Chicago’s Film showcase comes of age

Two decades ago only one small movie house in Chicago ventured to show a foreign film. And the idea that a television commercial had some artistic merit was curious, at best. Yet pre-med student Michael Kutza, who took time out from his studies at Loyola to produce short subjects, had an idea.

“Chicago had no place to show what was going on in world cinema. We needed a showcase. Thre was no place to show my films and no place to show anybody else’s films,” Kutza says, explaining his motivation for creating the Chicago International Film Festival in 1965.

This month the Chicago International Film Festival celebrates its 20th anniversary. Under founder and director Michael Kutza, it has become a world-recognized competition of features, student films, commercials, documentaries and animated pieces.

Kutza had big plans for the Festival from its beginning.

An ambitious film festival neophyte at the time, Kutza remembers the early events, “The festival always had a broad range. I was going to have every kind of film. One thing different about our festival, compared to New York’s or San Francisco’s at the time, was that we were going to have nto just the features, but student films, short subjects, animated films and television commercials, including the industrials–everything right from the start.”

Unfortunately, ambition exceeded audience.

“We had a good turn-out in films, but the audience was reluctant. On opening night, we were practically pulling people off the street to come in.”

The first Festival opened at Chicago’s Carnegie Theater, which hosts part of this year’s Festival. That five-day event honored King Vidor, Bette Davis and Stanley Kramer at a reception at Essanay Studios.

Kutza says of these and other honored stars through the years, “They all wanted to come to Chicago and be part of something new. And other countries were interested because they wanted to get into the market.”

Honored guests have included George Cukor, Vicnente Minnelli, Angela Lansbury, Charlton Heston, Maximillian Schell, John Houseman, Rainer Werner Fassbinder and Jane Russell.

No longer struggling for films or an enlightened audience, the 20th Anniversary Festival honors French Director Claude Lelouch and boasts 94 feature films from over 40 countries. Kutza remembers “only eight or nine feature films in that first year.”

“The demand for international cinema has grown, with an increasing number of art cinemas and film societies that have spun off in the last 10 years. I like to think the Festival had something to do with growth in people’s desire for this kind of product,” comments Kutza.

Aiding Kutza from 1977 to 1983 was executive director Suzanne McCormick. McCormick is now executive director of the Los Angeles Film Exposition, known as Filmex.

There has been “spectacular growth” in the interest in the animated competition, according to Kutza. Television commercials, animated productions and features rank as the most popular categories to festival audiences. “The television commercial and animation screenings are sold out the moment they are announced.”

Growth and development of the Festival came through what Kutza describes as “the embellishment of each category.” The industrial film and videotape competition, INTERCOM, is now an independent festival run in the summer and early fall months, preceding the November festival. A music video competition debuts this year.

Kutza reigns over a Festival which changes each year according to entry and audience response. It is a Festival that readily incorporates new disciplines into the program. Under consideration for the 1985 Festival is an international video festival as well as a major retrospective of Claude Lelouch’s work.

The 1984 Festival extends from November 9-23. The opening night film, “Viva La Vie,” produced, written and directed by Claude Lelouch, will make its American premiere on November 9. The film, billed as “an intergalactic terror film,” will be preceded by a $100 a plate gala benefit party at the Chicago Cultural Center. The opening night screening will be held at the McClurg Court Theater.

Festival entries will be shown at both the Carnegie Theater, 1026 N. Rush and the Village Theater at 1548 N. Clark, Chicago. A screening schedule and tickets for all shows are available from the theaters, Hot Fix, the Film Festival Store located at 1160 N. Clark St. in Chicago and at the Festival headquarters at 415 N. Dearborn, Chicago, IL 60611–(312) 644-3400.

IFTV Fest awards videos, programs

More than 1,400 people from 45 countries packed in Imperial Ballroom of New York’s Sheraton Centre Hotel on Friday, November 2, for the International Film & TV Festival of New York’s 27th annual awards banquet. Winners of awards in the competitions for music video and television programming, and promotion spots among other media, were announced.

In total, more than 4,688 entries were submitted to the Festival competition in 1984, 449 more than in 1983. The advisory board received 2,641 entries for tv and cinema commercials and campaigns, 1,105 for film, video and A/V productions, 834 for tv programs and 286 for promotion spots.

