In summer 2008, Rushes Soho Shorts Festival brought the best in short film by celebrating the genre over a 10 day period. 2008 marked their ten year anniversary. It鈥檚 an amazing feat for any organisation, but for an organisation that promotes short film, this was a mark of true success. Aesthetica caught up with Festival Director, Joe Bateman, before the parties, screenings and events of 2008’s extravaganza.
A decade is a long time to be promoting the art of short film. It takes continuous determination, stamina and drive to bring short film to the forefront of the public鈥檚 attention. This dedication to the genre is behind the realisation of Rushes Soho Shorts Festival, which is now in its tenth consecutive year. Rushes, a festival that meticulously selects and screens the best UK-based short format work, is set this year to be the most exciting festival to date, with international partnerships and the addition of a new competitive category. Festival Director, Joe Bateman, is looking forward to his second year as Director and intrigued to see how the new, longer ten-day schedule will unfold.
Bateman has been connected with Rushes since its inception in 1998. Previously, he worked at London鈥檚 Curzon Cinema in the Private Hire Department, and helped to establish the Serious About Shorts programme. Being in the industry, Bateman naturally made links with Rushes when the concept was first conceived. In the first year, it was decided that the delegate centre would be based in the mezzanine level at Curzon, because both companies believed passionately in the potential of short film and they selected a location that would be 鈥渢he heart of the festival.鈥 The Festival鈥檚 raison d鈥檈tre manifested from a need to 鈥渟howcase work produced in Soho and around the West End.鈥 In the first few years, audiences and filmmakers received the Festival enthusiastically, and this zeal has raised the bar to ensure success. This is in part down to continuous development and innovation, in particular, the music video and animation categories, which are a part of the broad range of genres that offer a platform for filmmakers to get their work noticed, in an industry where shorts are often overlooked.
Maintaining this link with Rushes, Bateman became the Director in January 2007 and has pushed the Festival鈥檚 ethos and programme even further. He is the first person to work with the Festival on a year-round basis. This has enabled him to focus on specific aspects of the Festival and 鈥渟olidify everything that had been happening over the previous nine years.鈥 This year will see the fruition of the Festival鈥檚 programming after numerous experiments last year, one of these included the introduction of the Documentary Category, which came about as a response to the large numbers of factual work being submitted. Promoted by Nick Broomfield, this was a highly respected aspect of last year鈥檚 Festival, and Bateman hopes to expand on this with the new Broadcast Design category, adapted from the Title Sequence and Idents Category. This category is deliberately vague to include varying styles of work such as 鈥渄igital posters, commissioned, branded work and short films lasting ten, fifteen seconds.鈥 Bateman is passionate about developing a proper outlet for 鈥渨ork that has been specifically designed to be broadcast through mobile phones and online, viral advertising.鈥
The Festival鈥檚 ethos is that of promotion and celebration of short format work, and the creative teams behind the scenes. Bateman enthuses, 鈥淪howcasing filmmakers is what Rushes continuously strives towards 鈥 to share the ideas and show off the creativity and talent is invaluable.鈥 With a career rich in the many interdisciplinary aspects of film, Bateman is certainly qualified to be in the role of Director. He says: 鈥淲ith my theatre and acting experiences, I can appreciate working in front of the camera, and then with the exhibition and distribution side, I can understand the business angle.鈥 This knowledge facilitates the more practical aspects of running a Festival, particularly identifying how a venue should be utilised to get the maximum potential.
An important element of Rushes is obtaining sponsorship, however, with famous patrons that include Ray Winstone and Bill Nighy, the Festival鈥檚 profile is continuing to ascend. Winstone and Nighy鈥檚 connections with the event are beneficial, Bateman says, 鈥淭hey have a natural interest in the work, so it鈥檚 something that they truly believe in and are really supportive.鈥 The new association with Australia Short Films has taken Rushes onto a higher level. Bateman believes that these partnerships 鈥渁re essential, as there are such a huge number of festivals out there. The more that you can collaborate 鈥 the better.鈥 The international element also 鈥渂rings fresh ideas and original filmmaking to the UK and inspires filmmakers that are watching in the UK.鈥 This primarily adds to Rushes鈥 reputation as an innovative event in the arts calendar.
With submission numbers reaching 1200, a lot of work goes into the selection procedure. Interestingly Bateman has noticed a trend in issues that have been explored through the shorts. He says, 鈥淟ast year, it revolved around death and people鈥檚 attitudes towards it. There was comic death, urban violence and social issues about death, which was very interesting.鈥 Given that there is no prerequisite dictated to filmmakers, such similarities provide a fascinating connection that underlines the Festival. With Bateman鈥檚 focussed approach and new themes emerging in this year鈥檚 work, Rushes Soho Shorts Festival is not to be missed.
The Festival began on 23 July 2008 and continued through to 1 August 2008, .
Rachel Nardiello
