The London Film Festival and I go way back. Some of my fondest cinema-related memories have taken place at the LFF, our relationship stretching back to October 2004 and a screening of Wong Kar-Wai’s 2046. Since that fateful evening I’ve returned to the city in the Autumn of every year, with each festival experience building upon the last.
While we’ve covered a number of film festivals already in 2012, for me it’s London which kicks off the best leg of the season: while arguably at odds with the whole point of festivals, it marks the first real opportunity to sit back and take a look at the wider picture of cinema in 2012. While Venice, Toronto and Berlin might trump London for world premieres, London is the one great chance for the unreleased gems of earlier festivals to be collated in one place. The term “greatest hits” has been applied to London on more than one occasion, and while this was no doubt initially intended as a slight of sorts, one finds such a term to be difficult to argue with, or, more importantly, pick fault with, albeit when approaching such a thing from a wholly positive angle. Put simply, I look forward to seeing the films that the rest of the world have been raving about, and appreciate being afforded the opportunity to do so.
As I write this editorial I’m actually sat on a train returning home from our third 16 Frames screening to date. Those of thee that follow me on twitter will be aware of just how dramatic an experience this performance has been: initially scheduled as a “quiet” lead up to a major event we’ve programmed in November, Pandora’s Box has proven to be a tad more problematic than we ever imagined it would be. The greatest problem revolved around the print itself, which arrived in our projection booth quite literally ‘silent’. With a Sound Track nowhere to be found I set to making one myself, which is no mean feat for a lapsed musician who was never really any good to begin with. One might say that Pandora’s Box was as appropriate place as any to start tinkering with such fare, given the metaphorical package of chaos that was opened up by tackling such a job. Alas, it all worked out pretty well in the end, and I’m even tempted to stick a couple of sample scenes up on here for the rest of the world to see.
Adam Batty – Editor-In-Chief