Both Ken Walz Productions, New York, and video director Edd Griles took the Grand Award, or “best of show” trophy, for music videos submitted to the New York Festival’s 1984 competition. The winning video submission is the series of Cyndi Lauper videos, “Girls Just Want To Have Fun” and Time After Time.”

RCA Video Productions received a Gold in the music special category for “Sweet Dreams: The Video Album.”

The Cyndi Lauper series beat out five other Gold Medal-winning videos for the silver-bowl trophy: The Cars’ “You Might Think,” submitted by Charlex in New York and top winner in both the 1984 MTV awards and St Tropez music video festival; The Rolling Stones’ “Undercover of Night,” submitted by Midnight Films in London; Cyndi Lauper’s own “She bop,” entered by Ohlmeyer Communications in New York; Miles Davis’ “Decoy” (Cucumber Studios Ltd., London); and a local video entitled “In and Out of Love Affairs,” with singer Joy Rose and submitted on behalf of Tribeca Records by Behar-Sackner Communications, New York.

The Leonard Goldberg Company, Los Angeles, snared the Grand Award, or “best of show” trophy,” for tv entertainment specials with “Something About Amelia,” the controversial film of one family’s dealing with child abuse.

The WGBH Educational Foundation, Boston, earned the Grand Award for news programming with “Vietnam; A Television History.”

Also taking Grand trophies for television productions were The British Broadcasting Corporation, London, for “Natural World: Secret Weapons,” and CBS Entertainment, Los Angeles, and Oglivy & Mather, New York, whose 1984 “We’ve Got the Touch” campaign was honored as the best submission of promotion spots.

recognized as one of the most prestigious and influential competitions for industrial and A/V productions, the New York Festival presented awards for industrial and educational productions, multi-media productions, multi-image presentations, filmstrips, and slideprograms, among other media. More than 1,100 entries were submitted in this year’s competition.

Abel & Associates garnered two gold medals in the industrial and educational productions categories. He received a medal for his “A Chair For People Who Can’t Sit Still,” produced for client Herman Miller, Inc. and one for “High Fidelity.”

In the competition for filmed introductions or lead-in titles, Dolphin Productions (NY) received an award for “Saab/Scania” and Cranston/Csuri Productions of Columbus, Ohio garnered two awards for “Super Bowl XVIII.”

CBS/Fox Video, in Farmington Hills, Michigan, snared the Grand Award, or “Best of shows” trophy, for industrial or educational productions for their “Presentation Excellence With Walter Cronkite.”

Ross Roy, Inc., in Detroit, earned the Grand Award for multi-media productions with the “1985 Chrysler New Car Announcement Show.” Ross Roy Productions staged the show in New Orleans in August for Chrysler dealers from across the U.S.

Videos shine in St. Tropez sun

“Clipmania” arrived on the Cote d’Azur of France last week at the First International Music Video Festival of St. Tropez. Organizers of last week’s four-day festival hope to channel the increasing importance of music video programing into an annual event. At week’s end the questions of whether the festival will develop as an active marketplace, or whether four days of sun on the Cote d’Azur can annually draw the music and video industry, seemed largely unanswered.

Preliminary reviews from producers and distributors, buyers and sellers alike, gave the festival high marks as both a place of introduction for members of the infant industry, and as a marketplace of ideas. But the St. Tropez festival appears to have a way to go before it’s a marketplace for video product. Most also said, however, that they went without expectations of doing much business–some said they had no tangible business plan at all–and might be willing to give the festival a second look next year. There were also more than a few who just decided to drop by, or take a vacation in St. Tropez during the festival, such as Tim Newman, who recently picked up several MTV Music Video Awards including best director.

Screenings of music videos were dispersed throughout the resort town: in a shopping mall, hotel lobbies, a local movie theater, a municipal building and on a 13-by-18-foot “Diamond Vision” screen (made by Mitsubishi) facing toward the town wharf from the end of a pier, 100 yards away.

