Author: Megan Poole

VERMEER – THE GREATEST EXHIBITION – where to start? The success of this film has been outstanding.  In a list of 1572 feature documentaries released to cinemas in the UK, this film is in the top 20!  Think about that – a film about an artist, with next to no marketing budget, is alongside or indeed above just about any doc you care to mention.  Extraordinary.  And, as I write, cinemas are extending bookings all the time.  And what a glorious film it is to see in the cinema.  The stars certainly aligned in ensuring it was us the Rijksmuseum entrusted with filming the show and bringing it to the world.  The shoot too went like clockwork of the finest Swiss kind.  What a team we have at Seventh Art Productions – and what a great director David Bickerstaff once again proved himself to be.  The film is now starting its life in cinemas around the world and they too are selling out.  So why? Why the frenzy for Vermeer more than say Hopper or Raphael?  Well, it’s Vermeer to start with: just watch the film to see why he is clearly one of the greatest painters of all time.  But also that knowledge that the Rijksmuseum had worked SO hard to get 28 of the existing 37 paintings into one building for the first – and last – time.  It also didn’t hurt that the tickets for the show sold out in 48 hours – great grist to the PR mill.  To all those TV commissioning editors who have told me over the years that no-one is interested in art, I say ‘really?’.

That hasn’t been the only film we have released recently.  Also, out into the wide world, we have brought TOKYO STORIES.  I love this film – not least because I adore Tokyo.  The film, in many ways, couldn’t be more different to Vermeer. This is so energetic, covering 400 years and many artists.  It is absolutely fascinating to learn how Tokyo-based artists have reflected their city’s topsy-turvy history.  One hates to generalise too much but the Japanese artists in the film share such an enthusiasm and spark that one can’t help but be enthralled.  Like all good art films, it also tells you so much about the history of the period.  We always knew the film would struggle to match a Vermeer or a Monet but we loved making it and love distributing it – even it will take a while longer to reach the audience it deserves.

To be honest, the film has rather suffered as the release of Vermeer – now in its 11^th week – rather crashed into the back of it.

Next up – in October – will be a great new film: KLIMT AND THE KISS.  This is currently being edited by the wonderful Ali Ray (Frida, Cassatt).  It’s remarkable to think this will be our 36^th feature film in just over a decade.  I wonder if anyone else in the UK has made as many features in that time?  It sure is a full-time job but what I love so much about how we work is that we choose what films we make; no need to wait on anyone else to give us a green or red light.  Mind you, right now, we have a different kind of problem. So many galleries and museums are sending us their exhibitions that we have too much choice!

I write this from Barcelona where I have come to a conference – and to discuss the Vermeer film’s release in multiple international territories.  My wife first started working me when we moved to Barcelona in 1989 to make a series of films on post-Franco Spain for Channel 4, UK.  We loved living in Spain and we have loved working together ever since.  35 years later and still going strong.  That seems an appropriate time to say this will be the last blog that I’ll write: I don’t know how many people actually read it and I’ll concentrate now just on the Seventh Art Facebook site and film Programme Notes.

Stay well and keep enjoying our films. Tell your friends ….   You keep coming and we’ll keep producing….