Kendal Highlights

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Tommy Caldwell - awesome!
Any other offers?
In reply to keith-ratcliffe:

Didn't hear Tommy's talk but the film of his and Alex holnold's Patagonia traverse was the most incredible mountaineering film I've seen. Not surprised they won the piolet d'or.
 BAdhoc 23 Nov 2015
In reply to keith-ratcliffe:

Gwen Moffats Q&A
 planetmarshall 23 Nov 2015
In reply to keith-ratcliffe:

Having a coffee and a chat with Dave "Cubby" Cuthbertson in the cafe on Sat morning.

Lowlights (unfortunately), the screening of Climbing 1 in the Malt Room. It's a lousy venue for film screenings - the projector is too low ( you don't have a hope of seeing anything subtitled unless you're in the front row ). I thought the film passes at £30 per day were a bit steep - £30 for the weekend would have been more reasonable.
In reply to keith-ratcliffe: The BMC TV Breakfast thing was very good, very entertaining and took enough piss to be an antidote to the posturing and posing going on throughout Kendal (expedition standard duvets, woolly hats indoors, incessant high fiving etc etc etc)

Denali is a beautiful and brilliant film that I will probably watch many more times.
http://www.ukhillwalking.com/forums/t.php?t=618343

Has Grimer's provocative and excellent KMF Survivor's Guide been deleted from the forums because I can't find it anywhere? Perhaps the festival organisers complained and got it removed. Any clues where it's gone?

Lowlights -apart from the poseurs and the crowds, I thought that the fact that films were full 15-20 minutes before start times and I couldn't get to see 3 out of the 4 things I wanted to was an indication of something that needs addressing. I feel like my film pass for Saturday was pretty much wasted.



 Jim Walton 23 Nov 2015
In reply to keith-ratcliffe:
This year I thought that the KMF team had done a brilliant job of changing around the Basecamp tent. The normal problem with these events is that you head into the marquee and it's loads of stalls at the side and in the middle. The stall holders just have an allotted space and struggle to do much more than put up their pasting tables and putting out their fliers etc. As you enter the marquee you join a conga of people doing the circuit of stalls, you do a couple of laps but find that there is nowhere to stop to catch your breath. If you do stop, heaven forbid, the conga stops and there are grumbles along the line. So you do your 2 laps and then leave having not actually stopped at any of the stalls!

This year KMF got it sooo right. The bar area in the middle was a triumph allowing people to just mill about and not feel self conscious. The nett effect was significantly more footfall into the stalls. Lots of effort had gone into the setting of the stalls, especially the Association of Mountaineering Instructors stall (though I may be a little biased there as I was working on i!t ). I thought the free talks in the bar area worked well and the PA system was set about right so that it didn't boom over the entire marquee.

The RAB/Lowe Alpine Yurt worked well, I didn't go into the Marmot bar as for some reason it felt like a members only club.

The Gwen Moffat Q&A in the RAB/Lowe Alpine Yurt was brilliant. There was hardly a dry eye in the house at the end of that and I'm really glad the film won the peoples choice award. Peter Gillman's lecture on the Eiger Direct of 1966 was also very good, professional journalist and a great insight into the climb sharing some stories that didn't make it into his two books.

The only two low points for me were the 150yr Chamonix event on the Sunday Morning and the clash of lectures of Destivelle and Gillman on the Saturday. at the 150 yr Chamonix event Sir Chris started the event off really well, he's an extremely experienced speaker and knows his job and his subject. Paced his talk well and finished with the audience wanting more. The other 4 speakers didn't fair too well unfortunately. The section about a Gary Hemming film that didn't actually exist was misplaced IMHO and had very little do do with Chamonix's history and was given far too much time. Destivelle was good but I got the impression that she had somewhere else to be and Jeff Mercier's talk needed a serious edit. The event over ran by 1 hr and I'm afraid that you didn't get much for that extra hour.

The vibe of the basecamp was brilliant and whoever designed it all should be named and applauded. If I could ask for anything else it would possibly be a couple of book signing events here and there but apart from that a well organised festival.
Post edited at 11:13
 Dauphin 23 Nov 2015
In reply to keith-ratcliffe:

Stonnis - Black Rocks. A beautiful and considered piece of film making in contrast to the Awesome! Athlete Promos that seem to fill up the time table. I loved the Project Moffat Film also and the french team on Chico. More speakers next year please.

D
In reply to Frank the Husky:

> Has Grimer's provocative and excellent KMF Survivor's Guide been deleted from the forums because I can't find it anywhere? Perhaps the festival organisers complained and got it removed. Any clues where it's gone?

Article and thread are still there - http://www.ukhillwalking.com/forums/t.php?t=628496

Alan
 planetmarshall 23 Nov 2015
In reply to Jim Walton:

> The only two low points for me were the 150yr Chamonix event on the Sunday Morning and the clash of lectures of Destivelle and Gillman on the Saturday. at the 150 yr Chamonix event Sir Chris started the event off really well, he's an extremely experienced speaker and knows his job and his subject. Paced his talk well and finished with the audience wanting more. The other 4 speakers didn't fair too well unfortunately. The section about a Gary Hemming film that didn't actually exist was misplaced IMHO and had very little do do with Chamonix's history and was given far too much time. Destivelle was good but I got the impression that she had somewhere else to be and Jeff Mercier's talk needed a serious edit.

