3-36 April 2013
Southbank Centre, London
DIANE FREEMAN Project Producer
LARRY SIDER Project Director
MARK UNDERWOOD Technical Supervisor
TAMARA VAN STRIJTHEM Front of House Manager
PIERS PLOWRIGHT, celebrated radio broadcaster with the BBC: ‘A Listening Life – A History of a World in 20 Sound Clips’.
ALEX BERNER, features film editor (Cloud Atlas, The Baader Meinhof Complex, Perfume: The Story of a Murderer) on the integration of music and sound in preparing a picture cut for cinema. Alex will be in conversation with SU NICHOLLS-GÄRTNER, Head of Studies at the ifs internationale filmschule köln.
STEPHEN DEUTSCH introduces The New Soundtrack journal.
MAIKE HELMERS ‘When film sound concepts were uncharted territory: On Lamprecht’s 1931 film Emil und die Detektive (Emil and the Detectives) – and other examples of early German sound film’.
ANDREW KÖTTING, filmmaker and multimedia artist, speaking on ‘Trace Elements and Noise Spillage- How Sound has always been the Motor for My Picture’.
SEÁN STREET delves into his book, The Poetry of Radio – The Colour of Sound, to investigate topics including the power of the human voice, alienation using sound art, audio as a one-to-one experience within developing technologies, sound as the driving force of the human imagination, as well as his current preoccupation, sound and human memory.
ANNE WOOD, producer of children’s television (including the acclaimed Teletubbies) on ‘Hearing and Listening: A Young Child’s World’, with sound designer TIM VINE.
LARRY SIDER introduces EMAS, the European MA in Sound.
DAVID SONNENSCHEIN, writer, producer, director, sound designer and game developer, presents ‘The Art of Listening: Creating Audio for Film and Interactive Media’. Theoretical models and practical applications demonstrate various creative sound design approaches, including the presenter’s Sound Spheres model and new music game app ‘3 Deaf Mice’.
BERNIE KRAUSE, naturalist – and former professional musician – who records the sounds of animals, presents ‘The Great Animal Orchestra’ – focusing on the ways in which the sounds of the natural world contain narratives that convey lots of useful information about how humans are treating that universe, and the cultural influences we have derived from it. In particular, it illuminates our connection to biophony and the ways in which animals taught us to dance and sing. Via videolink.
MARK MILTON, mentor and advisor in self-leadership and governance, founder of the Swiss foundation Education 4 Peace: ‘From noise to empathy, the path to presence – on ways of listening’.
ROGER CRITTENDEN, editor, writer and film educator: ‘Space in Varda: A sound perspective, on the soundtracks of French filmmaker Agnes Varda – and more’.
JOE MORAN, choreographer, dancer and Artistic Director of the Dance Art Foundation, on the relationship between movement and sound in the creation and performance of contemporary and postmodern dance. He reflects on composition as a meeting point between sound and movement in new work, and considers the historical perspectives concerned with more classical notions of musicality in dance.
HOLLY ROGERS, lecturer and researcher (Univ of Liverpool), on ‘Video Art as a musical/sonic genre’, concentrating on the earlier period of work (Paik, Vasulka, Schneider and Jonas), and tracing developments into new media (Utterback, Erickson, Rist, Viola, Björk, Arcade Fire).
PAT JACKSON, Supervising Sound Editor whose credits include Jarhead, The Talented Mr Ripley, A Bug’s Life and The English Patient, presents The Discriminating Ear, focusing our attention on how we hear the real world and the level of audio detail needed for a film world.
MEET THE SPEAKERS An opportunity to ask further questions in an informal gathering in the Purcell Room Foyer.
THE SOUND OF MIKE GRIGSBY – an interview made for the 2000 SOS with the documentary filmmaker who died on March 12th. Grigsby describes his approach to the manipulation of sound and image, illustrating that creative sound is due as much to a strong point of view as to technical expertise.