First-Year Foul-Ups

The midday sun, which warmed the seacoast town, eased some of the aggravations that beset the inaugural festival. At least one problem was outside local control: A nationwide strike caused some participants, including several representatives of Victor Co. of Japan Ltd. (JVC), to arrive in St. Tropez with their baggage somewhere behind them, while others found baggage pick-up had been moved to the runway, beside the plane. There were occasional long waits for free transportation (42 chauffeur-driven cars) between the festival, the airport–more than an hour away in Nice–and the hotels, some as far apart as 20 miles. Registration for the festival hit 1,400, plus 400 journalists.

There were technical problems within the festival itself. The simultaneous translation for those Americans and others who could not understand the French panelists captured less than half of most dialogue. (There were only three non-Frenchmen among the 20 panelists during the first three days of seminars.) Three members of the Big Island Productions crew said they went from Australia with written assurances that exhibiting equipment with Dolby sound capability would be available for their 12-minute video, but found none.

Patrick Morelli, who sports the lengthy title in France of president of the commission for new techniques for the literary society and for the society of multimedia authors, said that participants could not easily find videos brought to the festival because there were neither exhibit booths nor a central video library. Morelli also said that outside the colloquies, there were no other professional activities.

Rupert Schmid, an organizer of the festival, addressed some of the problems in a Thursday evening press conference, saying that it was hard to anticipate the needs of the marketplace but that the promoters were happy enough with the response and have already begun planning for a festival next year. Among the changes he said would be made were centralizing more of the festival activities and having a preliminary round of screenings before the jury actually assembles.

Yet despite these and other missteps, good humor generally prevailed.

Doing Business

anyone expecting announcements of major deals would have been disappointed, but reports of some business being done surfaced midway through the festival.

Luca Bentivoglio, director of promotion for Spanish International Network and a producer of one of its shows, Images, went to the festival both to shoot a segment of Images and to look for music videos for SIN’s Saturday afternoon youth show, Furia, to give it a more international look. He said he was successful in making contacts with distributors from both Europe and Japan but that the purchasing decisions would be made back in the U.S.

Henri Erlich, president of Film Search, a New York-based stock film company, stopped by on his vacation before going to VIDCOM ’84, the 10th International Video-communications Market in Cannes from Oct. 13 to 17. Film Search specializes in supplying cinematographic images–such as a sunset for an Eastern Airlines spot or the time lapse footage used for some local news openings–and Erlich had with him seven minutes of material rough-cut to a James Brown number. He said it was a first effort at a “non-narrative video” and he was looking for a possible co-production arrangement with a distributor.

Colin Medlock, director of Telegenics, which distributes promo music video programinng in the U.S. to more than 500 clubs, said Monday night that his company was looking at the possibility of programing for the cable and satellite industries.

Vestron Music Video was represented by Ian Ralfini, vice president, who went for a party and screening of Vestron’s Video Rewind-The Rolling Stones Hits. He said he had also managed to discuss possible long-form co-productions with representatives of both Showtime and HBO. “To use it as a marketplace…that really didn’t work. Next year it might help if they could attract some more of the talent, the artists. Having a few concerts would make it more like Cannes” (the film festival).

Bill Speed, a writer and producer for Black Entertainment Television, took sick leave to attend and serve as a juror of the video competition. Although he said he had no “clear cut” business plans, he had several results to show for his time, including “running into people I’ve been talking to for years on the phone.” Speed also said he had seen foreign videos he may now try to botain for the BET show, Video Soul, and, conversely, was able to identify black American performers for foreign distributors.

Mort Nasatir, consultant and president of the Music Video Broadcasters Association (U.S.), and another juror, said he had been contacted by a variety of people wondering what kind of product would be suitable for their respective countries. “My impression though is that there is not millions of dollars of business being done,” Nasatir added.

Eric Stanley Jr., director of international sales for NBC, the only one of the three broadcast networks represented, said he had also attended without “unusual business expectations. VIDCOM is where they should go if they really want a contract in hand at the end of the day.”

Whether or not the First International Music Video Festival of St. Tropez has a sequel may depend on whether the definition of music video comes to mean more than the three-to-five-minute rock promotional pieces that dominated the festival with more than 450 entries. The second largest category of material, about 100 long-form videos (mostly over one hour), was dominated by compilations of short videos or biographies and concerts of rock music. There were also 22 advertising video clips and an equal number of music “documentaries.”