Largely agreed. Sir Chris obviously has vast experience doing this kind of thing and it showed. Destivelle was good as she clearly has a no-nonsense attitude to interview questions and seemed a bit perplexed by some of Jack's questioning. I'll look forward to the film about Gary Hemming when ( and if ) it appears, the segment on the history of Alpinism was interesting but could have done with some slides. I spent most of Mercier's talk thinking that he'd be crucified if he put up routes like that in Scotland - but then it's the Alps, they have no shortage of rock.
 planetmarshall 23 Nov 2015
In reply to Frank the Husky:

> ....expedition standard duvets...

It was actually pretty cold this year, in contrast to last year when it just pissed it down. So I defend my Alpkit down jacket choice.

 Mark Collins 23 Nov 2015
In reply to keith-ratcliffe:

It took a nudge, but having the sound turned down in Climbing 1 on Saturday morning did wonders for my hangover. Couldn't understand why no one else seemed to have a problem with this though and just sat there like lemons putting up with it. It definitely wasn't just me though, as I asked my mate sat next to me and he concurred before I attempted any action.

After being forced to sit on the floor during Ueli Steck last year (did someone let all their mates in or something), it was great that the seat reservation system was enforced, which worked seamlessly as far I'm concerned.

Managing not to forget the golden rule of declining anything in the Malt Room also paid off once more, as did getting up early.

Winning the dirtiest duvet competition for the tenth year running.

The KMF beer.

The art exhibition at the factory, so much so that I bought a print and a bookmark.
In reply to Mark Collins: I didn't see that exhibition unfortunately. I was appalled at the shoddy rubbish being displayed on the top floor in the BAC itself. Massive canvasses of childlike brushstrokes with price tags of between £1000 & £4000. "Ray Martin, the inexperinced landscape" - the blurb says:

"Appropriating source material from this found imagery, as opposed to the reality of those destinations, creates a paradoxical relationship for him. We are all now able to access the wonders of the world with the click of a button, or by flicking through a book, but the experiences we all have of this imagery is simultaneously genuine, and fabricated.

Martin’s paintings, explore the ways in which ‘barriers’ within an image, can create feelings of frustration and distancing for the viewer – who are able to build a relationship with the marks and forms within the paintings, but in a very manufactured way.

The saturated colour and employed formal devices, which are intuitively abstracted from the artist’s own reality, highlight his sardonic view of the way we all now live and experience in the post-technological, consumerist era of the present."

What utter tosh.
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In reply to keith-ratcliffe:

Loved the new setup at Base Camp. Good mix of stalls, talks, entertainment and beer. (Can we have the FRCC and Rockfax stands next door to each other next year? It would make good entertainment

Loved the BMC Breakfast. Good level of anarchy and free Haribo. What's not to like?

Loved the Thornbridge Brewery, (can't remember what beer was going in previous years, but this was excellent).

Dislikes

Blacks as a sponsor? Really? I hope they paid a hell of a lot, because they really looked incongruous. I was half expecting Bear Grylls to appear and start flogging Regatta fleeces.

Not a fan of assigned seating, even if it is easier for the organisers. We weren't the only group who couldn't all book at the same time and so were split up.

Hardly saw any films because you have to get a (very expensive) day pass. On the plus side, this meant we saw a lot more talks. Tommy Caldwell, Andy KP, Peter Gillman all excellent.

Agree about the Marmot Tent. No idea what was going on in there, but there seemed to be permanent heavies on the door. Luckily, the Yurt was very welcoming.
 shantaram 23 Nov 2015
In reply to keith-ratcliffe:

Tashi and the Monk was my favourite film of the weekend, and the Peter Mortimer films 'Line Across The Sky' and 'Showdown at Horseshoe Hell' were also superb. I thought this years festival was really well organised and as always very enjoyable. I did find some of the comperes of the film sessions to be really annoying. I just want to know the name of the film, how long it will be and if there are any programme changes. I'm there to watch films. I don't want to hear the comperes opinions of the films and their life history and interests.
 planetmarshall 23 Nov 2015
In reply to Mark Collins:

> Managing not to forget the golden rule of declining anything in the Malt Room also paid off once more...

If you did this last year, you would have missed Greg Lucas which was probably the best event at the festival - though having to compete against Ueli Steck was a tall order.
 net 23 Nov 2015
In reply to shantaram:
That's useful feedback re compering - having presented films this year I suspect I may be one of the guilty. We're asked to make it a bit personal but it I maybe go on a bit too much. One of the reasons is if there are people coming and going in between films it means there is a bit of a break and stops films running too early (so that anyone coming in part the way through, film makers for example can catch the start).
Post edited at 15:41
 planetmarshall 23 Nov 2015
In reply to Richard Alderton:

> Not a fan of assigned seating, even if it is easier for the organisers. We weren't the only group who couldn't all book at the same time and so were split up.

Must admit I don't really get this objection. It's not like you're going to be able to have a chat.
 planetmarshall 23 Nov 2015
In reply to Mark Collins:

> The art exhibition at the factory, so much so that I bought a print and a bookmark.

I concur. I met Joy Grindrod in the cafe, she was a very nice lady.

In reply to planetmarshall:

> Must admit I don't really get this objection. It's not like you're going to be able to have a chat.

But you are. Before, and between the films.

And during, a knowing look or laugh here and there.

Makes for a much more enjoyable evening for me.
In reply to shantaram:

> I did find some of the comperes of the film sessions to be really annoying. ... I don't want to hear the comperes opinions of the films and their life history and interests.

I'll disagree there.

