Tag: DIY Cinema

Scalarama 2020: Taking things online

Matchbox Cineclub co-ordinate Scalarama activities in Glasgow every September, and host monthly planning meetings year-round. With a very different context in 2020, we’re starting to think about new approaches to screening film independently

Scalarama’s role is to support, connect and grow with independent film exhibitors of all sizes, from those just starting to think about screening films to fully-fledged festivals and venues of all sizes. In the early months of 2020, film exhibition has been flipped on its head, so our first Scalarama roundtable of 2020 (hosted on Zoom, Sunday 05/04/20) explored the new challenges exhibitors are faced with taking things online.

You can watch the entire roundtable here, read the transcript here or browse the minutes here. The associated hand-out is here.

We were joined by Herb Shellenberger, a film programmer and writer originally from Philadelphia and based in London. Herb is Programmer for the Berwick Film and Media Arts Festival, where he has worked since 2016, and Editor of Rep Cinema International, a newsletter on repertory and archival film programming around the world. Via the latter (which you can sign up for here), Herb was a key advocate for cinemas, festivals and independent exhibitors to #CancelEverything in the early weeks of the global pandemic.

Herb Shellenberger’s #CancelEverything treatise

One of the best takeaways from the discussion was not to worry if your organisation hasn’t started putting things online yet –  this seems like it will be a bit of a marathon, not a sprint, and with all exhibition facing the same issues, it’s probably best to have a think about what you want to achieve with your audiences and what’s the best method, for you and your organisation, before throwing all you’ve got at it.

As always, we encourage everyone who is thinking about screening films, online or otherwise, to do so legally – obtaining the right licenses and showing them securely. Online rights are something the industry is still untangling, but it’s worth noting that just because a film is on YouTube or archive.org, or Soviet Movies, or Eastern European Movies (or even Amazon Prime!), doesn’t mean it’s available legitimately.

AGFA’s legendary programming at Alamo Drafthouse is now available worldwide

Most organisations that have been able to take their programming online are showing films by filmmakers they have direct relationships with, or films they already hold the rights to (e.g. AGFA and Alamo Drafthouse’s Terror Tuesday and Weird Wednesday). But join us again via Zoom on Sunday April 26th for our second Scalarama session, when we’ll be discussing film licenses with special guest Greg Walker (Pilot Light TV Festival, Rad Film Screenings, Manchester Animation Festival). 

Below, our notes on taking film content online. We’ll update this as we learn more – you can download the notes as a PDF here. Please feel free to let us know how you get on with any of these suggestions – share your own in the comments or by email: info@matchboxcineclub.com.

Megan Mitchell

Taking Things Online

Watch Parties/ Watch Alongs | Watch Parties aim to recreate a communal atmosphere for watching films, promoting audiences to watch a film already available on streaming platforms such as Netflix, Amazon Prime, BBC iPlayer, All 4, Curzon or Mubi at a certain time and participate in discussion throughout the film. This could be within the comments of a Facebook event or page, on Twitter using a specific hashtag or via a dedicated chat group (i.e on WhatsApp, Facebook). Variations on the Watch Party include audiences watching the film at different times and feeding into the discussion at a set time instead.

Consider: Cost, accessibility, content. Watch-alongs on free or freely-accessible platforms like terrestrial/freeview television, BBC iPlayer, YouTube, Vimeo are ideal. Commercial television stations also allow ready-made breaks, ideal for commentary/catching a breath. Check if the film you’re recommending/scheduling has descriptive subtitles/SDH/captions, as all the main television channels do, as well as iPlayer, Netflix and often Amazon Prime. Audio description is often available on Netflix and other platforms too. Finally, content – knowing the film you are going to watch means you can provide content or trigger warnings if necessary. Read more about those here.

Netflix Party | Netflix Party is a free extension for Google Chrome which allows people to watch films currently on Netflix together through a shared link with an accompanying chat function running down one side of the screen. This allows for real-time interactions and engagement, although it does require all attendees to have a Netflix subscription. Hosting Netflix Parties does limit you to the films available on Netflix, but if you have a programming niche or focus (i.e queer representation, forgotten classics, bad films, etc) you could frame a film in this context to offer deeper engagement and get your audiences discussing the film through a specific lens. 

