2013 BFI Governor Election Candidates’ Biographies and Statements Francis Bennett Gerald Fox Stephen Kloppe David Miller Karim Nathan Duncan Wheeler Keith Withall Jason Wood

Candidates are listed in alphabetical order BFI Governor Election 2013 Candidates’ Biographies and Statements

Francis Bennett Gerald Fox Stephen Kloppe David Miller Karim Nathan Duncan Wheeler Keith Withall Jason Wood

Candidates are listed in alphabetical order

The biographies and statements are published in the same form they are submitted. | 2 3 | Francis Bennett Biography Supporting Statement

I have been a publisher all my professional life. I am the author The BFI is made by enthusiasts for Today a track record of success doesn’t enthusiasts, and I am one of them. I guarantee the future. To its great credit, of three novels. I am a Patron of the BFI. I live in central London remember my mother taking me, as a the BFI has achieved an enormous and am currently working out how many months of my life I have child, to see Renoir’s first colour film, The amount. If it is to continue its work at its spent in BFI Southbank since I first joined. River – and a great passion was born. present level, it needs all support it can Unsurprisingly, my own special interest is get. As a Governor, I want to add my voice the BFI’s remarkable work preserving and to those who argue with passion that the restoring old films from its vast archive. BFI gives enormous value for money. I The recent restoration of the Hitchcock Nine want to play my part in representing the was a revelation. But perhaps the re- interests of the members, ensuring that discovery of British cinema in the 40s and the current level of success is not 50s will establish reputations that have diminished. I want to help create the been neglected or forgotten for too long. future for the BFI. The Projecting the Archive Programme is re-writing the history of British cinema. Why does this matter? The internet revolution is changing our lives at enormous speed. But the new media mustn’t eradicate the past. Film creates an important record of who we are. Generations to come must have the chance to establish their own passion as I did. The essential work of the Archive must continue as much as the wonderful programming which introduces us to film-making across the world. Indulging one’s enthusiasm for a genre or the work of a star or a director is one of the great pleasures of belonging to the BFI.

| 4 5 | Gerald Fox Biography Supporting Statement

Gerald Fox is a leading arts filmmaker who studied world cinema I visualise my role as a BFI Member the NFT (right next to where I worked on Governor as representing the interests of the South Bank) and during the LFF (where at Harvard University before beginning a twenty year career at the BFI members and Sight & Sound readers I represented The South Bank Show every The South Bank Show where he specialised in programmes about film on the Board which ultimately translates year since 1989) and also making quality directors and visual artists, working on major profiles of British into safeguarding the values and concerns documentaries about many of the leading of fellow cinema lovers determined to practitioners in contemporary cinema over directors Alan Parker, , , Terence maintain the BFI as the spiritual home and twenty years gives me a fairly unique Davies and John Boorman, Americans Spike Lee, Robert Altman, recognised voice of film in the UK today. insight into what ultimately makes great Sydney Pollack, Warren Beatty and and European This would entail fighting for true quality cinema and how the BFI can strive to in all areas of contemporary British initiate, develop, fund, distribute and Emir Kusturica. He won the BAFTA and RTS Award for his two-part filmmaking and cinema culture, for exhibit the very best contemporary movies film about artists Gilbert and George, which was the opening night excellent educational programmes in while also restoring and re-releasing from film of the inaugural BFI TV Festival in 2007, and won The Grierson cinema history and film practice as well as its rich archive some of the greatest creating opportunities for young careers to cinematic treasures of the past. Documentary and RTS Award for his film about legendary American flourish through resourceful funding and From a documentary I worked on about proper skills development/internships photographer and filmmaker, Robert Frank which premiered at Carl Davis and The Silents to children’s developed through the BFI. Rotterdam and Tribeca Film Festivals. programmes featuring Steven Spielberg I would hope as a Governor to be involved and John Sayles, from process films with Along the way, he created two long-running, youthful arts series for in all aspects of BFI business particularly Michael Gambon and Nicholas Hytner to LWT/Channel 4 and an ITV drama series. He recently made the setting the direction for current practices programmes about legends like Albert including production funding and Finney as well as endlessly working in the feature film Mother’s Milk, favourably reviewed in The Guardian, distribution through The Film Fund, the industry itself I feel I can really help to Observer and Sight & Sound and is currently working on a feature doc continued prosperity of The National Film safeguard cinema’s heritage and future at about Bill Viola. He was also closely involved in the creation and Archive and its work in the preservation of the BFI. Having also now collaborated with our cinema heritage including the many of the staff at the BFI initially funding of the new BFI film library and is exec producing the invaluable restoration of “film” itself, and through the BFI South Bank Library forthcoming BFI Gala, Luminous. the ongoing success of the BFI Library, process and now on the Charity Gala Sight & Sound magazine, the London Film committee (especially in my role as exec Festival and the regular high-quality producer) I believe I have built programming of NFT cinemas. I would relationships that will help me understand also see my role as lending my energy and the workings of the BFI and thus skills in new fundraising programmes to contribute meaningfully to its continued keep the BFI afloat at a time when success and sustainability as a working government funding has been severely charitable organisation and the ultimate curtailed. This would obviously include preserver of Britain’s film culture over the any possible improvement of premises to next few years. ensure that the BFI remains relevant and technically up-to-date in all its locations. I believe that my knowledge of film history and culture gleaned both through my studies at university with some of the world’s leading film professors and watching countless films, most often at | 6 7 | Stephen Kloppe Biography Supporting Statement

