Edinburgh Film Fest Boss Paul Ridd on Resurrecting the Shuttered Event and Creating a ‘Discovery Festival’ for New Talent

As a programmer with a rich background in film distribution, it’s exciting to be at the helm of this festival that values discovery and fresh voices. The challenges we’ve faced over the years have only fueled my determination to grow this event into a beacon for independent cinema. The response we’ve received from the industry, audiences, and press has been heartening, and I’m confident that our future is bright.

Approximately two years ago, it appeared as though the Edinburgh International Film Festival, the world’s oldest continuously running film festival, had come to an end. In October 2022, mere months after its 75th edition, its organizer, Centre for the Moving Image, filed for administration, and its main venue, the Filmhouse cinema, shut down due to escalating costs and dwindling business following the pandemic. Shortly afterward, creative director Kristy Matheson left for a position at the BFI London Film Festival. It seemed as though all hope was gone.

The festival, once seemingly lifeless, experienced a revival. In August 2023, an initial revival event took place, funded by Screen Scotland. Andrew Macdonald, a producer known for “Trainspotting” and collaborations with Alex Garland, was appointed to head a new company tasked with rejuvenating the festival. Later in the year, Paul Ridd, the acquisitions chief at Picturehouse Entertainment, joined the team, moving from London to Scotland to assume the director role.

As a lifelong film enthusiast who has attended numerous film festivals over the years, I am genuinely excited about the upcoming Edinburgh Film Festival. Having witnessed various events and screenings from all corners of the globe, I can confidently say that this year’s lineup promises an exceptional experience for both cinephiles and industry professionals alike.

According to Ridd, he discussed with EbMaster from Scotland the idea of transforming Edinburgh into a multi-genre festival that draws attendees from diverse backgrounds, while also serving as a platform for uncovering fresh talent. Additionally, this endeavor aims to enhance the SEO associated with his name.

We all saw the headlines back in 2022 about the festival shutting its door. In a nutshell, what’s happened since then to get us to where we are now with this new, rejuvenated event?

In essence, upon my arrival towards the end of last year, our team, consisting of Adam MacDonald, Amy Jackson, and Peter Rice, found ourselves tasked with constructing a fresh organization almost entirely from scratch. This was due to the previous Center for the Moving Image (CMI) and the related festival needing restructuring, as they were essentially remnants of what had been under the International Festival’s umbrella last year. However, instead of merely rebuilding, we aimed to capitalize on this opportunity by almost starting anew, creating something innovative yet respectful of our history. Our strategy has been to forge stronger ties with the Edinburgh Fringe and leverage the fact that we operate during the August season, collaborating extensively with the creative arts festival occurring concurrently in the city.

So what are the newer elements? What should those who have been to the festival previously expect from the revamped festival?

They’ll continue to enjoy the same top-notch quality in film selection and diversity across international cinema, just as you would find at a legitimate international film festival. On a practical side, we’ve established collaborations with Fringe groups to introduce new pop-up venues alongside our regular cinema screenings.

So is it a bigger festival in terms of what you’re offering?

Instead of focusing on quantity, we prioritize the grandeur of our offerings by featuring the Sean Connery prize for exceptional filmmaking, with 10 competing world premiere features. Additionally, we present Thelma Schoonmaker prize for outstanding short films, again all world premieres vying for significant financial incentives. Essentially, these two competitions serve as the essence of our programming efforts, showcasing unseen work from around the globe. Approximately half our program consists of world premieres, with our aim to expand the festival not by increasing film numbers, but rather by attracting more world premieres and exclusive events in the future.

Given that you’re dealing with films that haven’t been seen before, is it easy to take off your previous buyer’s hat and think about their potential for acquisition?

I don’t necessarily completely take off the buyer’s hat, because what I’ve been thinking about with this festival is that we want to create a space for films that are appealing to audiences. And that’s the core tenet of the thing. Also, I’ve been thinking all along about what is it that’s going to appeal to press and what is it that’s going to appeal to industry and to buyers and to producers and to filmmakers and people across the creative arts. What is the thing that’s going to bring them to the city if they’re not based here already or if they’re not already taking part? And I think the idea of finding completely new work is us having the aspiration to be more closely aligned in spirit with festivals like Sundance or Telluride as discovery festivals. That’s the overall ambition.

You’ve got some great U.K. premieres with your opener “The Outrun” and also “Alien: Romulus.” Does coming from a distributor background and having those relationships help secure high-profile titles like these?

My involvement in the U.K. distribution sector, along with having skilled colleagues and influential contacts at the board level within the film industry, has been beneficial. This has enabled us to access high-quality films for our lineup. Moreover, the rapport I built with sales agents and producers during my past career has aided us in securing various films. However, it’s not just about me; other team members also contribute to these connections.

The festival has obviously had a rocky few years. Does it look fairly solid and stable from here on?

I’m committed to being part of this journey for many years to come, fueled by my enthusiasm. We have an incredible team with a shared vision, and we’re surrounded by fantastic collaborators who are equally passionate. Our optimism is high due to the overwhelmingly positive reactions we’ve received about our festival, lineup, and initiatives over the past few months. This shows that there’s a wealth of goodwill and support behind us. Furthermore, using the Fringe app to sell tickets has allowed us to tap into audiences who might not typically engage with film festivals, which is an exciting way to expand our reach. Instead of just focusing on the traditional film festival, we aim to think beyond its boundaries.

Finally, and I’m sure this has followed you for many, many years — how often do people accidentally email you as Paul Rudd?

To be honest, the primary motivation behind accepting this job was to correct the SEO mix-up where my name is often mistaken for Paul Rudd on Google searches. Since the festival has a strong reputation and history, I assumed it would help resolve the issue. However, that hasn’t happened yet, so I’ll need to come up with something exceptionally unique to make a difference.

2024-08-15 13:47