I reached into the box and pulled out another disc. Upon but the film seems to suggest that the guy was called Vahan Kapegian. this one was written in felt tip: Twenty To Life – The Life And Times Of ‘That was the undercover agent who he sent after me.’ John Sinclair. A fancy cover jacket was neither present nor required. You ‘Ahh. So Kapegian was the guy who infiltrated the Artists’ Workshop.’ just knew the film was going to be terrific. It’s a funny old world and the ‘He was the undercover guy that called himself Louie.’ funny thing is that I didn’t even know there was a John Sinclair film. ‘And Stringfellow was?’

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