Chris Watson, one of the world’s leading recorders of wildlife and natural phenomena who also uses his recordings in sound installations, multi-channel works and as filmic narratives for Touch. Chris presents ‘90 degrees South’, a sonic exploration of the sea ice above and below the surface of a frozen ocean.
IVO ŠPALJ AND THE SOUND OF JAN ŠVANKMAJER – video interview
Špalj, the doyen of Czech film sound design, a virtuoso in the use of Foley effects, best known for his work with artist Jan Švankmajer, is profiled in a video interview produced by the SOS.
STEPHEN DEUTSCH, composer, educator, writer and Co-editor of The New Soundtrack journal, suggests ‘Changing the Way We Feel About Sound’.
ALEXANDER BERNER is a film editor based in Munich. His most recent credit is the acclaimed Cloud Atlas, directed by Tom Tykwer and the Wachowskis, starring Tom Hanks and Halle Barry. Amongst his many credits are his three collaborations with director Paul W.S. Anderson – The Three Musketeers, which is in 3D, follows their earlier successes Resident Evil and Alien vs. Predator.
For his work on Tom Tykwer’s Perfume: The Story of a Murderer, Mr. Berner was honored with the German Film Award for Best Editing. His other feature credits as editor include Uli Edel’s The Baader Meinhof Complex, which was Oscar-nominated as Best Foreign Language Film; Roland Emmerich’s 10,000 BC; and Thomas Jahn’s, Knockin’ on Heaven’s Door, starring Til Schweiger, which was a box office smash in Germany.
B.A. (Hons) Sociology, University of Exeter, 1961. Joined BBC as trainee film editor in 1962.
After training, Roger enjoyed a distinguished career in the cutting rooms. Amongst his credits were three films for Ken Russell, including Song of Summer, the award-winning film on Frederick Delius; three films in Kenneth Clark’s Civilisation series; dramatic films on George Eliot and John Milton directed by Don Taylor; biographies of Wagner and Schumann by Anthony Wilkinson; documentaries on Lenin and Paul Klee by Colin Nears; a serialisation of The Last of the Mohicans; a remembrance of Virginia Woolf and Love of a Kind by Lord Snowdon. Towards the end of his career at the BBC he was given an award for “Sustained Excellence as a Film Editor”.
Recruited to the National Film School as Head of Editing when it opened in 1971. Continued to edit whenever possible, including award-winning films on Indian Erotic Art and the ballet dancer Lynn Seymour. Subsequently appointed Assistant then Deputy Director. Was Director, Full-Time Programme from 2001 to 2005, when he was invited by the Director to initiate a one-year course in Fiction Direction, which ran successfully until 2007. In 2008 he was retained as curricular consultant to the NFTS. During his time at the NFTS he has taught in places as varied as Copenhagen, Moscow, Manila, Mexico and Cuba. In Britain he has lectured at The Royal College of Art, The Northern Film School and The Granada Centre for Visual Anthropology at Manchester University. He has also acted as a consultant to the Japanese government regarding professional media education.
He is author of two books on the craft of editing and his book on Truffaut’s La Nuit americaine (Day for Night) was published in the British Film Institute’s Film Classic series. His latest book is Fine Cuts: The Art of European Film Editing. He is currently writing an Alternative History of Cinema for Thames and Hudson and researching a book on the French New Wave to be published by Intellect. He has served on the Arts Council Film Committee, The Scottish Film Production Fund and The Scottish Film Training Trust. He also served on the Editorial Board of the Journal of Media Practice. Roger is a Fellow of the Royal Society of Arts.
