As the manager of BFI's Creative Services Team, Darren Wood, has had many years of experience in creative marketing and advertising. BFI or the British Film Institute is a charity that awards Lottery founding to film production, education, research and holds amazing film festivals. Talenthouse and BFI partnered once again to give artists worldwide a new great opportunity to create the official artwork and title treatment for the “India On Film” season; artwork that truly showcased Indian heritage and culture in an authentic way. As the BFI "India On Film" Creative Invite judge, Wood had the tough task of choosing a Selected Artist from over 200 pieces of art. That artist would turn out to be Ognjen Krackovic and now that the BFI "India On Film" Festival has started, Krackovic's BFI poster pieces can be seen all over the festival screening venues and even on the BFI website! We asked the BFI judge about "India on Film," what he thought about Krackovic’s artwork, the artwork submitted and his favorite film that will be screening.
TH: Can you tell us a bit about the background of "India on Film" and the programming?
DW:Normally when we do feature periods, it is for a month or two but we decided that we would do India for the whole year due to it being 70 years of Indian independence. We believe it is a great opportunity to explore Indian cinema. As we are doing it differently to our normal projects we now have a whole year to go into detail and not do a neglectful broad sweep of Indian Cinema. We want to try and enlighten people as much as we can and move away from the traditional ideas of Bollywood. We want people to see it in a much more serious sense and that it's not just singing and dancing. Our aim is to challenge people’s perception of Bollywood and Indian women in film. Our scope for this project is very large going back to early Indian cinema, with the first film dating back to 1896.
TH: What is your favorite film that will be screening during this season?
DW: The film that speaks to me most is an archive film, called Shiraz filmed in 1928 and one which we have restored. It tells the story of the rebuilding the Taj Mahal, which as many people know is a great symbol of a love affair. This is so significant because it is very representative of the work that the BFI does on archive film. It embodies the ethos of what the BFI is about as it foregrounds the work we do on making unknown films available to people again, through restoration and gives people a platform to watch it.
TH: What did you think of the work that came in from the Creative Invite campaign?
DW: We were very happy with the quality of work and the amount of submissions that came in. We were happy that we decided to make this a global campaign as we wanted to pitch it out. The idea behind this for us was that we wanted Indian communities around the world to respond to it and that people didn’t have to be in Britain or India to submit their artwork. It was very pleasing to see that there was such a range of ideas.
TH: How does Ognjen Krackovic’s artwork encapsulate what you were looking for?
DW: Ognjen’s work really stood out to us straight away because it had exactly the right feel and tone we were looking for. The design and imagery in the artwork makes it very flexible and this is something we needed due to it being used to cover different time periods. It was easily adaptable but still have a strong enough creative concept to hold its own. It was important that Ognjen created a set of circumstances that the BFI could build off and use the artwork as a template. We also picked it as it has timeless imagery and great coloring, it is extremely aesthetically pleasing and so we are very happy with our choice!
TH: How will you use the selected artwork during the 'India On Film’ season?
DW: The artwork will be used across enough several campaigns on social and marketing campaigns. It will be used on branding materials for the press launch, on screen slide, cinemas presentations as well as being used in venue advertising. As August is the anniversary month of Indian Independence this is when we will really start pushing the artwork in digital marketing as well as in more traditional advertising formats.
TH: Do you have any advice for the Talenthouse Community on how to get into the world of film?
DW: This is an interesting question as there are many angles, but if I were to give you a quick answer it would be that you should contact lots of film organizations/ communities and you need to be aware of what the community/ industry is up to. This means you don’t have to replicate but be aware of current trends, how other people are representing specific projects. It will give a real sense off what people in the industry are doing, take parts of what others are doing, adapt, and put your own spin on things, be aware of what is happening now! With it is also very important to have and understanding of film history and film design. Use this knowledge to go off and build whatever projects you undertake using this information.