Metastream | Metastream is similar to Netflix Party and works with more streaming platforms, like Twitch and Youtube. It’s also available as a Chrome extension. You can have private (invitation-only) or public sessions. NB Since it’s still in development, it’s fiddly and pretty glitchy; “theatre mode” may hide soft subtitles; attendees require their own subscriptions to Netflix, etc.

Two Seven | Works with Netflix, Vimeo, YouTube and private videos. An additional subscription fee is needed for some of the streaming services (e.g. Disney+), though the paid features have been lowered in response to the coronavirus outbreak.​ Supports video/audio chat. NB Attendees require their own subscriptions to Netflix, etc.

Twitch | Free and paid options to stream videos, usually used by gamers to stream gameplay but exhibitors like Spectacle Theatre are using the platform to screen a film once a week.

Vimeo | Vimeo is a video streaming platform, with free and paid-for options depending on what you need, and no ads. Deptford Cinema are currently screening shorts and features by local filmmakers on Vimeo, with a £2 pay-all or free if you email them. Glasgow Short Film Festival also use Vimeo for the embedded shorts on their website.

Live/ Recorded Introductions and Q+As 

Film screenings aren’t the only things we can take online – there are a number of platforms that can facilitate live or pre-recorded activity.

Zoom | You’ll be forgiven for never having heard of Zoom before the past few weeks. It’s like Skype only a bit better, allowing you to video chat with multiple people, whilst also having typed chat and document sharing. This can be useful if you’re wanting to run post-screening discussions with audiences or live Q&As. You just download it onto your laptop/device or you can use the website, then set-up an account to set-up meetings or access them. NB optimise your settings and apply best practice to avoid unwelcome intrusion from randoms.

Facebook Live / Youtube Live | Facebook Live is useful if you’re hosting a watch-along or a set-time screening and would like to provide the audience a live introduction. This can be posted on your main page or in the event page for whatever event you’re doing, if you have created one. Cinemaattic have been using Facebook Live, via Zoom, to host their Sunday evening chats / Q&A sessions.

Instagram Live | This is a function on the Instagram app which allows you to do live introduction videos from your phone to Instagram followers. If it’s good enough for Jean-Luc Godard…

Periscope TV | Periscope is a free streaming app that you can use on your mobile to go ‘live’ on the Periscope platform and on Twitter. Useful if you’re doing a live film introduction or give live updates about your organisations or some informal chats.

Hashtags | Using a dedicated hashtag (such as #WatchingWithMatchbox or #FemspectivesAtHome) across all social media sites can connect your audiences, whether it be for a watch party, post-screening discussion or just to offer a unified thread for film-related chat tied into your organisation.

Articles/ Film Writing | Film screenings aren’t the only things we can do online to stay engaged with our audiences. It’s a good time to research and develop ideas and especially to write on some film-related topics for your own website or blog or even just social media.

Quizzes | Online quizzes are proving an easy and popular way for organisations to continue to engage audiences, creating a sense of community and something fun to do together. These can be hosted on Facebook Live (like The Skinny) or via Zoom (like Screen Queenz) with interactive Google forms as quiz sheets or simply a downloadable document people can type into.

Scalarama Glasgow’s monthly roundtables continue online (for now). Follow Scalarama Glasgow on Facebook, Twitter and Instagram to stay up-to-date.

The next monthly roundtable takes place on Sunday 26th April, on Zoom. Details at the Facebook event page, here.

Scalarama in Scotland is supported by Film Hub Scotland, part of the BFI’s Film Audience Network, and funded by Screen Scotland and Lottery funding from the BFI. 

KeanuCon, Captions and Co-screenings

Matchbox Cineclub’s 2019 in pictures

In 2019, we produced three festivals (one of which gained international viral fame), screened 43 feature-length films and 31 short films, hosted 13 guests, 4 drag performers, 2 live bands, co-programmed 14 collaborative screenings, embraced the sliding scale ticketing system, started open-captioning all our screenings, launched a subtitling arm providing HOH subtitles for several festivals and other exhibitors and co-ordinated a month-long season of films across Glasgow and Scotland. Through it all, we had the best audiences and an amazing support network of colleagues, collaborators and peers. Particularly, the support and enthusiasm from our friends at Film Hub Scotland set us up to deliver what is beyond a doubt our busiest programme yet. Here’s our ridiculous year in pictures, month-by-month.