Alright, not life story, but I'd like to hear a bit about the film we're going to see. To put it in context (particularly if I should have heard of the subject or filmmaker but haven't...)

And if they can relate it (or even all of them) to something in their own life, then so much the better.

I had the opposite complaint at a film session (Banff tour, I think?) where we barely got any introduction at all.
Andy Perkins 23 Nov 2015
> The only two low points for me were the 150yr Chamonix event on the Sunday Morning. Sir Chris started the event off really well, he's an extremely experienced speaker and knows his job and his subject. Paced his talk well and finished with the audience wanting more. The other 4 speakers didn't fair too well unfortunately. The section about a Gary Hemming film that didn't actually exist was misplaced IMHO and had very little do do with Chamonix's history and was given far too much time. Destivelle was good but I got the impression that she had somewhere else to be and Jeff Mercier's talk needed a serious edit. The event over ran by 1 hr and I'm afraid that you didn't get much for that extra hour.

Hi there

As you know, I introduced the Chamonix session. It had the potential to be a fantastic event but unfortunately didn't live up to that expectation.
We will be discussing at a debrief meeting later this week how to manage the content of international multi-speaker events more effectively.

Thanks for the feedback, and I hope we can do even better next year.
 Offwidth 23 Nov 2015
In reply to keith-ratcliffe:
I'd like to really thank the organisers for some significant improvements to an excellent annual event.

Firstly, the festival had loads more to do for free, with the base camp and side tents especially good. I think this tent area is important for encouraging outdoor folk with less money, especially younger ones (and there seemed to me to be a welcome younger age profile this year). The Blacks tent was a little small and crowded and their discounts didn't seem to be as good as normal, but they had stepped up and taken on the main sponsor role. Free programmes were excellent and didn't seem to run out this year.

Secondly, I can't remember anything really bad about the films or presentations... bravo for no overlong and overfunded boring euro epics. My highlights were diverse, for the films: Stonnis, A Line Across the Sky, Langtang, Golden Gate; and for the presentations: Claire Roche diligently digging female alpinism in the 19th century out of the dustbins of history, Tommy for being funny about two of the most amazing acheivements ever in climbing, Andy being the most Andy yet.

Thirdly, the new regime of booked seats for main presentations worked on so many levels: The mad queues didn't happen; the time wasted getting people to move up was removed; no arguments over 'booked seats' where someone throws up to a dozen fleeces down to jump the queue; the much reduced rude chatting amongst big groups of mates. We booked only about 6 weeks ahead yet got pretty much the (front) seats we wanted and everything we saw was sold out, so I completely lack sympathy for those claiming it stopped them sitting together... book earlier and if someone pulls out, sell it back.

Fourth, more food and drinks venues. Especial big thumbs up for Anervy's Massala Chai for Community Action Nepal Halsford burgers, Thornbridge beer and Rinaldo's coffee.

Fifth, thanks to those filmmakers turning up to introduce and answer questions on their work.. it really adds to the experience.

My disappointments.... so much to do that I could have been 3 different people and still have been pressed to see everything I'd like (especially peeved I missed Gwen Moffatt's Q&A)..... some of the best books in climbing from the last decade on sale at big discount prices and too few sold: this must be the meaness of too many of the middle aged (who can afford hotels or lakeland b&b prices, festival tickets and transport costs).... a less organised set of book signings.... the bar closing at 1.00am on the main night!??

Some suggestions... maybe a sign in the Brewery Gallery section to the many oblivious of the whereabouts of the other art exhibitions ( of course well detailed on p14 and p15 of the programme... and thanks to Thornbridge for sponsoring this)... it's perhaps not ideal that the film officer had their own film in the festival competitions; a few 'raised eyebrows' put a slightly sour edge to what I felt looked like well deserved wins (based at least on some great praise from folk I trust.... sadly missed the film myself).
Post edited at 19:30
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 planetmarshall 23 Nov 2015
In reply to Offwidth:
> ...it's perhaps not ideal that the film officer had their own film in the festival competitions; a few 'raised eyebrows' put a slightly sour edge to what I felt looked like well deserved wins (based at least on some great praise from folk I trust.... sadly missed the film myself).

Yeah, I concur. I don't doubt that it was a well deserved win, but perhaps KMF need to look at their competition rules.
Post edited at 19:58
Andy Perkins 23 Nov 2015
In reply to shantaram:

> I did find some of the comperes of the film sessions to be really annoying. I just want to know the name of the film, how long it will be and if there are any programme changes. I'm there to watch films. I don't want to hear the comperes opinions of the films and their life history and interests.

Hi there

I'm the presenter coordinator for the Festival. We ran a training session for the presenters/comperes before the Festival in order to maintain quality of both content and presentation. My brief to the presenter team is to personalise the experience for the audience. By introduction of some relevant information or personal link, or some audience interaction, the simple watching of a film becomes a more personal and communal experience for everyone in the venue.
Clearly there's a balance to be struck between too much or too little, and there's always going to be some subjective variation on what's appropriate from different members of the Festival audience ( as indicated by the support of this approach by another post in this thread ).
What would help me is is you could email me using the UKC system with the sessions where you felt that the compere overdid it. I can then tackle the issue in a more constructive and detailed way to improve things for next year.
Thanks.
 Mark Collins 23 Nov 2015
In reply to planetmarshall:

> I concur. I met Joy Grindrod in the cafe, she was a very nice lady.