STEPHEN DEUTSCH has had his concert music performed by eminent artists, including the Medici Quartet, David Campbell, The Gaudier Ensemble, Andrew Ball, The London Mozart Players and many others. He has composed over thirty scores for film, theatre, radio & television. His many collaborations with the playwright Peter Barnes include Jubilee (2001); the Olivier Award winning play, Red Noses (1985) and the feature film Hard Times (1994). Prof. Deutsch was educated initially in the United States (initial training – Julliard Preparatory Division; BMus – SMU; MA – San Francisco State College). After settling in Britain he attended the Royal College of Music where he was engaged in electro-acoustic composition under the direction of Tristram Cary. In 1971 he and two partners established Synthesizer Music Services, Ltd., an electro-acoustic studio in London. At Bournemouth University, he is Professor of Post-Production. In 1992 he founded the University’s PGDip/M.A. in Electro-Acoustic Music for Film & Television (later the MA in Soundtrack Production: Composition for the Screen). This course, which was the first of its kind in Europe, was designed to equip post-graduate professional composers with the skills necessary to engage in writing music for film, tv, radio, & other multi-media packages. He is also Visiting Tutor in Screen Composition at the National Film & Television School. Within both institutions he has trained over 60 composers, some of whom have since provided music for feature films, theatre, television and computer games. Prof. Deutsch is editor of The New Soundtrack, an academic journal which focuses its attention on all the aural elements which combine with moving images.
MAIKE HELMERS was born in Bremen, Germany, and came to the United Kingdom in 1984 to pursue a career in film and television. Training to become a Film Editor with the BBC, she discovered the creative potential of sound design while working on a range of documentaries & dramas. Since leaving the BBC in 1997, she has been teaching sound design and editing to undergraduate & post-graduate student cohorts at Bournemouth University’s Media School. Keen to combine the experience she gained during her practice-based years in the industry with her current academic work, she is now working on a PhD researching the development of sound film during the late Weimar Republic.
PAT JACKSON has worked on major Hollywood productions as Supervising Sound Editor including Jarhead, The Talented Mr Ripley, K-19: The Widowmaker, The English Patient (for which she was nominated for a BAFTA Best Sound award), and Sound Effects Editor on productions such as The Godfather II, A Bug’s Life and Toy Story (for both of which she won a Golden Reel Best Sound Editing Award), Blue Velvet and The Right Stuff. Pat was part of the team which won the Academy Award for Best Sound on The Right Stuff, Apocalypse Now and The English Patient, headed-up by Oscar-winning editor and sound editor Walter Murch, and has experience as both an editor and sound editor herself. In 2012, she was part of the sound team on Hemingway and Gellhorn which was awarded an Emmy for Outstanding Sound Editing. Pat is currently Associate Professor in the Department of Cinema at San Francisco State University where she teaches post-production sound, film editing and digital sound for film. She has a BA in Film and Broadcasting from Stanford University.
ANDREW KÖTTING was born then Lumberjack in Scandinavia then scrap metal collector and market trader then 1st Class Degree in Fine Art at Ravensbourne College of Art and Design with KLIPPERTY KLOPP then MA in Mixed Media at The Slade then Performances and Screenings of film and video work throughout UK and Europe including Tate Modern Tate Britain ICA The Hayward Barbican and The NFT then GALLIVANT (BFI Feature Film) then Senior Lecturer at KIAD in Maidstone Kent then Arts Foundation Script Writing Award then THIS FILTHY EARTH (Film Four Feature Film) then Multi Media Arts collaboration MAPPING PERCEPTION with Mark Lythgoe Eden Kötting and The Welcome Trust then AHRC Fellowship specialising in ‘Towards an Expanded Cinematic Language’ with IN THE WAKE OF A DEADAD then CETTE SALE TERRE cinema released by ED Distribution throughout France then Exhibitions Performances and Artworks in the UK and France then SHANGHAI FROLIC through The British Council in China then Artist in Residence Cat’Art France then appointment as Professor of Time Based Media at University for the Creative Arts then Film London commission for OFFSHORE (Cross Channel swim project with Iain Sinclair) then purchase of KLIPPERTY KLOPP by Centre Pompidou Paris for their collection then short listed for The Jarman Award then IVUL (Feature Film Project) with Sciapode in France and Box Productions in Switzerland then Professor Invité at Le Fresnoy Studio National Des Arts Contemporains France then IVUL (the Installation) Le Fresnoy and F-ISH Gallery Hastings and Gallery SKETCH London then short film EDGELAND MUTTER for Animate Projects then release of IVUL in cinemas across France and Switzerland then SWANDOWN MAP commission with Iain Sinclair then distribution of IVUL by Artificial Eye for UK Cinema Release then AN HISTORY OF CIVILISATION and performance of HIDING FROM THE BIG GUNS at Barbican London in collaboration with Eden Kötting then film and Bookwork LOUYRE (This our still Life) again in collaboration with Eden Kötting then LANDFILL with CURIOUS for Channel 4 then SWANDOWN (film distributed throughout the UK) and (the installation @ Dilston Grove) with Iain Sinclair for Fly Film through The Cornerhouse Manchester.
