May I just post a quick reminder here about the PHASE 4 Fiction Film competition.
The closing date for entries is at the end of this month and anyone who intends
to send a film should be contacting me for an entry form. This is only open
to UK FICTION films with a running time of 30 minutes or less.
I would also like to mention here something about running times. I have been
reading in one of the IAC regional magazines a continuing correspondence
regarding film lengths. I would probably not have voiced my opinions on this
subject, except for the fact that my name is being used as a kind of weapon
in this debate as to my attitude to this issue.
It seemed to be said by the organiser of the Cotswold festival, Lee Prescott,
that I make short films and anyone who cannot make a short film and still
tell a story, should see me about it.
Lee e-mailed me prior to this being put into the magazine, so I had been
forewarned.
In the latest issue of the magazine, the debate continues, mentioning the
fact that our own competition has a maximum time limit of 30 minutes.Perhaps
implying that I prefer longer films.
Due to this, I think I should set the record straight here (and probably
in the magazines too at a later date.)
I have made over 70 films (not counting family/holiday films etc) of varying
length.
I made ONE single one minute one, possibly as a bit of an experiment, as
this does not appeal to me at all as a film maker.(Some people can do this
type of film well.)
I have also made a few approaching one hour in length plus the one hour "Take
One" documentary reviewed in the latest FVM.
Mostly though, I would say that my films fall into the "average" 10 to 15
minute time slot. Lately, many have tended to be around 25 minutes, which
does allow for more scope for character and plot development if the story
warrants it.
So the basic point is: a film is as long as it needs to be.
I have no problem with films of ANY length as long as they are entertaining.
The reason for the 30 minute limit with our own competition is simple logistics.
Apart from the time we will need to view and judge the competition, we also
would like to show several entries at our show if possible and shorter films
will fit easier into the programme. This does not mean of course, that longer
films have any bias levelled against them.
Ken.
Fiction Film competition
-
Michael Slowe
Length of Films.
"Ken Wilson" <forums@theiac.org.uk> wrote:
questions are to arise as to its length. If the film is shown on its own
or maybe with two others the length is not important providing the film is
interesting and entertaining. If however it is entered into a big festival
when judges are viewing it with say ten other films at one sitting, then
anything longer than twelve minutes is going to bore them no matter how interesting.
Then, even if it makes it into an award programme, a tired audience does
not appreciate a long film, again, no matter how interesting. This is my
experience over very many years of film making and festival participation.
The answer I am finally coming round to is to cut versions for courses.
This plays havoc with structure and form but at least will satisfy the punters!
As I have often opined it really depends where your film is to be shown if
May I just post a quick reminder here about the PHASE 4 Fiction Film competition.
The closing date for entries is at the end of this month and anyone who
intends
to send a film should be contacting me for an entry form. This is only open
to UK FICTION films with a running time of 30 minutes or less.
I would also like to mention here something about running times. I have
been
reading in one of the IAC regional magazines a continuing correspondence
regarding film lengths. I would probably not have voiced my opinions on
this
subject, except for the fact that my name is being used as a kind of weapon
in this debate as to my attitude to this issue.
It seemed to be said by the organiser of the Cotswold festival, Lee Prescott,
that I make short films and anyone who cannot make a short film and still
tell a story, should see me about it.
Lee e-mailed me prior to this being put into the magazine, so I had been
forewarned.
In the latest issue of the magazine, the debate continues, mentioning the
fact that our own competition has a maximum time limit of 30 minutes.Perhaps
implying that I prefer longer films.
Due to this, I think I should set the record straight here (and probably
in the magazines too at a later date.)
I have made over 70 films (not counting family/holiday films etc) of varying
length.
I made ONE single one minute one, possibly as a bit of an experiment, as
this does not appeal to me at all as a film maker.(Some people can do this
type of film well.)
I have also made a few approaching one hour in length plus the one hour
"Take
One" documentary reviewed in the latest FVM.
Mostly though, I would say that my films fall into the "average" 10 to 15
minute time slot. Lately, many have tended to be around 25 minutes, which
does allow for more scope for character and plot development if the story
warrants it.
So the basic point is: a film is as long as it needs to be.
I have no problem with films of ANY length as long as they are entertaining.
The reason for the 30 minute limit with our own competition is simple logistics.
Apart from the time we will need to view and judge the competition, we also
would like to show several entries at our show if possible and shorter films
will fit easier into the programme. This does not mean of course, that longer
films have any bias levelled against them.
Ken.
questions are to arise as to its length. If the film is shown on its own
or maybe with two others the length is not important providing the film is
interesting and entertaining. If however it is entered into a big festival
when judges are viewing it with say ten other films at one sitting, then
anything longer than twelve minutes is going to bore them no matter how interesting.
Then, even if it makes it into an award programme, a tired audience does
not appreciate a long film, again, no matter how interesting. This is my
experience over very many years of film making and festival participation.
The answer I am finally coming round to is to cut versions for courses.
This plays havoc with structure and form but at least will satisfy the punters!
-
Ken Wilson
Re: Length of Films.