Nice one, it was a Joy Grindrod print that I bought.
In reply to keith-ratcliffe:

To those complaining about film pass prices, I disagree. £30 for the sat pass was good value I think if you take full advantage of it. It is £12.50 to see a single film in some London cinemas. Guess it seems like a lot if you aren't thinking of seeing many, but just get around and see as many as you can, I wasn't dissapointed with any of the ones I saw.
3
 Offwidth 23 Nov 2015
In reply to Andy Perkins:

I've seen most comperes over the years and think they generally do a great job, especially on the Sunday morning. I wish we had a video clip of a certain top mountaineer having to repoint the podium.
 planetmarshall 23 Nov 2015
In reply to mountain.martin:

> To those complaining about film pass prices, I disagree. £30 for the sat pass was good value I think if you take full advantage of it.

Well that's the problem - its virtually impossible to take full advantage of it if you want to see other things at the festival (and if you also discount the Malt Room which is an inappropriate venue for screenings), and there are no cheaper 'half day' or single session options.
August West 23 Nov 2015
In reply to Andy Perkins:

I have sent you a quick email.

Keep up the good work.
 Co1in H 24 Nov 2015
In reply to planetmarshall: The Malt Room is a lousy venue full stop! Time they stopped using it for talks an films and used it as a store room for the overpriced drinks. £1.64 for a half pint class of Pepsi and £6.80 for a white wine ffs!


 Offwidth 24 Nov 2015
In reply to Co1in H:

Some of my favorite festival memories have been in the malt room... the odd ball events, the small and the predicted to be least popular. Why on earth would you not use something that is there? Overpriced drinks is the same for pretty much any venue of the right size.
Andy Perkins 24 Nov 2015
In reply to August West:

Thanks ! Got that and will incorporate that input into next year's presenter briefing.
All the best.
ANDY P
In reply to Offwidth:
I felt it was a good venue for the Boardman Tasker event and that reminded me of another highlight - Robin Campbell's summary of the judging was excellent - 'but no index!'
 Mark Collins 24 Nov 2015
In reply to Co1in H:

> The Malt Room is a lousy venue full stop! Time they stopped using it for talks an films and used it as a store room for the overpriced drinks. £1.64 for a half pint class of Pepsi and £6.80 for a white wine ffs!

As you can see from my previous posts I'm with you on the Malt Room front but I think this could be a great exhibition space, and although I've never been I'm sure its plenty adequate for the Rab Party.

As for expensive drinks you could always go to a pub outside the festival, there are some within spitting distance. I haven't been to the Shakespere in many years but found it better than ever with some great brews on.
Andy Perkins 24 Nov 2015
In reply to Frank the Husky:

> I thought that the fact that films were full 15-20 minutes before start times and I couldn't get to see 3 out of the 4 things I wanted to was an indication of something that needs addressing. I feel like my film pass for Saturday was pretty much wasted.

Hi Frank

Capacity in the Brewery Arts Centre is a challenge for us every year. That's why we have been introducing satellite venues like Stramongate School, the Shakespeare Centre and K Village to name just 3. Obviously without knowing exactly which venues were full or which films you wanted to see, it's difficult to be specific.

Last year, to address exactly the problem you had, we introduced the KMF Video Juke Box.
It was mentioned in the printed brochure, it's on the website at http://www.mountainfest.co.uk/programme/event/kmf-jukebox1 and it was also publicised on the revolving slide show that was showing as people took their seats in the venue. We hope to run the same system next year, so please take advantage of it.

All the best

ANDY P
In reply to keith-ratcliffe:
Tommy Caldwell showed an amazing video clip of a huge fall that they set up - there was a reference to Leo Houlding in the introduction. Anyone know where you can see that clip?
Post edited at 09:34
Andy Perkins 24 Nov 2015
In reply to Offwidth:

> I've seen most comperes over the years and think they generally do a great job, especially on the Sunday morning. I wish we had a video clip of a certain top mountaineer having to repoint the podium.

Given that we had live projection onto the screen, I'm sure the footage will be somewhere. One of my more memorable KMF opening presentations!

And thanks for the thumbs up on the presenters. The hangover shift can be pretty testing....
 Offwidth 24 Nov 2015
In reply to Mark Collins:
This seems to be mssing the point... part of the joy of Kendal is the non-elitist bar scene chatting to old and new mates and that could be anything from a skateboarder showing a film, to getting kicked out mid conversation with Dave Mac (as happened to me a few years back). The crowd and prices if anything keep things sensible... only a sad few are visible as very pissed every year.
Post edited at 09:57
 Mark Collins 24 Nov 2015
In reply to Offwidth:

> This seems to be mssing the point... part of the joy of Kendal is the non-elitist bar scene chatting to old and new mates and that could be anything from a skateboarder showing a film, to getting kicked out mid conversation with Dave Mac (as happened to me a few years back). The crowd and prices if anything keep things sensible... only a sad few are visible as very pissed every year.

Yeah couldn't agree more. That's me though, not great in crowds. I did brave the Vats Bar at one point though and found it pretty reasonable compared to my perception.
In reply to Andy Perkins: Hi Andy. Thanks for the reply. I didn't know anything about the Jukebox so perhaps the publicity needs to be better. I didn't see it on the revolving slide show as people were taking their seats because, as you'll realise, I didn't get chance to take my seat because places were full. It's a good idea by the sounds of it, but it's unlikely to be a good alternative to being able to see the films I wanted.

I was unable to see Adventure and Adrenaline, so would I be able to request the whole programme or individual films from it? If it's the latter, how do I know which I want to see without having seen the programme in the first place?