Since leaving school in 1975 I have worked mainly in the road Having been a member for 35 years Other points of contention: (about 1,300 screenings – I counted my • The slogan ‘Film Forever’ is just childish. haulage industry. Since taking early retirement I have been able notes!) I now feel the time has come when Everyone thinks so! to indulge, even more, my life-long hobby of cinema-going. I can offer more than just my regular attendance. • Showing the ‘Film Forever’ logo before showing a digital print seems very stupid. Whilst I’m as willing as the next ‘buff’ to Or are you being ironic and I’m not read the subtitles on foreign films it has getting it? seemed that over the last few years they have far outnumbered English language and, • Showing digital prints when film versions more importantly, British movies. Surely are available is just lazy. They lack the support for home-grown movies and the resolution and luminescence of a film. people who make them should be a priority Members come to see FILMS (some won’t for the BRITISH Film Institute. For instance, see anything else and so you’ve lost their directors John Guillerman and Michael custom as well). Anderson are both still alive and an invite to • Problems with the prints should not be give an interview plus a season of their films announced to the audience just before would be welcomed by many. the show. Films used to be rehearsed There are also many great American and checked before hand. It seems very directors (e.g. Allan Dwan, Lewis Milestone unprofessional not to do so now. and John Sturges) who have never had an Having said all that – I am still a fan. I want NTF season – despite making film in the UK. to keep coming to the NFT for years to come. This seems very remiss! The BFI has many wonderful facilities and Another recent trend that’s causing concern a tremendous archive (I did the tour a few is the way the staff (box-office especially) years ago), and the capability to show the treat the ticket-buying member. Anyone best films in the best way possible. with an ES40 (unemployed) or a freedom In this digital age film still has a future and pass (senior citizen) is viewed with great I would like, in my own small way, to be a distrust as if we are all crooks out to defraud part of that future. the BFI – all for the sake of £2.50. Is it really necessary for me to have an argument every time I buy a ticket? I come to the Southbank in a good mood to enjoy a film and every time my mood, my day, my film going experience is ruined by patronising, untrained staff with zero people skills. I suspect a conspiracy. If you don’t want my business anymore why not just say so outright? I have discovered I am not alone in this. Hopefully, as a Governor, I can help my fellow members and do something about it.

