Watershed's Head of Programme Mark Cosgrove is currently at the International Film Festival in Berlin seeing the newest films in the competition and in the European Film Market, some of which will find their way into Watershed's 2007 film programme. He will be posting his diary and pics here, giving you the must-see info and gossip direct from the Potsdamer Platz. If you want to contact Mark with any comments, email mark@watershed.co.uk
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It's difficult to get a handle on things even when you’ve been here before and know the score. So many films, so many narratives - where to start? That’s always the big dilemna in this business. The competition has a low key kinda feel - what does that mean? Well, nothing’s jumping out at me, but given that most of the films you know very little about, it could be afterwards that they start jumping out. As per usual, it’s the big American films that make themselves heard above the general melee: DeNiro’s new film, The Good Shepherd, and Clint Eastwood's Letters from Iwo Jima, a Japanese perspective on the battle following on from his last film 'Flags of our Fathers'. But there is so much more on offer. German films appropriately enough are in confident mood following on from the run of 'Good Bye Lenin' and 'Downfall'. In competition the word on the strasse is Die Falscher (The Counterfeiters) is good, it follows the attempt by the Germans to flood the finance market with counterfeit money during the Second World War and brings moral questions of responsibility to the surface. Another German film Yella is coming up later in the week - always good to play in front of a home crowd.
The opening film La Vie en Rose is a biopic of the great chanteuse Edith Piaf, a pained soul whose strength of voice belied a tortured life. I’m not a Piaf fan, but I'm interested in the huge appeal she evidently had and the life she lived. The screening which is at a new venue for me on the other side of town turns out to be in French, naturelement, and with German subtitles. Ooops. What little I can muster from my C grade O Level French I apply with vigour and decide to stick it out. The first half is interesting if very traditional but I lose interest from then on in, could be a language thing! The actress is great but I am not convinced by the flashbacks forwards. I’m sure it will go down a storm in France but less convinced about appeal to UK audiences.
Next up is Rocket Science which comes fresh from winning an award at Sundance and has just been picked up for UK distribution. I go along with optimistic anticipation - only to have it cruelly taken away by this sorry state of affairs. During the film, which follows an adolescent boy with a stutter and his journey into self-realisation, I decide that I am watching the last nail going into the coffin of independent American cinema. When you think (or when I think) independent USA film, I’m following a line which runs from Sam Fuller to Jim Jarmusch, from Arthur Penn to Gus van Sant - films which mean and say something. Instead what I get here is self-evident textbook filmmaking with a main character who I am supposed to sympathise with but end up shouting at the screen. Following this I make a mental note to ring Mr Redford and drop into the conversation that his Sundance brand has become sullied and to get back to edgy individual voices and run those studios out of his festival. Following this surge in grumpiness I rather foolhardily go in to see another American film, Delirious, as if to keep staring into the cinematic abyss. However, this is directed by Tom de Cillo, an interesting director who, if memory serves me well, shot some of Jim Jarmusch’s films. Anyways, his films from 'Johnnny Suede' to 'Box of Moonlight' are nothing if not quirky and always well put together, light of touch but with a more serious undercurrent. Well we’re in for a treat. This has Steve Buscemi doing Steve Buscemi doing great acting and it is a joy to behold. It’s a modern media fairy tale of young homeless boy making the big time - and that synopsis in no way does it justice. The film has complete confidence in itself and a charming naivety. I wonder what it would be like with the force of character that is Buscemi. I wonder if I can enrol in a Steve Buscemi acting class.
Another film in the market which comes hotly recommended from another festival is Mark of Cain which won an award at Rotterdam last week. I approach with a bit of reservation as the images seem to suggest it’s a war film set in Iraq. I am ambivilant about war movies on Iraq. I don’t know why but it unsettles me, the desire to fictionalise that which documentary would, should and could do so much better. It's also the fact that the film is being addressed to me as a traditional filmmaking style. What I get is a hugely powerful film about the events preceeding and consequences of abuse by British forces on Iraqi civilians. It’s a UK film, based on true events, and the script was developed by Tony Marchant in intensive workshops with the actors. The whole film is a powerful, complex exploration of masculinity, duty, misguided loyalty with fantastic performances - some face are familiar, I think one guy is from Shameless. Afterwards I find out it is being transmitted on Channel 4 in May which is a shame as it is very powerful cinematic experience. It should burst out of the television - it's that good.
Anyway I just got a call from a man about a reception before my next screening so I’d better scoot. I’ll tell you about the exceptional and wonderful Joe Strummer documentary later.
Something I'd like to have seen again (and I just ain't going to make it) is the remastered version of Fassbinder's Berlin Alexanderplatz - which runs for 939 mins - his television epic. Seeing it in the city it was set in would have been quite an experience. Fassbinder is one of those directors whose films are always worth revisiting - he was really a film industry in himself.