Apart from A&A (Screen 2), Endurance (Stramongate) and Climbing 2 (Screen 2) were also full. I was directed to Snowsports (Studio) as a last gasp and that was also full. Perhaps the problem of capacity would be better served by issuing fewer passes, using Screen 1 which was used twice in the whole weekend according to the programme and not showing bike films. If I'd bought a full pass for the weekend, I would probably have been able to see all the programmes. but I'm on a tight budget and the weekend set me back £100, which was terrible value for only being able to see one of the programmes I wanted.

I can't see me being there next year after the expense and missed films.


 petegunn 24 Nov 2015
In reply to keith-ratcliffe:

The Premiere of Eden by Dom Bush. A local history film dedicated to jeff Lamb and the climbers of Armathwaite.
A Free event at Ruskin's with film, Band and DJs excellent ; )
Andy Perkins 24 Nov 2015
In reply to Frank the Husky:

> Hi Andy. Thanks for the reply. I didn't know anything about the Jukebox so perhaps the publicity needs to be better. I didn't see it on the revolving slide show as people were taking their seats because, as you'll realise, I didn't get chance to take my seat because places were full. It's a good idea by the sounds of it, but it's unlikely to be a good alternative to being able to see the films I wanted.

We'll look at how we can publicise it more effectively next year. As I said, the jukebox was designed so that people can see the films they want. So if there was a specific film you wanted to see, you could have done so.

> I was unable to see Adventure and Adrenaline, so would I be able to request the whole programme or individual films from it? If it's the latter, how do I know which I want to see without having seen the programme in the first place?

You can view the trailers for the films on the website to see which specific films you would like to pick. In order that people don't hog the jukebox, we have a guideline of one film per person at a time, and no film longer than 30 minutes. The DJ's in venue managed this very well this year. On that note, you could always ask the presenter at the Video Juke Box for a recommendation from the programme, as they have often previewed the films in advance.

> Apart from A&A (Screen 2), Endurance (Stramongate) and Climbing 2 (Screen 2) were also full. I was directed to Snowsports (Studio) as a last gasp and that was also full. Perhaps the problem of capacity would be better served by issuing fewer passes, using Screen 1 which was used twice in the whole weekend according to the programme and not showing bike films.

Rest assured we look at numbers of film passes very carefully. We also monitor venue capacity on a live basis to try and redirect people to venues where is spare capacity, but I'm sure you'll understand that it's a very dynamic situation, especially on Saturday afternoon and early evening.

Screen 1 isn't available to us for the whole weekend as the Brewery Arts Centre insist on retaining it for mainstream films. As you can imagine, that is a source of some frustration to us at KMF.

The bike programme is very popular. Bike night was a sell out on the Friday and the film sessions remain popular and well attended throughout the weekend. You may not like biking, but lots of others do!

Finally, I'm sorry you had a frustrating time. We'll look at how we can do better for next year.

Regards

ANDY P
 planetmarshall 24 Nov 2015
In reply to Andy Perkins:

> Screen 1 isn't available to us for the whole weekend as the Brewery Arts Centre insist on retaining it for mainstream films. As you can imagine, that is a source of some frustration to us at KMF.

I didn't realise that - I always assumed KMF had exclusive use of the venue during the weekend. Did anyone actually turn up to see "Spectre"?

Andy Perkins 24 Nov 2015
In reply to planetmarshall:

> I didn't realise that - I always assumed KMF had exclusive use of the venue during the weekend. Did anyone actually turn up to see "Spectre"?

No idea. We don't have any KMF staff there outside of our screening times.

From the BAC's point of view, they are the only cinema in the area, and so need to keep one screen for the general population to minimise local resentment towards the Festival. Believe it or not, there are some people living in Kendal for whom the mountains hold no interest whatsoever!
 planetmarshall 24 Nov 2015
In reply to Andy Perkins:
As long as you're here - how many times, would you say, on average during the festival weekend does someone confuse you with Andy Parkin?
Post edited at 13:44
 Offwidth 24 Nov 2015
In reply to Andy Perkins:

The 'resenters' would think very different from most in Kendal if there was any risk of all that money going elsewhere. The mix of Harry Potter and Mountains one year was pretty interesting

I think the Jukebox was very well advertised and I even told Frank about it myself. I didn't check how practical it was to use as we never had time...(I suspected lots of people looking to use it would make it pretty impractical unless something had been pre-booked and was due soon that you wanted).
In reply to Andy Perkins: Hi Andy,

Another great festival so thanks for all the hard work setting it up from the staff and volunteers.

I have to say I was shocked that K2 was in the festival, and even more shocked that it won a prize, what a truly awful film. Very badly shot/filmed (obviously not the old footage), and the editing was terrible, 60 minutes of sheer pain to watch. Sure the sentiment/story is very valid but a crap film. Saw it on the Sunday night and a lot of people were just leaving because it was rubbish. I sat through it to get to the other side (!), and on the way out the 2 volunteer presenters were just apologising to everyone for it. They said they've had a challenge this year with reduced quality of entries, and some of the longer films.

On a brighter note saw loads of great stuff, Caldwell was particularly great to see, and some of the short films like Denali were brilliant.


 Mark Collins 24 Nov 2015
In reply to planetmarshall:

> I didn't realise that - I always assumed KMF had exclusive use of the venue during the weekend. Did anyone actually turn up to see "Spectre"?