| 8 9 | David Miller Biography Supporting Statement

Born Perth, Scotland, 7th November 1956. Raised in Aberdeen and Your vote does matter. Without it the From my biography you will know that existing Board can make a selection on my interest in film and cinema is driven educated at Aberdeen Grammar School. Joined Halifax Building your behalf. It is straightforward to make by being a member of an audience. The Society in 1974 and remained with them (ultimately as part of Lloyds your vote so please do so and get elected contribution by community cinemas in Banking Group) until retirement through redundancy in December a Governor of your choosing. So, why vote developing audiences has been much for me? under-appreciated and getting proper 2011. Career included appointments as Marketing Manager Halifax recognition for this is something very close As a Member Governor I would be there Estate Agencies, District Manager West Cumbria and latterly Pensions to my heart. If you too love going to the to make sure your interests are listened cinema and all things film, then please Officer, specialising in creation and delivery of pension education. to, inputted to the Board and acted upon vote. Your vote does matter. to as full an extent as possible. To that Married 33 years with two grown up daughters both of whom have end you would need to know how to input left home. Became a grandparent in September 2012. these and to that end my email address is [email protected]. If you have Qualified Chartered Institute of Secretaries, Chartered Institute of any questions as to why I am standing for Bankers, Diploma in Management Studies, Certificate in Retirement this post and or why I am worthy of your vote then by all means email me. Provision and latterly Pension Trustee Certificate awarded in 2009. My stance on the BFI is that I support the Programmed Keswick Film Club since 2000 and Keswick Film festival aims as contained in The New Horizons since 2003. Chaired The British Federation of Film Societies for eight for UK Film. As a Governor I would be committed to ensuring the delivery of years and now a Vice President. Participated as jury member of the these aims. The opinions of members are International Federation of Film Societies on six occasions, including crucial to make sure the BFI appeals to as wide an audience as possible and my role three as President. would be to harness that opinion to the betterment of the BFI.

| 10 11 | Karim Nathan Biography Supporting Statement

I have been involved in film and television for 16 years. I studied I want to represent BFI members and The BFI has now taken on the remit of film Sight & Sound subscribers on the BFI board funding from the defunct UK Film Council. film theory and history at university before going on to make of governors to help the organisation Many young and aspiring filmmakers my own films and direct television in New Zealand and the UK. refocus on its members. are underserved and unrepresented BFI members or Sight & Sound subscribers. I’m a member of the Screen Directors Guild of New Zealand. My platform for candidacy is based on two key planks. The first is making BFI For filmmakers, I want – I have recently set up a production company called Roadside membership all it can be. The second is • A BFI website that shares the knowledge Pictures that will focus on emerging talent and bringing feature talent development for filmmakers. of the wealth of talent the BFI possesses. film co-productions to the UK. BFI members are the lifeblood of the The film industry shouldn’t be organisation. I’ve been a member for seven mysterious. Filmmakers need a single I’m very happy to discuss my ideas and your own on how years and for the most part I believe the website that explains what they need to make the BFI better. Please get in touch and follow me on membership is good value. But there is to do to get funding and who to talk to. twitter @karimnathan and at roadsidepictures.tumblr.com. always room for improvement. For BFI The BFI website should be an open and members, I want – relevant hub for filmmakers. • A full film programme during the day • A short film funding system that is open on £6 Tuesdays. For many people the to new filmmakers. This works brilliantly expense of coming into the city and in New Zealand which consistently paying for a full price ticket is too great. produces short films that feature in The best cinematheques allow students, major film festivals. They have a three the unwaged, the elderly and those with tier structure funding shorts at $10,000, a free afternoon to see great cinema $25,000, and $90,000. This system creates during the day at a reasonable price. a talent pathway that leads to feature filmmaking. The Lighthouse initiative • Protect Sight & Sound magazine from is a good start but why make new the cuts to the BFI budget. Sight & Sound filmmakers ineligible? is a precious asset. The influence of the magazine in promoting British • The London Film Festival to create more cinema and the work of the BFI to the industry focused events for filmmakers. world cannot be underestimated. The The Berlinale Talent Campus has been a magazine has never been better. Let’s great addition to the Berlin Film Festival. keep it that way. We can do something similar in London, especially with so much filmmaking • Discounted tickets to London Film talent based in this country. Let’s have Festival for BFI members. It’s the filmmaking master classes with top BFI London Film Festival. Members have talent that are real practical classes. paid their dues and deserve to pay less than anyone else.