"Michael Slowe" <michael.slowe@btinternet.com> wrote:
always arrive at a festival such as BIAFF, looking forward to seeing a weekend
of (good) films. When we arrive, often on the Friday, everything is all fresh
again. Usually, months have passed by since the last such event. But by 5.00pm
on the Sunday, after sitting in a cramped, hot and fairly ill-suited hotel
room and after seeing perhaps 40 or more movies, enthusiasm is flagging a
bit to say the least.That is regardless of how good the films may be.
Taking Michaels own film "Melissa" as a case in point, it was shown at the
Sunday awards show at Chesterfield, late in the programme, and did seem a
bit long, though of course, well made. When viewing it a second time as a
final round judge for the Guernsey lily festival a few weeks ago, it was
in a single days viewing and came much earlier in the programme. I was much
fresher and comfortable and I enjoyed it much more than I had the first time.
Michael tells me that this was the same "cut", so what does this tell us?
I thought so much more of his film the second time around and subsequently
placed it highly in my scoring.
Logic tells you that this MUST be a factor when judges watch lots of films
in a consecutive marathon series of sittings. hence my dislike of the current
BIAFF judging system where it was done over one weekend. Michael could very
well be right in his thinking that a shorter cut would be better received
in such a situation. (If only we could know that when we send a film in!)
Ken.
I have to say that I do largely agree with what michael is saying here. IAs I have often opined it really depends where your film is to be shown
if
questions are to arise as to its length. If the film is shown on its own
or maybe with two others the length is not important providing the film
is
interesting and entertaining. If however it is entered into a big festival
when judges are viewing it with say ten other films at one sitting, then
anything longer than twelve minutes is going to bore them no matter how
interesting.
Then, even if it makes it into an award programme, a tired audience does
not appreciate a long film, again, no matter how interesting. This is my
experience over very many years of film making and festival participation.
The answer I am finally coming round to is to cut versions for courses.
This plays havoc with structure and form but at least will satisfy the
punters!
always arrive at a festival such as BIAFF, looking forward to seeing a weekend
of (good) films. When we arrive, often on the Friday, everything is all fresh
again. Usually, months have passed by since the last such event. But by 5.00pm
on the Sunday, after sitting in a cramped, hot and fairly ill-suited hotel
room and after seeing perhaps 40 or more movies, enthusiasm is flagging a
bit to say the least.That is regardless of how good the films may be.
Taking Michaels own film "Melissa" as a case in point, it was shown at the
Sunday awards show at Chesterfield, late in the programme, and did seem a
bit long, though of course, well made. When viewing it a second time as a
final round judge for the Guernsey lily festival a few weeks ago, it was
in a single days viewing and came much earlier in the programme. I was much
fresher and comfortable and I enjoyed it much more than I had the first time.
Michael tells me that this was the same "cut", so what does this tell us?
I thought so much more of his film the second time around and subsequently
placed it highly in my scoring.
Logic tells you that this MUST be a factor when judges watch lots of films
in a consecutive marathon series of sittings. hence my dislike of the current
BIAFF judging system where it was done over one weekend. Michael could very
well be right in his thinking that a shorter cut would be better received
in such a situation. (If only we could know that when we send a film in!)
Ken.
-
Ned C
Re: Length of Films.
This year we set the AMPS Festival length at 30 minutes after 15 minutes last
year which produced a number of complaints. I proposed to the Board of Directors
that next year we have no time limit but this was voted down so the limit
stays at 30 minutes. I tend to make narrative films longer than 30 minutes
and have difficulty finding non-commercial Festivals that will accept them,
BIAFF being an honorable exception. The point about viewing for the audience
is important, sitting in a meeting room with no rake and uncomfortable seats,
looking up at the screen puts the viewer at a disadvantage. I agree that
judges are affected by the sequence in which they see the films, the films
that have preceded it and their viewing conditions, but we all do the very
best we can.
Another subject, congratulations to the UK film makers who won awards in
this year's AMPS Festival,
A Forgotten Hero by SCVS First and best Documentary, Melissa by Michael Slowe
Third overall, 225 by Christopher David Best Experimental, and Certificates
of Merit to One Day at a Time by Mal Whiteley, Quiet Country Lane by Paul
Chater, Diet by Tana Fletcher and Cynthia's Choice by Atta Chui,
Thanks to all of you,
Ned C
year which produced a number of complaints. I proposed to the Board of Directors
that next year we have no time limit but this was voted down so the limit
stays at 30 minutes. I tend to make narrative films longer than 30 minutes
and have difficulty finding non-commercial Festivals that will accept them,
BIAFF being an honorable exception. The point about viewing for the audience
is important, sitting in a meeting room with no rake and uncomfortable seats,
looking up at the screen puts the viewer at a disadvantage. I agree that
judges are affected by the sequence in which they see the films, the films
that have preceded it and their viewing conditions, but we all do the very
best we can.
Another subject, congratulations to the UK film makers who won awards in
this year's AMPS Festival,
A Forgotten Hero by SCVS First and best Documentary, Melissa by Michael Slowe
Third overall, 225 by Christopher David Best Experimental, and Certificates
of Merit to One Day at a Time by Mal Whiteley, Quiet Country Lane by Paul
Chater, Diet by Tana Fletcher and Cynthia's Choice by Atta Chui,
Thanks to all of you,
Ned C