BERNIE KRAUSE of Wild Sanctuary in Glenn Ellen, California, studies the composition and interplay of sounds in natural soundscapes. He classifies the sounds we hear into geophony (non-living sounds of the Earth produced by wind, water, etc.); biophony (the sounds of life); and anthrophony (the sounds produced by human technology).
He has recorded soundscapes from all over the world and maintains a growing archive of habitat and species-specific acoustic recordings. He has collected and published these sounds in a number of CDs. He is the author of several papers on the niche hypothesis, an argument that in order to be heard, each animal in a soundscape occupies an acoustic niche characterized by a unique combination of frequency, time and timbre.
Krause began his professional career as a backup studio guitarist for early Motown sessions in the late 50s while attending the University of Michigan. After graduation he joined the folk group, The Weavers, occupying the Pete Seeger slot where, with other members, introduced the song, Guantanamera, at their legendary Carnegie Hall concert in 1963. When the Weavers disbanded the following year, Bernie, and his late music partner, Paul Beaver, helped launch the Moog synthesizer in the pop music and film media on the West Coast and the UK. His work is featured on many albums of that era, including those of the George Harrison, Mick Jagger, and Van Morrison, not to mention Beaver & Krause’s own charted recordings. Bernie’s contributions can be heard on over 135 major feature films like Apocalypse Now, Cast Away, and Rosemary’s Baby.
In 1968, in parallel with his music production efforts, he began his second career as a founder of the field of Soundscape Ecology – recording, studying, and archiving the marine and terrestrial soundscapes of remaining wild habitats worldwide. While amassing one of the most significant collections of natural soundscape recordings in private hands, Bernie has also been engaged in the creation of dozens of natural sound albums representing threatened habitats, and designs sound sculptures for museums, and other public spaces worldwide. Committed to the creation of new language to describe the numerous fields informed by soundscapes, he is the author of The Great Animal Orchestra: Finding the Origins of Music in the World’s Wild Places, the subject of this program. www.wildmusic.org
MARK MILTON was born in Windsor (UK) in 1962, moved to Switzerland in 1970 and has been living there since. He is married and has two sons, born in 1991 and 1994. His first work was as a ski teacher at the age of 16 but his professional career started in 1980. At first Mark specialised in communication and marketing, responding to his interest in the dynamic of human relations. In 1992, he took part in a training programme on “listening skills” given by the local suicide prevention hotline to become a volunteer for them, which he continued to do for 8 years. In 1994 he become director of the emotional support centre, La Main Tendue, (Samaritans in the UK) in Lausanne, Switzerland, until 2004.
In 2001 he was elected President of IFOTES (International Federation Of Telephone Emergency Services), which represents 30,000 volunteers in more than 30 countries, a position he held for 10 years, working with the World Health Organisation (WHO) to introduce the recognition of “Emotional Heath” in 2007.
In 2002, Mark created the Swiss Foundation, Education 4 Peace (www.e4p.org). Its vision is a world in which children leave school not only enriched with educational knowledge and knowhow, but also with self-knowledge. His aim is that all children should be able to learn the skill of listening, to deal with frustrations and conflicts. Since 2008, Mark has been involved in sports, which has shown be a perfect field to introduce emotions and self-awareness in education.