I was in screen 1 on Saturday morning, definitely wasn't Spectre looked like Climbing 1.
Andy Perkins 25 Nov 2015
In reply to Simonfarfaraway:

> Hi Andy,

> Another great festival so thanks for all the hard work setting it up from the staff and volunteers.

> I have to say I was shocked that K2 was in the festival, and even more shocked that it won a prize,

> On a brighter note saw loads of great stuff, Caldwell was particularly great to see, and some of the short films like Denali were brilliant.

Hi Simon

Thanks for your compliments. KMF is a massive team effort and it's a pleasure to be part of it.

A significant component of the team are the judges. They are drawn from a wide variety of backgrounds with differing views, ages, expertise, as you can see at http://www.mountainfest.co.uk/film-jury
The decision to award the Grand Prize to K2 is theirs

I'm glad you enjoyed the Festival overall. See you next year!

 Offwidth 25 Nov 2015
In reply to Mark Collins:

The programme shows Screen 1 is not used by the festival on Friday nor on Saturday or Sunday after the morning.
In reply to Andy Perkins: Hi Andy, thanks again for your reply. I was at KMF two years ago and the start of this situation where it wasn't possible to see the films I wanted was rearing its head, I was away last year and this year it was worse as detailed above. The Jukebox is a good idea but, despite the fact that Offwidth might have told me about it (I don't remember) it's still not a substitute for seeing more than 50% programmes I wanted to. You need to advertise it effectively & your presenters need to make a specific point about telling people.

As far as screen 1 goes, I'm sure it would be worth your while asking them how many people actually used it. I'm sure it would make interesting reading for both sides (specifically yours).

As for next year, I don't need to wish you luck as you will be rammed full and oversubscribed without any effort. I won't see you there after this year's experience. I will save my money and see many of the same films at local festivals in a much less hectic environment.
 Mark Collins 25 Nov 2015
In reply to Offwidth:

> The programme shows Screen 1 is not used by the festival on Friday nor on Saturday or Sunday after the morning.

Gotcha thanks, I understand now I should have read back fully.
 Dominic Green 25 Nov 2015
In reply to Jim Walton:
"The section about a Gary Hemming film that didn't actually exist was misplaced IMHO and had very little do do with Chamonix's history and was given far too much time. Destivelle was good but I got the impression that she had somewhere else to be and Jeff Mercier's talk needed a serious edit. The event over ran by 1 hr and I'm afraid that you didn't get much for that extra hour."

Hi Jim

Hope you enjoyed the Gary Hemming film that you did watch, I can assure you that particular film (the one that I showed in the session) very much exists.
As far as talking about the direction that it has subsequently taken, turning into a much bigger project, watch this space. Admittedly it a sneak preview but this is certainly not unprecedented in film festivals and it was nice to present this story to an audience who know the oeuvre well, and hopefully invite them on the journey towards the finished piece. When it hits cinemas, you will be able to boast that you knew about it long before everyone else! Privileged information, if you like.

If you are still wondering why it fits into an event about Chamonix (it's a very significant event in the history of the valley), you can read a bit more about the events in the current (no51) edition of Alpinist magazine. It forms quite a large section of an excellent article on the history of the Dru by Ian Parnell.
Post edited at 14:48
 Mick Ward 25 Nov 2015
In reply to Dominic Green:

> If you are still wondering why it fits into an event about Chamonix (it's a very significant event in the history of the valley), you can read a bit more about the events in the current (no51) edition of Alpinist magazine. It forms quite a large section of an excellent article on the history of the Dru by Ian Parnell.

Would have thought it was highly significant. "Ils sont a nous!" on the Dru (bloody hell!!), Hemming ends up spattered all over Paris Match, Desmaison gets booted out of the guides. A few years later, the cycle of fate does a revolution but this time it's Desmaison and Gousseault stuck on the Jorasses. Were the guides dilatory re the first rescue and/or the second? Were grudges being worked out on the second?

I don't know the answers to these questions but it's gripping stuff and surely goes to the heart of the guides coterie. Wasn't it only a couple of decades before that Rebuffat became the first guide from outside the valley (or 'from the seaside!' as the sneer went)?

Hemming seems such a complex dude. A superb climber but I wouldn't have wanted to climb with him.

mick



 Dominic Green 25 Nov 2015
In reply to Mick Ward:
Hi Mick, at the risk of hijacking the thread, it's all pretty good material, I hope you agree.
It cuts right through some of the dividing line running through the Chamonix scene at a pivotal time in the history of not just climbing and not jus the valley, but the whole of France.
I think it makes for a great story.
Post edited at 21:27
 Mick Ward 25 Nov 2015
In reply to Dominic Green:

I'm sure there's an incredibly interesting story to be told. Yonks ago, I reviewed Mirella Tenderini's biography of Hemming. I think I felt he had 'haunted eyes'. She didn't get into the Desmaison/Gousseault stuff and I can understand why. You have to draw the line somewhere.

A while ago, some French dude went back and did a proper research of the FA of the Central Pillar of Freney and put the record straight. He said something like, "Well some French guys didn't exactly do the right thing. And I'm French. And I wanted to tell the truth." Your heart totally went out to him.

Not slagging anyone in Cham back then. We're all fallible. We all make mistakes. But I think we need to have to the courage to look back historically and accept what we did right and what we did wrong.

Good effort getting stuck into this stuff!