Cage-a-rama 2: Cage Uncaged | We started the year with our second annual Nicolas Cage film festival, opening with Mandy and a Q&A with Cheddar Goblin creators Casper Kelly and Shane Morton. Mom & Dad director Brian Taylor joined us via Skype on Saturday evening and we closed the weekend with the UK premiere of the truly special Between Worlds, a still-unsung and underrated entry in the Cage canon. Despite being described in some quarters as “the new The Room“, it was thoroughly enjoyable and a good time was had by all.

Phones aloft at Auld Lang Vine #RIPVine (Photo by Ingrid Mur)

Auld Lang Vine #RIPVine | In mourning of everyone’s favourite six-second video platform, we hosted a fitting funeral, including drag homage by Puke, live music by Joyce Delaney and 500+ Vines curated by Pilot Light TV Festival. This was an event of firsts, including our first use of the sliding scale ticket price and our first ever spontaneous modern-day lighter waving. Part of the #BFIComedy season.

Director Jaqueline Wright introduces Two Weirds Is Too Weird (Photo by Ingrid Mur)

Two Weirds Is Too Weird @GSFF19 | In March, we joined forces with Glasgow Short Film Festival to curate a night of short films made by Alice Lowe & Jacqueline Wright under the Jackal Films banner, featuring feline erotica, courtly necrophilia and bird women. Jacqueline, who’s now based in the US, very kindly recorded us a special introduction for the event. This was also our first collaboration with fantastic photographer Ingrid Mur, who documented our events for the rest of 2019.

Shogun Assassin with Venom Mob Film Club | This was Venom Mob Film Club’s first screening, and the first of our 2019 co-screenings supported by Film Hub Scotland. Johnny and Chuck programmed one of our favourites and served it up with a special menu of vegan ramen. Venom Mob have since done a bunch more screenings themselves, and they’ve all been great.

Photo by Ingrid Mur

KeanuCon | Megan: Viral fame unexpectantly struck us this year as the internet caught wind of the world’s first Keanu Reeves film festival (less than a week before the already sold-out festival), yet we remain humble.

Sean: (Broke).

Megan: The festival was wyld regardless of the coverage, we had contributions from Alex Winter, Bill & Ted writer Ed Solomon, Man of Tai Chi star Tiger Chen, authors Kitty Curran & Karissa Zageris and My Own Private Idaho aficianado Claire Biddles. The weekened climaxed with a live performance from Wyld Stallyns, a Glasgow supergroup who absolutely nailed it. And, of course, we had lots of Keanu films, 11 in total, including his first appearance on film, in a National Film Board of Canada short. The weekend was full of Keanu love and great energy from the audience, we can’t wait to do it again in 2020!

Backseat Bingo’s Casci Ritchie (Photo by Ingrid Mur)

Under the Cherry Moon with Backseat Bingo | Our next team-up of the year was with the brilliant Backseat Bingo, returning from a long absence. It was only fitting that programmer Casci Ritchie, who is also an academic expert on His Royal Badness, present this lesser known Prince classic on his birthday. Casci introduced the film with an illustrated talk on Prince’s fashion, from erotic sportswear to the classic trench coat.

Poster illustration by Vero Navarro

Cage-a-rama 3D @ EIFF | What could be better than Cage? Cage in 3D! Senior programmer Niall Grieg Fulton invited us to collaborate on this special event at this year’s Edinburgh International Film Festival. After Cage-a-rama 2 (and our 2018 pop-up, The World’s Greatest 3D Film Club at Nice N Sleazy), Cage-a-rama 3D was the logical next step. EIFF’s team sourced beautiful 3D prints and footed the bill for an incredible top-of-the-range 3D system (the glasses need re-charged after every screening). Drive Angry and Ghost Rider: Spirit of Vengeance have never looked better – and we got to commission another incredible illustration from Vero Navarro!

Der Fan with Sad Girl Cinema | As part of BFI’s Film Feels: Obsession season, we co-programmed ’80s thirsty cult slasher Der Fan, along with a topical panel on obsession, thirst and fandom, featuring Bethany Rose Lamont (Sad Girl Cinema), Liz Murphy (artist), Jamie Dunn (The Skinny) and chaired by Claire Biddles (Sad Girl Cinema).