Several jurors noted that after three days of judging they had yet to see either a classical or a jazz video.

Will Videos Be Sold Soon?

One question that organizers TF-1, the French television network, and Schmid, the 23-year-old publisher of several media trade journals, may have to ask is whether there is a need for a market dominated by a product that is not sold, but mostly given away as promotion.

In recent months rights and exclusivity payments for the future airing of certain music videos have been negotiated between MTV and four record companies accounting for an estimated 35% of the business (BROADCASTING, June 25). Britain’s equivalent of MTV, Music Box, which began broadcasting throughout Europe on Feb. 4 over Skyband–Rupert Murdoch’s DBS system–will make rights payments this year of about $400,000, according to Eddy Pumer, who heads Music Box’s program acquisition. The channel, which currently operates 16 hours a day–repeating four hours of original programing–and plans to go around the clock by the end of 1985, expects to turn a profit by 1987.

Pumer and Highman said Britain has been in the forefront of payments to the producers of music videos, mostly because of a copyright law stricter than just about any other in the world.

There is also pressure in the other direction, however. Pumer said that the most popular music video show in Great Britain, the BBC’s Top of the Pops, is taped by more than 1,000 clubs for commercial use without payment. And Highman indicated Diamond Time will also “almost certainly” be starting up a free channel that will not pay rights fees.

In Tuesday’s colloquy: “Technique and Creation: Film and Video,” Antony Payne, executive producer for Gasp Productions (Michael Jackson’s Beat It and Lionel Ritchie’s Running With the Night among other credits) said that his company chooses to shoot videos in 35 mm rather than videotape to distribute the promos to movie theaters where, he said, they will be shown with great frequency.

Fostering New Ideas, New Markets

Not all the fermentation of ideas took place in the seminars; much of it, including business discussions, took place late at night over champagne. At one such informal seminar, an American music video director was suggesting that the interest in creating new channels for music videos was in large part created by a surplus of product. As it turns out, many of those not accepted could be packaged for a slightly older audience. “Videos could be made,” he suggested, “to appeal to the daytime women’s audience.”

During the festival events in town, the 40-member jury was working at the Hotel Byblos, the unofficial hill-top headquarters of the festival. Each day the jurors were divided into groups of six, and over five days pored over at least 25 hours of videos. Jury duty was extended in part because of problems with a computer programed to tally the votes on a 0-20 scale (it had not been programed to accept “not-applicable.”) It would have been more strenuous except that many long-form music videos were only viewed in part.

In fact, a late development was that the jury decided not to consider compilations of short-form videos in the long. One juror said it was decided that compilations were really a hybrid form and that there was really not enough to set them up as a separate category. Some had reason not to be happy with the decision. Stuart Shapiro, who produced the music video shows, Night Flight and Radio 1990 for the USA Network, was at St. Tropez and had four entries returned.

With the core of the music-video audience generally considered to be under 25, there was one teen-ager among the approximately 50 judges, 15-year-old Tamurlaine Cohen, whose father, Herb Cohen, is a Los Angeles-based talent agent.

It was an international jury composed mostly of those from broadcast and cable television. Record companies were not represented.

Burgeoning programing festivals set to open in Europe

While politicians hit the campaign trail in October, many programers are off to Europe. And this year, those who previously attended the London Multimedia Market and, one week later, the VIDCOM, in Cannes, France, can now fill in the intermission with music videos, at the “1st International Music Video Festival of Saint-Tropez,” from Oct. 8 through 11.

The newest of the three, the Saint-Tropez festival, organized by 23-year-old publisher Rupert Schmid, is really three different activities: a music video competition and awards ceremony, a marketplace in which music video programing will be bought and sold, and four days of seminars on industry topics.

Choosing award winners from among the approximately 400 entries will be 40 jurors, among whom television programers will figure prominently, according to John Nathan, the festival’s U.S. marketing representative. “They are, first of all, visually knowledgeable, and since most of them are not in the production end of the business they have no personal ax to grind,” he said. Among the American jurors will be Mort Nasatir, acting chairman of the Association of Music Video Broadcasters; Seth Willenson, vice president, program development, USCI, and Gale Sparrow, head of talent/artist relations for MTV.

