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maltatoday, SUNDAY, 13 SEPTEMBER 2015 This Week 31 When size does matter TEODOR RELJIC speaks to Charlie Cauchi, organizer of the Small Cinemas conference which this year will take place in Malta over September 24-26. The conference will be rounded off with a 'Long Table' discussion, in the hopes of consolidating the relevant themes of small cinema cultures (such as Basque cinema and the Maltese scene) and the 'space' of cinema Having just released a striking video for their song 'Berlin', local electro band Dolls for Idols and video director Steven Vella speak about what went into the making of the video, and the next step for this homegrown act Why did you feel that now is the right time to set up a conference like this in Malta? Were there any recent developments in the Maltese film industry (such as it is) that made you feel that the time has now come to have such a discussion? It's a conference that takes place in a different part of the world every year and I was approached to organize this year's edition, having presented papers at three editions myself. Usually you would organise a conference at your academic institution, mine being Queen Mary University of London, but because of the Small Cinemas theme and the fact that my research focuses on filmmak- ing in Malta, the island seemed a better fit. Also, I think the timing is per- fect – not only have the number of foreign film productions in- creased on the island but this year has seen the launch of the Valletta Film Festival, the introduction of an MA in Film Studies at the Uni- versity of Malta and the govern- ment's decision to present Malta's first National Film Policy. This all really gives the sense that it's the right time to elevate our conver- sation with regards to film – not just in terms of production but al- so film culture and appreciation. Glancing at the abstracts, some common elements and motifs emerge: Basque cinema, focus on architecture, the socio- political fallout of film loca- tions, etc. What was your focus when selecting the papers, and how do you think the conference reflects back on Malta's situa- tion in particular? Definitely. The Basque panel for instance is really relevant – espe- cially in terms of producing films in a minority language. And many of the foreign speakers attending the conference are working in contexts that have similar draw- back and advantages to Malta – Lithuania and Romania for in- stance – so it will be a good op- portunity for us to be able to dis- cuss similar issues from different perspectives. In terms of space and architec- ture – Malta is renowned for its cinematic malleability, which is mainly down to our landscape. So as part of this year's edition, we are teaming up with Architecture Project (AP) to present a series of papers and presentations around the framework of Spatial Encoun- ters: Exploring the Meaning of Cinema in Architecture. AP have widened the debates to discuss how the moving image has influenced the architectural production over past century. There are also a number of local presenters too, who will be tack- ling film from different vantage points including film finance, Malta's cinematic representation and film festivals. The Long Table: Do you think the concept will be 'compatible' with the Maltese scenario? And what are some of the topics you'd like to see addressed here? Well, you never can tell what's going to work and what isn't, but I've seen this method used suc- cessfully in a variety of situations, with different types of audiences to discuss so many issues (Bangla- deshi identity; feminism; sex and aging). And we love a good chat, right? It's just that the framework of the conversation has been de- cided in advance. Also, using Weaver's praxis [an artist who is not only a professor in the department of drama at Queen Mary University of Lon- don and who I have worked for on her projects to do with sex and aging in New York and London] brings a fresh approach. Some of the better discussions I've had through my period of research have been in living rooms, kitchen or at cafes, where the atmosphere feels less intimidating. In this context there is not one person or panel pushing one agenda – there is no hierarchy. Everyone is invited to partici- pate and we all bring something different to the table. It's a less pressured and more democratic way for us to interact with each other. Also, our visiting speakers, many of whom are either from other small nations or special- ise in small national cinema, will certainly be able to broaden the discussion. Finally, what do you hope the (immediate) legacy of the con- ference to be? What would you wish from local industry profes- sionals and stakeholders to take away from it? I'd like people to be excited by film and the possibilities of film. There's a great chance to listen to a range of ideas and views and to transnationalise our debates. Through the Long Table I hope people are given the chance to learn from each other, foster local and international alliances and exchange ideas and experiences in a friendly setting. The Small Cinemas confer- ence will be taking place at Blitz, 68, St Lucy Street, Valletta over September 24-26. For registra- tion and other info, log on to www.smallcinemasmalta.com/ Inspired by Marleen Gorris's film Antonia's Line, the 'long table' will facilitate more casual discussion in the conference setting Charlie Cauchi From Berlin with love Apart from providing some nice eye candy and sprucing up the song in question, what kind of direct benefit would you say videos provide to bands? Producing a music video to ac- company a single is a great way to get heard and seen on a larger scale. People are also more likely to remember you if they see your face and if they like the music video they are more likely to fol- low your progress. W hat was the initial process for the video like? Steven Vella [video director]: The initial process was to create a story that captures the emo- tions of the song. We wanted to set a mood for the viewer that communicates with the dark melodic tune. We all agreed on releasing 'Berlin' as a single, it's an intense tune. W hat were some of the main challenges you faced when putting the video together? Vella: Time was an issue, peo- ple are busy and we all had to co- ordinate according to our spare time. Nowadays most of us have access to a camera or an editing software but it requires a lot of time, thinking and planning be- hind a good music video. What would you say have been some of your most significant de- velopments over the past few years? How have Dolls for Idols evolved, both in terms of the sound, as well as your audience reach? The most significant develop- ment over the past years would have to be the recording of our own tracks. Since we produced them ourselves, we had plenty of time to spend on each song with- out feeling pressured by outside forces and hence, we only pro- ceeded to the next steps when we were completely satisfied with a song. The same approach in a stu- dio would have cost us a fortune but luckily we have Clint behind the mixing desk who dedicates a whole lot of time to the songs and does a brilliant job. Also, the actual process of recording has contributed towards the evolution and shaping of our sound. What can you tell us about your upcoming album? How does it build on your previous releases? The upcoming four-track EP, 1985, has just been released via Rhythm & Culture, which is a US-based record label. All of the tracks were recorded, mixed and produced by Clint Spiteri and mastered by Dave Darlington. W hat's next for you? There's currently another mu- sic video in process for the sec- ond single 'Fabric Days' from 1985. We've also been receiving requests by foreign electro acts to do a remix of 'Berlin', which is very exciting and hopefully means we'll start getting some cash, too! Our plan is to write more songs and hit the stage. Check out the video on YouTube: https://youtu.be/VgH8o0lH5vw Still from 'Berlin' – Dolls for Idols music video directed by Steven Vella