Have an overdue drink with Dave Shear from The Works who are distributing Rolf De Heer's Ten Canoes in UK. De Heer is Australian director best known for his infamous 'Bad Boy Bubby'. Since then he has made around 10 films, none of which have ever been released in Britain until Ten Canoes. This is extraordinary as his work is very fine, each film different from the last - maybe this is the problem. Why, I remember watching his last film Alexandra's Project - a truly terrifying revenge move with tinges of Blue Velvet - in Berlin in 2003 with Cambridge Film Festival director Tony Jones and Showroom MD Ian Wild. We all were looking forward to screening it in our respective cinemas, but it was not to be as it was never released here. I am working on a retrospective of De Heer to tie in with Ten Canoes' imminent release, and if all goes to plan Alexandra's Project will be part of it.
Dave is with his boss Chris Auty - who I discover used to run the Ritzy in London way back when - well, way back when there was interesting repertory cinema in the big city. Along with the infamous Scala in Kings Cross, the Ritzy was the best place to get your regular diet of world cinema in great rep programmes. Fondly I reminisced about bunking off college in Reading to go watch Wim Wenders triple bills - and one of them was Kings of the Road! (look up the running time to understand the exclamation mark) - but quickly got onto the parlous state of rep cinema now in London. Chris is now a serious big shot in production but remembers that it all starts from watching films and getting enthusiastic. He is as concerned as I am about the expiry of theatrical rights when I explain I couldn't show Laws of Desire for a recent Alódovar retrospective at Arnolfini. He is shocked to find out about the impossibility of screening theatrically The Shining. Ok, these might be available from your online rental companies on dvd, but Chris knows the point of seeing them where they were intended - on the big screen. The campaign starts here.
So the Joe Strummer documentary - Julien Temple has put together a fantastic portrait of/homage to the great punk. He films interviews with groups of people round camp fires reminiscing about Joe. I wonder why and find out later that Strummer loved nothing more than having a communal camp fire with friends and travellers drawn to the warmth of the flames and stories - music and fun would inevitably ensue. The early footage of Strummer the hippy in London and the transformation to Clash front man is priceless. Strummer was obviously a genuine man of the people - reforming The Clash, for example, to support striking firemen. The film works chronologically and I am surprised that a whole chunk of the famous time with the Clash is excluded - I think this is either brave or foolhardy from Temple's point of view, maybe he is thinking that material is so well known, why bother? We jump to Strummer getting together with the mescaleros before his very poignant death - he was only 50 when he died of a congenital heart disease. Strummers' elegant words from a radio show seem to be an appropriate emotional climax - but, what is this? we jump back to Mick Jones and The Clash! It takes me a few seconds to realise the projectionist has made up the film the wrong way - I have to leave.
Julie Delphy is in town to promote her first film as director - 2 Days in Paris. It has a distinct feel from the press and posters of Before Sunset revisited, and indeed in her introduction she describes the film as the deformed twin of Linklater's beautiful movie - but then, she worked on that script as well. It turns out not to be deformed at all but stands up very well and is in fact the rather charming twin of Sunset. She's one talented lady, Delphy - not only directed and wrote 2 Days in Paris but acts and, isn't that her singing over the final sequence? Sure enough the credits tell it all - she even wrote the song she sings. The film gets very well received and Delphy is evidently touched. It took twenty years to get together (I don't know either) - it shouldn't be as long for the next one. Good news is that UK distributors seem to be keen on it.
I have just been alerted to the fact that the future of cinema is moving into Second Life. The online avatar experience is where 21st century cinema will reside. This evolutionary bombshell was dropped into the conversation on virtual cinema from producer Kees Kasander, and lets face it given that he produces cinematic pioneer Peter Greenaway, there has to be some substance to the proclamation. News of this brave new world is brought hot foot by Tony Jones - we ruminate over our Kleine Bier about this virtual experience. I wonder if bier will taste as good in the Second Life?
Word on the strasse is that German film The Counterfeiters is the hot ticket. There is a market screening which I make my way to. I’m 2 minutes late and "its full" the frauline says, "damn" I say, "you can sit on the steps" she says, "great" I say. The 400 seat auditorium is packed (this wouldn’t happen in the virtual world I momentarily think) and I join my comrades perched on the steps. No one leaves, no one moves. This is surely testament to the film that it keeps a hardbitten industry audience under its spell. It’s set during the Second World War and is the story of the Nazis getting together Jewish bankers, printers and counterfeiters to mass produce fake dollars and sterling to flood their markets and destroy their economies. Its based on fact and raises some big questions in a tight story. I’m worried by the ending. (I’m worried about the ending of Shane Meadow's new film This is England but that is for later). I’m also worried about the representation of the Holocaust. It's that old thing about whether we make it all too manageable. Can art deal with such depravity? Maybe there’s a conference in that? Anyways my earnest concerns to one side The Counterfeiters is a strong film and if a film can’t raise problems, create consternation and a bit of argument, what, I say, is the point? Just bumped into Pip Eldridge, boss of Firstlight who has come from visit to the Jewish Museum. The Daniel Liebeskind building is a powerful memorial in itself - maybe architecture is the way to address the Holocaust.