#SubtitledCinema | This was the year we committed to switching on the subtitles for every screening we do. We believe in accessibility and inclusion and though there’s lots of things we can’t do because we don’t have the budget or the time (there’s still just the two of us running Matchox), we realised if we could do it, we should. The other side of the coin is that since we aim to screen films that you can’t see elsewhere and often it’s the first, the first in a very long time, or somehow the only time you’ll be able to see these films, particularly on the big screen, we want to make sure as many people can see them as possible. Underpinning all that is the fact that we’re also professional subtitlers, with over a decade experience in subtitling for D/deaf audiences, so this year we put two and two together and started a subtitling arm to Matchbox. Since we started, alongside our own programming, we’ve produced subtitle files for festivals (GSFF, GFF, Take One Action, Document), film industry events (Film Hub Scotland’s EIFF Industry Days and This Way Up), new films (Super November, Her Century, Women Make Film) and creators (Ctrl Shift Face’s ongoing series of deepfake clips).

Frans Gender performing to Kenny Loggins’ Footloose. (Photo by Ingrid Mur)

Sing-along SAW with Pity Party Film Club | In 2018, we launched the Scalarama Scotland programme with Polyester in Odorama, a scratch ‘n’ sniff event that also featured live drag performers and a very special ring girl in Puke, who, in lieu of on-screen prompts, let everyone know when to rub ‘n’ snort the special Odorama cards. We wanted to top it this year, so we teamed up with our pals Pity Party Film Club to come up with Sing-along SAW – a screening of the classic modern horror, interpolated with live drag acts inspired by key scenes. Highlights included Billy circling the audience on a People Make Glasgow bike and Frans Gender’s out-on-a-limb rendition of Kenny Loggins’ Footloose.

Director Tom Schiller introduces Nothing Lasts Forever, complete with player piano and lunartini.

Nothing Lasts Forever on 35mm | Tom Schiller’s Nothing Lasts Forever has been on our list since we started showing films. Never released on VHS, DVD, VOD or streaming, since its scarce first screenings, it’s only been seen via TV broadcast once in a blue moon (not in the UK since Alex Cox introduced it on Moviedrome in 1994). When we realised Park Circus could authorise a 35mm screening, we knew we had to make it happen, and it was the perfect opening film for Weird Weekend. And though it was challenging (the only way to see the theatrical cut, and therefore prepare, is with the 35mm print), we even figured out how to screen it with subtitles.

Matchbox Maw Linda Dougherty and programmer Sean Welsh (Photo by Ingrid Mur)

Weird Weekend | One of our proudest moments this year, our second annual cult film festival was the first festival we’ve done with the sliding scale ticketing scheme, the first fully subtitled and we also had a 50/50 F-rated programme, meaning half the films were directed by women. Besides all of that, Weird Weekend represents our core programming: outcasts, orphans and outliers – the oddball and often lost classics that deserve to be better seen. Programming, producing, promoting and delivering it this year was thrilling and challenging and exhausting and rewarding. Highlights for us were hosting deepfake auteur Ctrl Shift Face (who came to take part in our Weird World of Deepfakes panel, debuted a brand-new clip and provided his back catalogue for a feature-length retrospective); screening Věra Chytilová’s rarely-seen Vlci Bouda; bringing the mighty Vibrations to a Glasgow audience; and, of course, hosting a Skype Q&A with the one and only Joe Dante, who also allowed us to screen the workprint of The ‘Burbs, complete with alternative ending, extended and missing scenes and even more Morricone needle drops. Subtitling/captioning most of the programme from scratch was another proud moment, if exhausting, and we can’t wait to do it all bigger and better again in 2020.

Photo by Ingrid Mur

Scalarama 2019 | This year, we took a new approach to coordinating the monthly Scalarama meetings leading up to the full DIY season in September. We wanted to make the meetings more practically useful for people looking to start screening films, as well as for people with a little more experience. Every month from March, we invited two guest speakers to present on different aspects of putting on films, and then make an opportunity for attendees to ask questions and share their own perspectives. When our programme was launched in August, we had our busiest ever programme in Glasgow, as well as more and more activity in Edinburgh, the Highlands and Islands and all across Scotland.