The awards ceremony and other festival highlights will be taped for broadcasting on the French government’s network, TF-1. Nathan said that a number of U.S. syndicators had expressed interest in the show but have yet to sign contracts.

There is no exhibition hall in Saint-Tropez and there will be no exhibitor booths. Nathan said the absence of a facility is not considered a drawback: “We wanted it to be more like the Cannes film festival, where the business takes place in the streets, hotels, cafes and around the swimming pools. The music video business is an informal business; it’s not the shoe business. That’s why we chose Saint-Tropez and that’s why they chose us; it’s their first international festival.”

But not all the talk among the 800 expected participants will take place over kir royales and a view of the Mediterranean. There will be seminars during each of the four mornings: on advertising uses of music videos; production and production techniques; music video programing for broadcast and cable, and rights, exclusivities and payments.

Among the 350 companies that Nathan said are expected to attend, more than 110 will be from the U.S. A list of participants includes nearly all major record companies; a variety of production companies, and distributors of product, such as SIN Television Network and MTV. Some of those companies said their interest stemmed more from curiosity than from active buying and selling. Neither of the two recently proposed music video channels, Turner Broadcasting’s Cable Music Channel and The Discovery Music Network, is likely to attend because of the pressures attendant to their imminent launch dates. Dane Eric, programing director for Discovery, said he wished this were not the case because attending would help give a presence for the channel and facilitate meeting many independent and European companies.

For most American viewers the term music video conjures images of slick productions subsidized by record companies for those under 30. However, the festival will comprise a much wider definition of the term and will include “long-form videos,” such as Hollywood musicals from RKO, big band music from Disney Productions Inc., and European advertising spots–in short anything that combines music with video. Symbolic of this inclusive definition is the moniker on the festival’s press sheets–sheet music for Beethoven’s ninth symphony.

Following the Saint-Tropez festival is VIDCOM ’84 (actually the The 10th International Video communications Market), which will meet just down the beach in Cannes, France, from Oct. 13 to 17. Long-form videos will also be shown in this huge bazaar, along with programing for broadcast, cable, satellite and ancillary markets. Concurrent with VIDCOM is MIJID, also organized by trade show impresario Bernard Chevry, which focuses on software product for personal computers and home video games. A third marketplace that week displays hardware for those producing and distributing videocassettes.

In its 10th year, VIDCOM and MIJID last year attracted a diverse crowd of 15,000 participants, ranging from representatives of U.S. broadcast networks to French videocassette retailers. The number this year is expected by organizers to stay the same or increase by about 10%.

Like the Music Video Festival of Saint-Tropez, much of the negotiation between program suppliers and producers will take place away from the center of action. But unlike Saint-Tropez, there is an exhibit hall, the two-year-old Palais des Festivals, where 300 companies have registered as exhibitors. Chuck Gelini, who represent’s Chevry’s company, MIDEM, in North and South America, said the space taken by U.S. exhibitors had increased from 252 units–one meter by 1.3 meters–to 357 units, accounted for by both an increase in the number of companies and the size of exhibits. American companies attending include NBC Enterprises, Telepictures Corp., Filmation, Western World Television and Metromedia Producers Corp.

The still rapidly expanding world home video market will supply activity at VIDCOM. William P. Gallagher, vice president, MGM/UA Home Entertainment Group noted: “Most of the bigger studios, such as ourselves, Paramount and Fox, have associates around the world, and VIDCOM is a place in October where we congregate. We also look at potential acquisition material. The major companies do nine or 10 films a year, yet this is a ravenous great growth market. So we look into the hinterlands for entrepreneurs who have either ideas to produce for home video or features that we can pick up as third parties where there is already a distributor.”

The strength of the dollar will make it a little less expensive for American companies to attend and exhibit at the three marketplaces. But Frank Miller, executive vice president at Western-World Television, thinks it may also make it a little harder for some companies to do business. He said Western-World will be attending the London and Cannes markets primarily as a seller. Foreign buyers, he said, who want to purchase programing from Western-World, normally in dollars, will have to be more selective in order to make the money they have go further.