An Interview with Suzanne Ballantyne

Suzanne Ballantyne has been the Senior Programmer at London's Raindance Film Festival since 1995. She is also widely respected as an independent film analyst and writer. She is currently working on her debut feature.

What does a programmer look for in a film?

Like everyone else, programmers are individuals with differing tastes but usually have one thing in common, and that is to make their festival program look better than everyone else's.

At Raindance we are looking for both emerging and established filmmakers with a unique voice and visual style. If I had to choose between a well crafted film with a well worn storyline, or, a film with dodgy production values, a script that says something I haven't heard before by a director willing to experiment and take risks, I will always choose the latter.

Programmers are or rather should be looking for the next big thing. When I requested a tape of Bobby Crush from US short filmmaker Cam Archer and finally sat down to watch it - I knew it was exactly what we were looking for. The filmmaking was very basic - voice over narrative replaced sync sound for instance and cast and crew consisted of family and friends, but the result was dazzling. Bobby Crush is the story of a gorgeous young boy's unrequited love for another and is shot in a distinctive visual style reminiscent of indie director Harmony Korine. The lead actor has a natural magnetism and the soundtrack, also provided by friends is first rate. The film is full of saturated colours and is stunning to look at. Bobby Crush grabbed my attention a couple of years ago and now Cam's debut feature, Wild Tigers I Have Known recently screened at Sundance and Berlin.

Image from Bobby Crush

What makes a film stand out to you?

A film with a script that takes an unexpected direction. A film that has had thought put into its' 'look' - whether that be dazzlingly bright colours, a monochromatic hue, or some other stylistic or directorial aspect which makes it stand out visually from the crowd. A kick ass score is also a plus as long as it is original music or the music rights are in place.

What can a filmmaker do to get your attention?

Filmmakers should get the personal email address and phone number of the programmer who will be making the selection. They should send regular email updates with news of other festival screenings, quotes from the press or awards received. It also doesn't hurt to phone initially to make sure your film has been received followed by another call later on to confirm it's been seen. As the saying goes - it's the squeaky wheel that gets the grease - so make some noise.

How big a role does the format a film is shot on have?

At Raindance it really doesn't matter at all but some festivals insist on screening from 35mm prints, so transferring to 35mm from another originating format is an expense to consider.

I am personally partial to filmmakers experimenting and shooting on mixed formats.

Do you prefer digital or film?

I still prefer the look of film.

Is a press kit a valuable tool when submitting to festivals?

A press kit is invaluable. To catch a programmers attention present it in a brightly coloured folder with slots inside for business cards for the producer and director. It should contain photocopies of recent reviews whether from print or the web. It should also contain a complete cast and crew list along with biographies for key personnel. There should be a synopsis of the film and technical info like originating and screening formats and running time. A director's statement is also a nice touch. Unless specifically requested, do not include photos - they are best sent as a 300 dpi max quality jpeg so that if your film is selected the picture can be slotted straight into the festival catalogue. Finally keep the press kit looking serious with a no-nonsense typeface and no drawings or unnecessary information which may make you look unprofessional. A home made press kit with flowery handwriting or some similar decoration is usually the first indication that the film is going to be bad.

Many programmers read press kits while watching the film so they can absorb the maximum amount of information in the shortest amount of time.

What does the festival do for the film?

We promote it as much as we can via our website and our pr. If the film wins an award it will be heavily publicized. Distributors are invited to screenings and other festivals also look at our program and often ask for programming advice. At the very least your film will probably be invited to other festivals and if it is exceptional it may get distribution.

The filmmaker should attempt to pack out the screening as that always impresses distributors. A good way to do this is to have a postcard made up with a still from the film on the cover and a sticker with the screening place, date and time stuck in a corner. If you get a thousand printed up you can use them for other festivals. You'll just have to change the info on the sticker.

Do you have any other advice for filmmakers?

Do all you can to discover your own distinctive voice and don't be afraid to base your film on your own experiences even if they seem inconsequential. An early Shane Meadows short that caught our attention was on the subject of making a cheese sandwich.

For more information about the Raindance Film Festival, please click here

Zara

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