Toshio Matsumoto’s Atman (1975)

Kaleidoscopic Realms | Megan: This was probably my favourite screening of the year, if I’m allowed to say that? Our programme was a mix of Toshio Matsumoto and Nobuhiro Aihara shorts sourced from the Post War Japan Moving Image Archive and two shorts by Naoto Yamakawa, supplied us to by the director. This was a mini-time capsule of experimental shorts of the ’70s & ’80s, and just the beginning of our experimental Japanese programming, which you’ll see more of in 2020.

Lydia Honeybone talks to Freddy McConnell after Seahorse (Photo by Ingrid Mur)

Seahorse with Freddy McConnell | Our first co-screening with Queer Classics brought Jeanie Finlay’s then brand-new documentary Seahorse to Glasgow. Seahorse intimately explores Freddy McConnell’s pregnancy journey as a trans man. Freddy even came along to chat with the audience about his experiences, and got confused when asked about his ‘wean’!

Gregg Araki introduces our screening, from an LA burger joint

Gregg Araki’s Teen Apocalypse Trilogy with Diet Soda Cineclub | For the first time ever, we didn’t attend our own event, a co-screening triple bill of Totally Fucked Up, The Doom Generation and Nowhere. We had been invited to curate a panel on #SubtitledCinema at one of Independent Cinema Office’s regular Screening Days events, so while we prepared well (including producing all-new subtitles for all three films), we had to be at Nottingham’s Broadway Cinema when the event started in Glasgow. We left delivery of the event in the very capable hands of our co-programmer, Sarah Nisbet of Diet Soda Cineclub. Gregg Araki’s specially recorded introduction (filmed during a burger joint reunion with the cast of Kaboom) arrived practically at the last second, but it was worth the wait.

Best of Final Girls Berlin | Ain’t no horror like women-made horror, and Final Girls Berlin have the best of it. We brought the frights, anxiety and terror of FGBFF right to Glasgow with a showcase of the best short horror films from their festival, made by women from around the world. And if you liked this team-up, keep an eye out for their festival programme announcement in January 2020 😉

Sgàire Wood’s introduction to City of Lost Souls (Photo by Ingrid Mur)

City of Lost Souls with Sgàire Wood | As part of BFI Musicals season, we brought a bit more of Berlin to Glasgow via ’80s trans punk musical City of Lost Souls. As if this film didn’t have it all already we also comissioned Sgàire Wood to produce a new performance to introduce the screening. We love this film, which challenges expected representation of queer communites, and is just a great odd-ball film all round.

Dial Code: Santa Claus & Secret Santa Party with Backseat Bingo | Our 43rd film of 2019, and our last, is another team up with Backseat Bingo. We wanted to celebrate Christmas with our audiences and our film exhibiton pals so what better than an ’80s action horror featuring a 9-year-old with a mullet and a super creepy Santa? Plus Secret Santa in aid of Refuweegee, and an additional surprise festive screening to finish!

Keep up to date with our 2020 events by signing up to our mailing list, here, or find our events on Facebook here.

Cage-a-rama 2020 takes place 3rd, 4th and 4th January 2020 at the Centre for Contemporary Arts, Glasgow. Buy tickets here.

Accessibility for Film Screenings

Read Helen Wright of Scottish Queer International Film Festival (SQIFF)’s presentation on making your film screenings and events accessible to everyone

At the July Scalarama Glasgow meet-up, Helen Wright (Scottish Queer International Film Festival) gave a presentation and led a discussion on accessibility for film screenings. Helen covered basic principles, and practical access measures for screenings and for marketing film events.

Helen has very kindly allowed us to host the PowerPoint (above), which formed the basis of her presentation. Material from all of 2019’s Scalarama meetings/workshops in Glasgow, including guides to licensing, venues, tech set-up and social media, here.

Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

Basic Tech Set-up for Film Screenings

Tips, specs and software for perfecting your DIY film screening

At the May Scalarama Glasgow meet-up, Eileen Daily (Duncan of Jordanstone College of Art & Design, Document Film Festival, Picture Window) gave a presentation and led a discussion on basic tech set-up for DIY/non-theatrical film screenings, covering film formats, how to prepare films to get the best presentation and what free software is available to help you do all of this easily.

We’re hosting Eileen’s PowerPoint (above), which formed the basis of her presentation and covers basic terminology, ideal technical specs and useful guides to that free software (plus hot-links to download it).

Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

A Basic Guide to Licences for Film Screenings

Ever wanted to screen a film? Our straightforward guide will tell you what licences you need to screen films in Scotland, how to get them and how to get started

When we started screening films we knew there was stuff we didn’t know, or assumed was probably wrong – whether through wilful ignorance or plausible deniability, we definitely didn’t do things correctly straight out the gate. This is true of a lot of film events, and usually in good faith. Briefly, we figured out what we needed to know and that one problem is that there aren’t necessarily straightforward/simple answers to some basic questions. Licensing for film screenings can be like traversing shifting sands from one event to the next.

However, there are basics and we learnt them and this, here, is the skeleton of a presentation we gave in March 2019 as part of Scalarama Glasgow’s Programming and Licensing event at Glasgow Short Film Festival. You can download it as a two-page PDF here.

Why confirm licences?

  • Legally, you have to (¯\_(ツ)_/¯)
  • Threat of fines (and your venue can be classed as a “contributory infringer”)
  • The greater good (exhibitors, film makers, distributors and everyone in between depend on each other to sustain the film industry)
  • Access to funding and other support to help keep doing what you’re doing

These are the licences venues need to screen films anywhere in Scotland:

  • Cinema Licence (from your local council)
  • Entertainment Licence (from your local council)
  • Performing Rights Licence (PRS) (from PPL/PRS)

Depending whether or not you want to plan your screening (e.g. if you want to advertise your screening anywhere outside your venue or online), you will also need one of two kinds of licence:

  • Single Title Screening Licence (STSL, for planned screenings, free or not)
  • Public Video Screening Licence (PVSL, an umbrella licence for unplanned and/or “ambient”, free screenings and/or members-only orgs)
  • NB Filmbank’s Licence Wizard is a handy way to figure out which you need

You can confirm most licences from ‘gateway’ distribution companies who manage large libraries on behalf of major studios, for example:

 Or sometimes licences are held by individual distributors, for example:

Some tips for finding elusive licence holders:

Useful + more detailed guides: 

F.A.Q.

Q: How much is a film licence?

A: Depending on the context and source, it can be anywhere from £60 + VAT to several hundred pounds. Some distributors demand a percentage (often 35%) of final box take versus a minimum guarantee (MG), meaning you pay whatever is more.

Q: Can I haggle/negotiate?

A: You can try. Haggling is more commonplace in Europe and North America than in the UK. And some distributors, e.g. Filmbank, operate an online portal that doesn’t allow for it.

Q: Who will know if I don’t get a licence?

A: Distributors, especially the bigger ones, do keep an eye on screening activity and if they’re made aware of unlicenced screenings of their films, they will investigate. Most commonly, they’ll simply chase you to book it in. Other local exhibitors, including cinemas, will likely notice screenings that seem to be unlicenced too => side-eye and/or bad blood.

Q: Do I need a licence if my screening is free or for charity?

A: Yes. Although on rare occasions you may be granted a licence for free, you still have to confirm permission to screen with the licence holder.

Q: Do I need a licence if the director/star is coming?

A: Most likely. Unless the director is also the licence holder and/or the film doesn’t have distribution, they probably won’t manage the screening rights for their own film.

Q: If I own the DVD, can I screen it?

A: Not without a licence. However, the licence fee most likely will not cover screening materials (i.e. DVD, Blu Ray), which you usually must provide yourself.

Q: If someone released the DVD/Blu Ray, can they grant a screening licence?

A: Sometimes, but not always. The rights to distribute a film for home entertainment and the rights to distribute a film theatrically or non-theatrically are not essentially the same.

Q: What do I do if I’ve exhausted every avenue and explored all possibilities of finding a licence holder?

A: In the very unlikely chance you have (see Sophie Brown’s Point Break saga), there is the option to self-indemnify, meaning you make a record of your attempts to source the licence, reserve the box office take and prepare for the licence holder to eventually come forward. No-one recommends you do this.

Q: Which films are in the public domain?

A: There isn’t a definitive answer or resource for this. Websites that claim to be definitive are not and in any case are often based in the US, which is a different distribution territory that also has different copyright laws. On top of this, the legal status of films often changes over time. All you can do is research.

Scalarama Glasgow is running monthly meetings in the lead-up to September’s season of DIY film programming. They’re aimed at helping exhibitors brand-new and experienced alike to put on films, and each month has two invited experts on different aspects of film exhibition. They’re free and open to all, full details here.