Mick

 ablackett 26 Nov 2015
In reply to keith-ratcliffe:

My thoughts on the festival on the Hangar 18 blog here.

http://h18-orr.blogspot.co.uk/
 Offwidth 26 Nov 2015
In reply to ablackett:

Blimey! Thats got to be one of the most digital set of film reviews I've seen anywhere. You clearly know what you like and don't like but unless you have clones I can't see how that helps anyone else.
2
 planetmarshall 26 Nov 2015
In reply to Offwidth:

> Blimey! Thats got to be one of the most digital set of film reviews I've seen anywhere. You clearly know what you like and don't like but unless you have clones I can't see how that helps anyone else.

Actually I thought they were pretty good, and his review of Citadel is pretty much on the money.

 Offwidth 26 Nov 2015
In reply to planetmarshall:
This is what was said:

"'The Citadel' the latest offering from Alistair Lee. It was shot in 'amazing 4k', and it looked pretty, but that was really all it had going for it. The climbers were neither memorable, nor funny, the story had no suspense or surprise and Alistair Lee just looked either bored or embarrassed by what he was presenting."

So you are also implying Matt and Jon, two of the most impressive British climbers who operate at world class in a relatively unfashionable game (in the UK), should change their personalities for the sake of entertaining the audience (or be forever be ignored for having too little character) and they should modify events to ensure enough suspense and surprise. To me the essence of good adventure films is letting the character of the adventurers and the adventure come through, which I think it did , as did the growing fight against doubt when behind schedule on such a risky route. Flaws (and bad luck) though this film may have had its worth seeing and meeting the requests of that review would likely make it dreadful. Also a lot of these films can lose coherence due to the festival cut (Stonnis for instance is well over an hour in its full form and at full length had praise from quite a few people who'd never seen a climbing film before).

One of the great things about Kendal is how approachable these filmmakers are, so finding out if he was bored or embarrassed is easy enough, before making any judgement on the internet. It's not as if making UK climbing films is making these people rich... if they didn't love it they wouldn't do it.

Post edited at 17:26
2
 ablackett 26 Nov 2015


> So you are also implying Matt and Jon, two of the most impressive British climbers who operate at world class in a relatively unfashionable game (in the UK), should change their personalities for the sake of entertaining the audience (or be forever be ignored for having too little character) and they should modify events to ensure enough suspense and surprise.

Nope, I'm not suggesting they should change their personalities, or that they should modify events. I'm just saying that I didn't think that the events or personalities in this case made a good film.

> One of the great things about Kendal is how approachable these filmmakers are, so finding out if he was bored or embarrassed is easy enough, before making any judgement on the internet. It's not as if making UK climbing films is making these people rich... if they didn't love it they wouldn't do it.

All fair points, I could have asked Alistair if he enjoyed presenting the film, it just looked like he didn't.

 planetmarshall 26 Nov 2015
In reply to Offwidth:

> So you are also implying Matt and Jon, two of the most impressive British climbers who operate at world class in a relatively unfashionable game (in the UK), should change their personalities for the sake of entertaining the audience (or be forever be ignored for having too little character) and they should modify events to ensure enough suspense and surprise.

I neither said, nor implied this. Both seem like nice guys, and are clearly talented climbers, neither of which have anything to do with whether the film is any good or not.

> One of the great things about Kendal is how approachable these filmmakers are, so finding out if he was bored or embarrassed is easy enough, before making any judgement on the internet. It's not as if making UK climbing films is making these people rich... if they didn't love it they wouldn't do it.

Again, nothing to do with whether the film is any good.

 Dauphin 26 Nov 2015
In reply to ablackett:

He comes across as a pretty shy and self effacing character in front of an audience presenting his films and at the crag. We can't call be all be fully formed bouncy confident media personalities which is probably why his choice of work is behind a camera.

D
 Offwidth 27 Nov 2015
In reply to planetmarshall:

To me "pretty much on the money" means you agreed with the review which partly blamed the characters. Equally the review implied Alistair Lee was bored or embarrased because he knew the film was bad.
 Offwidth 27 Nov 2015
In reply to ablackett:
"Nope, I'm not suggesting they should change their personalities, or that they should modify events. I'm just saying that I didn't think that the events or personalities in this case made a good film."

Some films don't have a magic spark for us as individuals but normally its a lot more than characters and events. If you cant pin it down as to why then say that but I can't beleive its only what you said or that your opinions are really that black and white across the films you saw. People put a lot of time into making these films and deserve better than 'red top' responses from festival goers, unless of course they are funny enough to get away with it.

"All fair points, I could have asked Alistair if he enjoyed presenting the film, it just looked like he didn't."

Grimer covered the embarrassment of being asked opinions by filmmakers who's films you didnt like, when you are him, but for festival punters asking questions is both possible and can add massively to the understanding of what the filmmaker was trying to do (sometimes warts and all).
Post edited at 10:24
1
 planetmarshall 27 Nov 2015
In reply to Offwidth:
> To me "pretty much on the money" means you agreed with the review which partly blamed the characters.

Blamed the presentation of the characters in film, yes. You appear to be conflating this with my personal opinion of Mssrs Bracey and Helliker, and their achievements, which has nothing to do with anything. Plenty of nice people do amazing things, whether it will make a compelling film is another matter.
Post edited at 11:07
 Offwidth 27 Nov 2015
In reply to planetmarshall:
There is no such distinction in that short negative review and you've not answered the point on why you're agreeing Alistair looked bored or embarrassed.
Post edited at 11:58
 Henry Iddon 27 Nov 2015
In reply to Frank the Husky:
> I didn't see that exhibition unfortunately. I was appalled at the shoddy rubbish being displayed on the top floor in the BAC itself. Massive canvasses of childlike brushstrokes with price tags of between £1000 & £4000. "Ray Martin, the inexperinced landscape" - the blurb says:

> "Appropriating source material from this found imagery, as opposed to the reality of those destinations, creates a paradoxical relationship for him. We are all now able to access the wonders of the world with the click of a button, or by flicking through a book, but the experiences we all have of this imagery is simultaneously genuine, and fabricated.