During the second half of 2012 the world of arts proved to be a field just as promising, as music and films are at the core of young people’s lives, with sound as its essence.
Besides his activities for the E4P Foundation, Mark is an advisor and a mentor in self-leadership and governance, for individuals and organisations.
JOE MORAN is a choreographer and dancer creating bold, daring and distinctive new works that navigate the meeting points between full-bodied dancing and critical thought. A semi-finalist for The Place Prize 2012, his work has been presented in theatres, galleries and public spaces in the UK and internationally. As a dancer, Joe has worked with many distinguished choreographers including Deborah Hay (USA), Siobhan Davies (UK), Christopher House (Toronto Dance Theatre) and Pontus Pettersson (Sweden). He was a dancer with Gaby Agis & Company (UK), 2001-05. Joe is Artistic Director of Dance Art Foundation, which he founded in 2000 and through which his performance and curatorial work is produced in collaboration with other agencies.
Joe’s work is informed by his background in improvisation and experimentation that he marries with a fascination with formal choreographic composition and conceptually driven dance. These influences meet in his work through an abiding interest in the fertile tension between the liberated, full-bodied individuality of dancers and the constraints of formal composition.
Joe’s work is also concerned with curation as a choreographic endeavor and he is passionate about knowledge and discourses fostered by dance and its dialogue with other disciplines. He pursues these interests through the curation of other artists’ works in counterpoint to his own, collaborations in visual art, music and film, and leading art programmes in health and in business.
Joe is currently touring Forward, three dances for stage and gallery, choreographing for London Fashion Week and leading a three-year programme with investment bankers at the Royal Opera House. He is developing Arrangement, a bold, all-male ensemble work for touring and will create a new work for EDge, the postgraduate touring company at London Contemporary Dance School, in 2013/14. www.danceartfoundation.com, www.joemorandance.com, @joemorandance
PIERS PLOWRIGHT was born in London in 1937 and spent a lot of his childhood listening to the radio and going to the nearby Everyman Cinema, where he saw the classics of European, American and Asian cinema. After a time teaching in Borneo, Iran, and the Sudan, he joined the BBC in 1968, working first for the overseas service and then moving to the Radio Drama Department where he discovered the power of the radio documentary and feature. Since 1977, he has been making radio programmes about real people and events but which often make use of the techniques and structure of drama. He has also been much influenced by film and its use of sound.
Piers has won two Italia Prizes and an RAI prize for his radio documentaries and a Gold Award for documentaries in the 1997 Sony Awards and ditto in 1968 for ‘Services to Radio’. In November 2006, he was the winner of the Audio Luminary Award at the Third Coast Radio Festival in Chicago. He retired from the BBC in 1997 but continues to listen, look and lecture.
HOLLY ROGERS is Senior Lecturer in Music at the University of Liverpool and a Fulbright Scholar at the Cinema Department of San Francisco State University. She has published on a variety of audiovisual topics including music and experimental cinema, visual music and composer biopics and is author of Visualising Music: Audio-Visual Relationships in Avant-Garde Film and Video Art (2010). Recent research fellowships at University College Dublin and Trinity College Dublin enabled her to complete her second monograph Sounding the Gallery: Video and the Rise of Art-Music (OUP, 2013), in which she argues that video is as much a musical genre as it is a visual one. Holly is currently investigating the interactions between sound and art in the galleries of San Francisco as part of a larger project on video intermediality. As a performer, Holly has played guitar in the backing band for RTE’s Late Late Show, and in the Liverpool Guitar Orchestra; and as a flautist she frequently performs with the Liverpool Mozart Orchestra.