Back to movies. Shane Meadows 'This is England' has been getting some good press and its imminent release is awaited with anticipation. It's screening in Berlin as part of a programme aimed at 14+ . The film delivers the goods - an opening sequence locates us firmly in time - the Falklands war and a young boy bullied at school who falls in with some skinheads and begins to find an identity but also some serious problems of racism and neo Nazism. It may well be Meadow's finest moment, although Independent Cinema Office chief Catharine des Forges disagrees. I’m pleased as I’ve been thinking about doing a season looking at English identity on the back of it – what is Englishness? What does it look like and what does it think of itself? I’m thinking of a trajectory which runs from Humphrey Jenning's 'Letter to Timothy' through to Meadow's 'This is England' via 'Matter of Life and Death', 'If' and 'Carry on Camping'.
What about the ending though? - well the film is spot on with some great writing and characterisation and the problems and seduction of racism disguised as patriotism, I’m just not convinced by the motivations of the dramatic conclusion. It gives us all plenty to debate in bar afterwards. A bit like Watershed then, this Berlinale gig!
Catharine des Forges has been following up on Mark of Cain and the good news is that interest in the film has been strong and it looks like the television transmission date has been put back and a theatrical release in the UK is looking like a distinct possibility. This is great news as it is a powerful cinematic experience. Everybody I speak to shares the view that it should work.
Paul Schrader is chair of this year’s jury and his new film The Walker is screening out of competition. Schrader is one of those guys who I always find interesting. I know he had problems over 'The Exorcist' prequel but when you think he wrote 'Raging Bull' and 'Taxi Driver' and directed 'Blue Collar' and 'Light Sleeper' amongst others, he’s got some serious pedigree. Thankfully it turns out to be an on-form Schrader. It's set against the political elite of Washington DC and Woody Harrelson stars as the refined, sophisticated, articulate, gay son of a respected (and dead) politician who spends his time socialising with the wives of politicians. It takes me a few minutes to adjust to Harrelson’s persona, am I going to find him irritating is what I’m thinking but no it is an extraordinary performance and transformation.
Cornerhouse’s chief Dave Moutrey mentions Oscar potential for 2008 and I wouldn’t disagree. The script is equally sophisticated and Schrader’s ongoing interest in the possibility of redemption resurfaces. His directing is most definitely assured. I don’t think it will do great business at the Box Office but I simply relish the fact that I’m watching an on-form Paul Schrader. I later have a conversation about scriptwriting and am shocked to find out that a prevailing mood is evolving that 'The Walker' isn’t good. Well, I beg to differ and I feel confident I can argue a case.
Just to prove to how crazy this business is - on the credits for 'The Walker' is the Isle of Man finance (now remember this film is set in Washington DC) . I’m thinking as part of the deal this would involve filming in Isle of Man or possibly the UK and I’m thinking so what scenes were those. There is a scene with Woody Harrelson and Kristen Scott Thomas set at an airport hotel overlooking the runway. On the closing credits a hotel at Heathrow is thanked. I think to myself surely not, they didn’t fly into London and shoot at the airport and fly back out again? I bump into Film London boss Adrian Wootton and present my theory. No they shot in London for three weeks. Remember the scene where they go to the theatre, yes, exteriors and interiors shot in London. Well I never.
I bump into scriptwriter and now Zurich based Billy MacKinnon - this is becoming an annual event - he’s on a bit of a roll having just inked a deal to rewrite a French film for English language. He says he has a month (March) to deliver and is going to lock himself in an alpine cabin to do it. When it comes down to it the film starts off as writing but the writing has to be visual. He’s also doing some work at the National Theatre in London and we make plans to meet up.
During the day I get call from the office - we have a digital projector being installed, we have a digital copy of 'Casablanca' to screen that evening to a sellout crowd of lover’s (it is Valentine’s after all) and Houston we are having problems. I can feel the anxiety all the way in Berlin. The last thing in the world you want is 200 angry lovers. I try to be confident. Ray our Chief Technician and Ewan, Chief Projectionist are on it. I think to myself - "of all the people in all the world you’d want on the technical case it would have to be Ray". Surely it will work. I get a text at 5 to say we’re on, phew. I order myself a Grosse Bier.
The festival is reaching that stage where the market is winding down and people are heading off to their respective real lives. The general feeling is that there has not been any shattering of the earth but rather a solid bag full of films. I’m feeling happy as most of the films I have seen will play well I feel at Watershed. There has been the new André Téchiné which was beautifully directed - I must go back and re-see his films, he’s someone I've never taken too much notice of but this new one was intriguing, very well made - there is a wonderful take on French playright Molière which has the faintist whiff of 'Ridicule'/'Dangerous Liaisons' about it and with a bit of money spent on the marketing should be a bit of a hit I feel. I discover Pathé are releasing it in UK so I’d wager it will get a good pr push. A new version of Lady Chatterly’s Lover has been picked up by Artifical Eye - I didn’t see it – but the prospects are surely good.
It's 8.30am on Thursday here, it's maybe different where you are, and I’m heading out this evening but have time to catch up on three or four films. There is a market screening of 'Yella' which is about to play in the competition and a screening of Irina Palm starring Marianne Faithful which is raising a few eyebrows so should be an interesting morning. Auf wiedersehen as they say in Potsdammer Platz.