> Martin£s paintings, explore the ways in which £barriers£ within an image, can create feelings of frustration and distancing for the viewer £ who are able to build a relationship with the marks and forms within the paintings, but in a very manufactured way.

> The saturated colour and employed formal devices, which are intuitively abstracted from the artist£s own reality, highlight his sardonic view of the way we all now live and experience in the post-technological, consumerist era of the present."

> What utter tosh.

I program the arts exhibits throughout the festival, with the aim of showing a broad range of artists, mediums and interpretations of the mountain and upland landscape.

It would be very easy to fill the festival with 'action sports photographs', catalogue images or other traditional work.

This year there were Ray Martins paintings, silver work by Hazel Thorn, prints by artist / designer Tom Hine and photographs by a Pakistani based photographer Atif Saeed. Each artist approaches their subject in a unique way. I would hope that such variety introduces new ideas and artists to festival visitors, it may not all be to everyones taste, but I would hope that within the selection there is at least one set of work that people can engage with.

I'd be interested to learn peoples experiences of visual arts at other mountain festivals - are they more or less varied than Kendal. Do people want mainstream or a variety and the odd challenge?
Post edited at 20:59
In reply to Henry Iddon: Hi Henry, thanks for the reply. Filling the place with "action sports photographs" would simply be a photographic exhibition so I wouldn't expect you to do that.

Exhibitions at other festivals have generally been very good with a variety of styles on show. As the guy who programs the arts side of things you should probably already know what happens at other festivals. As you don't it would be worth your while going to a few of them.

Ray Martin's work was dreadful, childish rubbish and every single person who looked at it in the 90mins we were up there chatting and drinking laughed at it and were incredulous at the content and price tags, and I mean everyone.

 Henry Iddon 28 Nov 2015
In reply to Frank the Husky:

I do go to other festivals ( Pakistan International Mountain Film Festival - where I first became aware of Atif Saeed's work - and Kathmandu International Mountain Film Festival in the last year) but obviously can't attend every festival.

I'm amazed that 'every person in the gallery during 90 minutes' laughed and scoffed at Ray's work - that is several hundred people and not what I witnessed.

As I said previously I think it's important to show a wide variety of work that challenges peoples perceptions of mountain art.

Ray Martin is represented by Bureau Gallery in Manchester, so I think it's safe to assume he has a recognised profile in the contemporary art world. http://www.bureaugallery.com/about.asp

In reply to Henry Iddon: Hello again Henry. It's great that you have such an enviable international portfolio of festivals. I wish I had the cash/job to do that - so all I can say is more power to your elbow.

I said that every person who looked at the work and commented laughed at it, which was probably about 20 or 30 people so please don't misprepresent what I said. The rest of those in there seemed to ignore it which says an awful lot - if it was any good they'd have paid more attention. Perhaps they thought it was the local primary school display.

To be represented by a gallery is just semantics - much like his price tags. Just becase he charges £4000 doesn't mean people will pay that price. Just because he's represented by a gallery doesn't mean he's any good.

Would you pay £1000 for this 10 inch square whatever it is?

http://tinyurl.com/zfgceec

Didn't think so.

 Offwidth 30 Nov 2015
In reply to Henry Iddon:

I think the world of modern contempory art passes most people by so its no surprise some work will suffer badly in a more public display. I work with art academics so get to hear there view what is going on on an intellectual level and visit exhibitions and galleries where I can (including our own student showcases). Having said that I remain unconvinced by a lot of what I experience of 'successful' work and I do wonder if much of the art the critics and galleries laud right now will be largely forgotten in the future and if the work of current unknowns or under the radar will be remembered by history. I must admit I didn't find this particular work at all interesting, which is rare for me in the intersection with art and the mountains (but I do know one young woman who did like it).
 planetmarshall 30 Nov 2015
In reply to Frank the Husky:

> To be represented by a gallery is just semantics - much like his price tags. Just becase he charges £4000 doesn't mean people will pay that price. Just because he's represented by a gallery doesn't mean he's any good.

And just because you and your friends don't like it doesn't mean he's bad. It's obviously subjective, it's not my cup of tea either, but I don't see any need to heap scorn on Henry's choices.

I would happily pay close to 1k for one of Joy Grindrod's landscapes - no doubt there are plenty of people who would find that equally daft.
 Jim Walton 30 Nov 2015
In reply to planetmarshall:

Or Julian Cooper's work.
 Offwidth 30 Nov 2015
In reply to planetmarshall:

I think the dislikes percentage and volume beat my dislikes on my UKC dislikes post... that's pretty hard to do

This is my least favourite of years of artwork I've seen on display at Kendal and I've purchased prints in the past as I liked them so much. I don't think Henry made a mistake... but art provokes a response normally a bit more positive than this.
 Bulls Crack 30 Nov 2015
In reply to Henry Iddon:

I didn't see them in the flesh but from what I see on Facebook re: his Kendal exhibition I much prefer most of them them to paintings from Mountain Art Llaaberis for example...apropos of not very much

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