DAVID SONNENSCHEIN is a writer, producer, director, sound designer and games developer. With degrees in Neurobiology and Music (UCSD) and Cinema/TV (USC), Sonnenschein applies his unique background to the area of sound design for film and games. His book, Sound Design: The Expressive Power of Music, Voice, and Sound Effects in Cinema, has been adopted by schools throughout the world, translated to Chinese, Vietnamese and Korean and will soon be in its second edition including material on interactive media. He is the recipient of the Motion Picture Sound Editors Golden Reel, and lectures in Europe, Asia, and South America and online webinars. Founder of www.SoundDesignForPros.com, www.SonicStrategies.com and www.3DeafMice.com, Sonnenschein began his career making educational films for the University of California and has produced and directed six feature films. Trained as a classical musician, he has expanded into jazz and world music, and practices sound healing. His most recent career move embraces interactive media as developer of the music game app 3 Deaf Mice, calling upon the player to help the rockin’ rodents create their next hit song through sonic treasure hunts, audio puzzles and creative digital sound processing.
IVO ŠPALJ is the veteran and doyen of Czech film sound design, having been part of the industry for almost 50 years. He is famous for his work on animated films, in particular as the sound designer for Jan Švankmajer. Since the beginning of his career, he has been heavily involved in foley not only as a foley mixer, but also as the designer of the Barrandov and Hostivar foley stages. As one of the few of his generation, he has managed to transfer his skills to digital technologies and, with his profound knowledge of not only mixing and recording techniques but also the emotions and thinking of film sound, he remains a treasure for Czech film sound.
Throughout his career, he has created the soundtrack and recorded foley to more than 100 films
Born 1940, Strakonice, Czech Republic
1990 – 2011 Independent supervising sound editor & re-recording mixer & foley mixer
2010 Teaches Animation Sound at FAMU (Prague Film and TV Academy
1995 Member of the Czech Academy of Film and TV
1976 Producer of the soundtrack for Laterna Magika theatre show (6.0 format)
1979 Member of the Laterna Magika Artistic Board (10 years)
1982 Music Supervisor at the Electronic and Experimental Sound Studio
1973 Music Supervisor / Recordist at the Smecky Scoring Stage
1967 Sound editor and mixer at Barrandov Studios Sound Department
1964 Mixer / supervisor at the Hostivar Foley Stage
1963 Sound technician. Designer and builder of the Hostivar Foley Stage
1962 Graduated at the Prague Technical University, majoring in Broadcast, Film and TV Technology
Awards: Czech Lion: 3 wins, 5 nominations
SEÁN STREET is a writer, radio producer and presenter, and poet. His work is frequently heard on the main BBC Radio networks, as well as other international broadcasters.
Recent work on air has included editions of Between the Ears on BBC Radio 3 and Archive on 4 on BBC Radio 4. He has made programmes about the wildlife sound recordist, Ludwig Koch, and an on-air study of the relationship between sound and fear.
Street has written a number of key texts on radio history, including A Concise History of British Radio (Kelly Publications) The Historical Dictionary of British Radio and The A to Z of British Radio (both Scarecrow Press) and Crossing the Ether – Public Service Radio and Commercial Competition 1920 -1939 (John Libbey Books). His latest prose work, The Poetry of Radio – The Colour of Sound was published in February 2012 by Routledge.
He has published seven collections of poetry, the most recent being Time Between Tides – New and Selected Poems 1981 -2009 (Rockingham Press). He has collaborated with the composer Cecilia McDowall on a number of musical works, notably Seventy Degrees Below Zero, commissioned jointly by the City of London Sinfonia and the Scott Polar Research Institute, Cambridge University to mark the centenary of the death of Captain Robert Scott – Scott of the Antarctic – in 2012. It was included in the CLS’s tour, Conquering the Antarctic in February/March 2012, and premiered at Symphony Hall, Birmingham. The work is published by Oxford University Press. A new CD, Shipping Forecast (Dutton Vocalion) featuring the Ulster Orchestra and Merton College Choir, Oxford, includes a number of other collaborations between McDowall and Street. Other publications include prose works on Gerard Manley Hopkins and the Dymock Poets.