| 12 13 | Duncan Wheeler Biography Supporting Statement

Duncan Wheeler (Birmingham, 1981) read Spanish and Philosophy I first began using the BFI Library as a My own personal and professional sixth-form Media Studies student from biography testifies to this; whilst at the University of Oxford (2000-2004), where he subsequently Birmingham; access to its resources educational and outreach work I’ve completed his masters (2004-2005) and doctoral thesis (2005-2009). alongside screenings at the South Bank undertaken with bodies such as He is Lecturer in Spanish at the where he is have subsequently been instrumental The Prince’s Teaching Institute tells me in nurturing my life-long interest in film, that I am far from unique in this regard. also a member of the executive committee of the Centre for World and turning a personal interest into a In the consultation paper, New Horizons for Cinemas. An avid cinemagoer since his school-days, Duncan has professional vocation. It is an awareness UK film, it is highlighted that the BFI’s role of this debt that motivates my desire to lived, and taught film classes at both secondary and tertiary levels, is to be an ‘enabler’ rather than a ‘sole become a governor. In terms of utilising funder’; the ways in which government in Birmingham, London, Madrid and Oxford; he regularly receives idealism for practical ends, I have bodies can do this in partnership with experience in this kind of role and invites to speak at outreach and educational events related to film other institutions is at the heart of much currently form part of the governing body by major international bodies such as Opera North, The Prince’s of my research, and it is one of my goals to of the Association of the Hispanists of ensure this work is far from academic by Teaching Institute or the Instituto Cervantes. Great Britain and Ireland; alongside the entering into dialogue with, say, upcoming executive committees of both the directors and producers. My publications Until recently, he was a Leverhulme Research Fellow working on Centre for World Cinemas and the return time and time again to issues such Cluster for the study of European Popular the role of arts and cultural institutions in Spain’s transition to as the industrial and legislative issues that Music(s) at the University of Leeds. democracy, the subject of his second monograph – following Golden surround approaches to the safeguarding Age Drama in Contemporary Spain: The Comedia on Page, Stage and It is incumbent upon the governor of any of national film cultures and heritage in organisation to provide an ear and voice different European cultures; this work has, Screen (Universities of Wales and Chicago Presses, 2012). A published for the opinions of a broad cross-section of in many regards, only heightened my translator and author of over twenty peer-reviewed articles and book the membership; having engaged with the respect for the work carried out by the BFI, chapters, Duncan is also Reviews Editor for New Cinemas, subject BFI as a film-lover, student and academic but I do also maintain that lessons can be (in that order) places me in an excellent learnt from abroad. Building upon my editor of The Literary Encyclopedia and a member of the governing position to identify with the needs and experience as an advisor to numerous film body of the Association of Hispanists of Great Britain and Ireland. concerns of a diverse constituent of festivals and seasons, alongside my (potential) members as does the fact I’ve track-record of successfully organising and taken advantage of the services it provides delivering screenings and events, I would whilst living in the capital, elsewhere in work hard to generate the optimum the country and abroad. If elected, I would conditions for a vibrant cinephile culture make my e-mail and mobile telephone around the country. number freely available to all members. Working in the university sector, I am reminded on a daily basis of the BFI’s important educational remit, but this should not detract from, say, the library’s role as a national as opposed to a further education collection. I do not, however, see the two facets as contradictory or conflictual: the more people from all walks of life are engaged in film culture, the more vibrant our research culture.

| 14 15 | Keith Withall Biography Supporting Statement

I have been enjoying films since the late 1940s. My first trip to Like Kane I make no campaign Then I think the BFI could be more active promises, though I will, if elected, argue outside the metropolis where it is based. I the cinema was to see Walt Disney’s Bambi. Since then I enjoyed for the policies listed below at the would like to see greater access to archive a widening selection of World Cinema. I first visited the National Governor meetings. Note I do support the material from the National Film Archive Film Theatre in 1960s. I was a BFI member in the 1980s. However, work of the BFI in the fields of education, and a wider and more comprehensive archiving and restorations. And generally circulation of some of the treasures that increasingly the benefits are only available to people who live in I agree that their support in the area of feature at the Southbank. London or who can visit it regularly. I have a copy of the BFI Guide: production is positive. And we need something equivalent to the of eighty pages six were devoted to Around the UK. And this included Firstly, I think the 10% election rule, which Mediatheque for the resources in the BFI Southbank and DVD adverts! has been introduced, should go. The BFI Library. This could also open up the Member/Governors are the only members Sight & Sound archive to a lot more people. I see many of the films prints that circulate round the UK from the elected, so even a low vote is more Note this should not be an alternative but BFI, though some miss West Yorkshire. Fortunately I am also able democratic than being appointed. a supplement to access for the actual materials. to attend two festivals – Il Cinema Ritrovato and Il Giornate del And the membership of the BFI seems to be unrepresentative of the people whose Cinema Muto. The former was where I was able to see some of the taxes pay for the institution. Membership restored Hitchcock silent films in 35mm prints – they don’t seem to really only works for the population be available for UK audiences except on DCP? resident in or accessing London. I think we need a wider membership. One way would I contribute to several Wordpress Blogs – ITP World, Cinepages, be to offer some sort of membership to all members of Film Societies across the UK. Cinetext and Third Cinema. I do some part-time teaching. A recent They are keen on film, active and would talk was on From Rover to Uggie: Dogs on Film at the Cinema Museum. presumably be interested in the work of the BFI. I also think we need better feedback to the electorate. The BFI member pages on the Website are not accessible to the voting subscribers. So I would like to see a section for all voters reporting back on the work of the Governors and with a space for comment and suggestions by members/voters.

