courrier en réponse
Thank you so much for the photo you sent
us, souvenir of this so pleasant stay.
We must tell you how much we enjoyed to
participate once again to your festival.
We did appreciate the organisation, which
was perfect, owing mainly to Marion we guess. From the beginning, as we arrived
at the hotel, we were greeted by a nice bag containing tourist information,
Guernsey products and above all a detailed program.
The comments on the film we received
later on are very important to us. To our knowledge, too few members of juries
bother to write such ones, though very valuable for any filmmaker. It shows a
In addition, we agree with the
conclusions we find fair and well considered.
We admit with Rod Willerton “there is
too much camera movement” and with Peter that “the film is mainly let down by the unsteady camerawork”.
I am aware the film is not a masterwork but I just would like to point out that
it is a document “taken from life”. My purpose was not to treat
precisely this subject, but when I saw what was going on, I focused on the
Ping-Pong play occurring between the musicians and the sound technician. I
think the public is now accustomed to these quick camera movements in fashion
on TV news. Some prestigious directors even make artificially trembled
shootings for more realistic effects in action scenes.
The result would obviously be better if
someone could help with a second camera,. But the bigger weakness of the film
is noted by Jan Watterson : "In terms of narrative, the film is very slight",
though Peter finds it to have "a human interest".
I certainly failed to give back the
atmosphere of these meetings - called "fest-noz"
by Britons - where people are overall happy to be together and very tolerant
towards musicians mostly non professional.
We of course wish to come back to
the Lily Festival, but making a film for an international audience is not so
easy, the main difficulty being in translating or subtitling.