As a playwright, his Honest John won the Central Television “Best New Drama” award in 1993, and other plays, including Wessex Days and A Shepherd’s Life, both premiered by Salisbury Playhouse, have subsequently toured extensively. Most recently his one-man play about Charles Darwin, Beyond Paradise – the Wildlife of a Gentle Man, starring the Royal Shakespeare Theatre actor, Christopher Robbie, premiered at Salisbury Playhouse in 1998 and has continued to tour since then, both in Britain and internationally.
Seán Street is Emeritus Professor of Radio at Bournemouth University.
CHRIS WATSON is one of the world’s leading recorders of wildlife and natural phenomena, and for Touch he edits his field recordings into a filmic narrative. For example. the unearthly groaning of ice in an Icelandic glacier is a classic example of, in Watson’s words, putting a microphone where you can’t put your ears. He was born in Sheffield where he attended Rowlinson School and Stannington College (now part of Sheffield College). In 1971 he was a founding member of the influential Sheffield-based experimental music group Cabaret Voltaire. His sound recording career began in 1981 when he joined Tyne Tees Television. Since then he has developed a particular and passionate interest in recording the wildlife sounds of animals, habitats and atmospheres from around the world. As a freelance recordist for film, tv & radio, Chris Watson specialises in natural history and documentary location sound together with track assembly and sound design in post production.
His television work includes Bill Oddie Back in the USA, Springwatch, Autumnwatch and The One Show. He has appeared on many BBC Radio productions including A Guide to Garden Birds, the Reed Bed, Jules Verne’s Volcanoe, The Ditch, Elegies from a Suburban Garden, The Wire and more. He also makes performances, live sound installations and specialises in multi-channel works, for example, recreating the sound of John Constable’s “The Cornfield” in front of the original painting at The National Gallery in London.
In 2006 he was awarded an honorary Doctor of Technology degree by the University of the West of England in recognition of his outstanding contribution to sound recording technology, especially in the field of natural history and documentary location sound”.
In 2010 he devised an art project at Liverpool’s Alder Hey Children’s Hospital, using sound recordings made by children to calm other young patients as they received injections and other treatments. In the same year he initiated The Bee Symphony with Marcus Davidson & Mike Harding, which was originally commissioned by Pestival at The South Bank, London. www.chriswatson.net
ANNE WOOD was born in County Durham, England. She worked initially as a secondary school teacher with a particular interest in encouraging her pupils to read. She set up a pioneering children’s paperback book club and in 1965 founded the magazine Books for Your Children. In 1969 she was awarded the Eleanor Farjeon Award for her distinguished contribution to the promotion of children’s books and became a sought-after consultant for publishing, radio and television. Her Yorkshire Television series The Book Tower was awarded a Children’s BAFTA and won the prestigious international children’s television award, the Prix Jeunesse.
Anne went on to adapt Ragdolly Anna for television and produce an English version of the Moomins. She was invited to create a children’s department for newcomer TV-AM where she commissioned the popular anarchical character Roland Rat, but when the channel closed she decided to set up her own independent production company Ragdoll Productions.
Ragdoll went on to make series for children which can be seen in more than 120 countries and territories worldwide, including the phenomenally successful BAFTA-winning Teletubbies, Brum, Rosie and Jim, Tots TV, Boohbah, Blips, BadJelly the Witch, Open the Door, the double BAFTA-winning In the Night Garden, Tronji, BAFTA-winning Dipdap, and The Adventures of Abney and Teal.
In recognition of her achievements Anne was made a Fellow of the Royal Television Society and won The Veuve Clicquot Business Woman of the Year Award in 1998. She received a Special BAFTA in 2000 for her outstanding contribution to children’s television and awarded the CBE for services to children’s broadcasting. In 2003 she received the Olswang Business Award for Women in Film and Television; in 2007 the Broadcasting Press Guild’s Harvey Lee Award for broadcasting and in 2010 a Lifetime Achievement Award from Mother and Baby magazine.