| 16 17 | Jason Wood Biography Supporting Statement

I have worked in the UK film industry for nineteen years. Initially I believe that I would make a valuable ensure that the broadest range of people addition to the BFI’s Board of Governors get to enjoy the broadest range of film and a co-director of documentaries on Hal Hartley and Atom Egoyan, and contribute greatly to guarding and moving image culture possible through my I subsequently worked in distribution, releasing titles including shaping Britain’s moving image heritage exhibition, distribution and journalistic Gummo, Leaving Las Vegas, Seven and Boogie Nights for Entertainment and culture. I have a wealth of experience activities, I think I am in a very good in the industry, having worked in a variety position to contribute in this manner to Film Distributors. Shifting into exhibition, I served as Programming of sectors accumulating knowledge, the board. Manager for Picturehouse Cinemas, programming West End and understanding and a total passion and I also think that as well as looking at how commitment to what I consider the regional venues. I joined Curzon four years ago as Director of funding and education can be used to foremost artistic medium. Programming and am responsible for all moving image content. I preserve moving image culture both in the I think the role of BFI Member Governor UK and to help raise its awareness abroad, also advise on acquisitions for our sister companies, Curzon Film necessitates this combination of passion it is important to continue to encourage World and Artificial Eye. and experience in order to safeguard the and support both established and emerging moving image for current and future voices from a plethora of disciplines Respected throughout the industry, I previously sat on the board of generations. I also think that a key and backgrounds. I have been a passion trustees for the Tyneside Cinema, Newcastle and the CineCity requirement of the role is an advocate of a continued commitment to understanding of how the moving image is Artists Cinema and have been instrumental Film Festival in Brighton. A former Sutherland Jury member of the changing and how emerging technologies in bringing the work of figures such as BFI London Film Festival, I am also on the funding board of Dublin’s impact upon how film is produced, Clio Barnard, Andrew Kötting, Ben Rivers ReelArt features initiative. exhibited, distributed and consumed. and Shirin Neshat to UK audiences. Falling DVD sales, a lacklustre box office Other emerging figures whose work I have As well as moderating all Curzon Q&A’s I have also widely lectured and increasing cinema prices have led to a supported and helped to bring to a wider need to consider just how moving images consciousness include Peter Strickland, Joe on film at film schools and universities. My writing has appeared will be watched in the not too distant Lawlor and Christine Molloy, Joanna Hogg in Vertigo, Time Out, Little White Lies, The Guardian and Sight & Sound. future. The increasing relevance of VOD and Gideon Koppel. services cannot be ignored, but neither I am also the author of numerous published works on cinema, I also think it’s important to exercise fiscal should they be considered a threat or a responsibility and to be able to understand including two titles for BFI/Palgrave MacMillan: 100 American replacement to how images are funding issues, the vagaries of financing Independent Films and 100 Road Movies. traditionally ingested. and a changing economic marketplace. In an era in which a diversity of choice is Of equal relevance is the need to recognise becoming increasingly restricted to that whilst film is an art, it is also an London’s arthouses, it is important to industry, and vice versa. Commerce and remember that this variety of moving culture can blend and I, more than image culture should not be the preserve of anyone, am aware of their need to the few. The education and engagement of sometimes coexist. minds young and old in regards to access is to my mind one of the biggest challenges we face today and we must look to emerging platforms and technologies to encourage this diversity of film and moving image viewing. As a figure who has been involved in exploring how we can

| 18 19 | The views expressed in this booklet are those of the individual candidates, not necessarily those of the British Film Institute or its Board of Governors. The British Film Institute (BFI) is registered in England as a charity, number 287780, whose registered address is 21 Stephen Street, London W1T 1LN. bfi.org.uk

Iain Thomson, Board Secretary, BFI [email protected]