If you have any more questions or could use some advice, get in touch with us here: info@matchboxcineclub.com

 

 

Matchbox Cineclub vs Scalarama

ThisIsScalarama_web

Scalarama is just around the corner and we have some of our biggest and best events lined up for it this September. First, we team up with Video Namaste for an event inspired by Everything Is Terrible, the Found Footage Festival and Adam Buxton’s Bug. Then we have a very special event celebrating the 20th anniversary of Chris Morris’ landmark TV comedy Brass Eye. Our Glasgow events culminate on our regular date at CCA with our very first live score commission. Finally, we’re using Scalarama to launch our first ever tour, bringing back John Paizs’ masterpiece, Crime Wave for its theatrical debut across the UK.

07/09: Video Bacchanal at Nice N Sleazy 

The ‘90s in cinema were an amazing nightmare. A sugar-syrup throb of VHS scanlines, dire fast food tie-ins and probably the weirdest time in Arnold Schwarzenegger’s life. Come join the Video Namaste boys in a wee trip through the weird videoshop hellscape of 90s cinema and all the amazing stuff that orbited it. Have a drink, gawk at us forgetting to remember and then have a wee dance with us as we play some Exxtra Special ‘90s soundtrack songs afterwards.

supermanlives

17/09: Oxide Ghosts: The Brass Eye Tapes with director Q&A at CCA

Made from hundreds of hours of unseen material from his personal archive, director Michael Cumming’s film shares insights into the process of making the legendary TV series Brass Eye. Michael directed both the pilots and the series and, over a two-year period, witnessed the highs and lows of Brass Eye from a very personal perspective.

Part documentary, part artwork – the film is designed solely for live screenings and is made up almost entirely of never before seen footage. Oxide Ghosts carries the blessing of Chris Morris and provides a rare glimpse of his extraordinary working practices.

Michael will be doing a Q&A after the film – spilling beans, shattering myths and letting a few cats out of the bag. Celebrating 20 years since Brass Eye’s transmission in 1997, this film and Q&A session are a must for fans of the series but will appeal to anyone with a curiosity about how great comedy is made.

Oxide Ghosts_poster

21/09: Cowards Bend The Knee with live score by Ela Orleans at CCA

Guy Maddin is one of the most distinctive and idiosyncratic directors currently working. The Canadian auteur has mined and subverted the imagery and style of late silent and early sound cinema in such films as The Forbidden Room and The Saddest Music In The World to disorientating, often hilarious effect. Cowards Bend The Knee is one his greatest, but least-known films. Originally conceived of and presented as a peephole show, the film’s ten chapters concoct an alternative cinematic biography for Maddin, torn between the influence of his hockey star father and his attraction to Meta, the beautiful girl from the local beauty salon / illegal abortion clinic.

This is Guy Maddin in purest form, the most concentrated and probably craziest film of his career. Never have hockey, hairdressing, homophobia and hand amputations collided to such dizzying effect, in perhaps the most authentically surrealist film of the 21st century. For Scalarama, Matchbox Cineclub have commissioned Ela Orleans to write a new score.

Ela Orleans has gained an international cult reputation for her haunted, noir-inflected torch songs. She recently came to more mainstream attention when her magnum opus Circles of Upper and Lower Hell was nominated for the SAY Awards. However, the Polish-born musician has a parallel career, scoring film soundtracks having studied composition under David Shire (The Conversation, The Taking of Pelham 123) in New York. She has composed new soundtracks for films as diverse as Frank Borzage’s Lucky Star, Carl Dreyer’s Vampyr and Jack Smith’s Flaming Creatures.

After the screening, journalist Brian Beadie will discuss Ela’s work and approaches to film scoring.

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September and beyond: Crime Wave DCP tour at various UK venues

One of the greatest and yet most perversely overlooked debuts in Canadian movie history, writer-director John Paizs’s Crime Wave announced the birth of a new genre in Canuck cinema: what cultural critic Geoff Pevere dubbed “prairie postmodernism.” Crime Wave’s recent restoration by TIFF debuted to a rapturous reception during Glasgow Film Festival 2017, programmed by us. Still unavailable on DVD, VOD or streaming, Paizs’ lost classic now comes to UK theatres for the first time. Dates are confirmed at DCA (Dundee), Castle Cinema (London), Hawick and HOME (Manchester).

Disney

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