For the School of Sound
LARRY SIDER, Director
Larry Sider is a film editor and sound designer who has worked for thirty years in documentary, animation and fiction. Most recently, he created soundtracks for the Quay Brothers’ The Piano Tuner of Earthquakes, Dave McKean’s Mirrormask and Sarah Vanagt’s installation The Wave. Past projects include Patrick Keiller’s London and Robinson in Space, and Street of Crocodiles and Institute Benjamenta by the Quays. From 2000-2003, he consulted on LISTEN, an EU funded research project led by IRCAM, the University of Vienna and AKG Electronics, devising new software to create audio-augmented environments in gallery and museum spaces. He has taught at numerous schools including the Royal College of Art, IFS (Köln), European Film College (Ebeltoft), California lnstitute of the Arts, KASK/School of Arts Ghent, Maurits Binger lnstitute, Netherlands Film Academy, ENSATT, Piet Zvart Institute (Rotterdam), Arts Institute Bournemouth, Surrey lnstitute of Art and Design and Bournemouth Media School. He is co-editor of The New Soundtrack journal. He was previously Head of Post-Production at the National Film and Television School (UK).
Since 2010, he has been a member of the steering committee creating the European Master of Arts in Sound (EMAS), a unique two-year degree course starting in September 2014.
With Diane Freeman, Sider has elevated the profile of sound in screen production through the biennial symposium, the School of Sound, an international four-day event exploring the use of sound in the arts and media. From these meetings came the book, Soundscape: The School of Sound Lectures 1998-2001, which he co-edited.
DIANE FREEMAN SIDER, Project Producer
Diane Freeman Sider is a former television production manager and producer with experience working in current affairs and music, animation, arts and documentary productions. She is producer of the School of Sound and co-editor of Soundscape: The School of Sound Lectures 1998 -2001. Diane spent several years working for PACT (the Producers’ Alliance for Cinema and Television), the trade association for independent producers in the UK, where she was initially employed as Training Manager then promoted to Deputy Chief Executive. In this role she had specific responsibility for representing companies in the Nations and Regions of the UK and also took part in several Government reviews. She is a qualified trainer and facilitator with Associate Membership of the Chartered Institute of Personnel and Development, and has experience working for a wide variety of clients including BBC, Buckingham Palace, Lloyds Bank Group, KPMG, and the Arts Council of England, specialising in disability equality.
MARK UNDERWOOD, Technical Supervisor
Mark Underwood is a sound designer, producer and mixer working in film, television and live performance. After studying Organ with Dr H. Gabb, organist of St Paul’s Cathedral, London, he began his career working in theatre sound design. He graduated from the London Academy of Music and Dramatic Art in 1988. In 1990 he became head of sound for Rambert Dance Company, having the privilege of working with and recording commissioned works by John Cage, Steve Reich, and Morton Subotnik, amongst others. Whilst working for Rambert, Mark composed the score for the Olivier-Award winning Winnsboro’ Cotton Mill Blues choreographed by Siobhan Davies. The work used a synthesis of live music and specially recorded and treated sound gathered from industrial settings in Manchester.
Wishing to pursue his interest in creating and exploring the art of sound design for picture, Mark enrolled in an MA course in film sound post production at the National Film and Television School. He graduated with distinction in 2005.
Since graduating Mark has set up his own company, Underwood Design Ltd, which provides sound design services for television, film and music production, He has created sound designs for amongst others, Granada Television, CTN London, Mentorn Television, as well as the experimenal filmmaker Chris Petit and the award winning animation short Stand Up.
TAMARA VAN STRIJTHEM, Front of House Manager
Tamara has worked as a project manager and programmer for film festivals in Germany, Québec, China and the UK and has been involved in many training, development and education initiatives for professional and student filmmakers, including Moonstone (2002-2004) and Montréal-based Kino 00. More recently, she has been project managing the pan-European, MEDIA-funded ENGAGE project (based at the Screen Academy Scotland in Edinburgh) and helping children in Scotland access a wider range of classic and international cinema through her work for Mark Cousins and Tilda Swinton’s 8½ Foundation. She has been on the board of the Berwick-upon-Tweed Film and Media Arts Festival since its inception in 2005.