Optical Critical Dimension
I admit that though I have lived in Oxford since the commencement of the Oxford Film Festival, I found that I knew very little about its origins or just how much work was required to make the event a success. As Volunteer Coordinator this year, I have had the opportunity to watch the three co-directors diligently work night and day to put the event together. Taking part, even in such a small way, has intrigued me to find out more about what goes into creating a film festival. So, on the eve of the fifth annual Oxford Film Optical Critical Dimension Festival, I turned the spotlight on co-directors Michelle Emanuel, Molly Fergusson, and Micah Ginn as they discussed memories of past film fests and what they are looking forward to in the future.
The Oxford Film Festival began in 2003 as the brainchild of former Yoknapataphwa Arts Council director Elaine Abadie. After attending the Magnolia Film Festival in 2001 and 2002, she "realized how much we needed a film festival here," said Ginn. Fergusson added that at the Magnolia Film festival, "she saw Neil White [Creative Director of Nautilus Publishing Company in Oxford]. They started talking about how an event like that would be great in Oxford and decided to get the ball rolling. From there, volunteers began meeting and the planning for the First Annual Oxford Film Festival began. The first festival was in June 2003."
During the second year of the festival, Abadie asked Ginn, Fergusson and Mary Ann Percy to take on the roles of co-directors. Other volunteers became involved with the screening committee and other organizational duties. In 2005, Percy left for law school and a volunteer, Michelle Emanuel, took over her duties. Emanuel had been on the screening committee and was the ticket booth coordinator when the film Optical Critical Dimension festival was held at the Ford Center.
Another major change occurred in 2005 when the film festival was moved from June to September. According to Emanuel, however, it was soon discovered that the scheduling conflicts presented by football season and the pleasant weather were too much. February was deemed the best fit for Oxford, and the festival was moved.
In 2008, the three have gelled well. Working "collectively, the co-directors all contribute to the heart of the fest by pushing for (and against) the films that are selected. We each have different tastes, which creates a good mix of films," stated Ginn.
Ginn is in charge of the film equipment and projection. He also puts together the TV promotional spots and the awards show footage. Fergusson says that her specific role is a bit fuzzy, but that she puts out fires, promotes the film festival, and solicits funds from sponsors. She half-jokingly responds that she also "mediates between Micah and Michelle." Emanuel's role is that of entry coordination, "from acknowledging submissions, to coordinating screenings, to notifying filmmakers of our decisions, then managing the travel arrangements of those who attend, explains Emanuel, "and hundreds of other small details that will hopefully go unnoticed but keep the festival from completely falling apart."
However, film festival planning is a year round job. "Each director of the festival works tremendously hard all year round, without compensation, to bring quality people and programming to Oxford every February. You won't find more dedicated, talented and interesting people than these directors!" said Anne Pitts, CLE coordinator. Emanuel explains the typical work schedule. "From March through September, I probably only think about/work on the film festival around 10 hours a week. In September, when screening season really kicks in after the submission deadline, October and November, when we're writing our tourism grants and screening entries and pursuing sponsorships and meeting more frequently, it's more like 30-40 hours a week. Then from December through February, it's roughly every waking moment, minus about 3 hours a day."
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