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Cinema 1
Best of The Next:
International Graduate Festival

3.30pm BOTN 1: RCA 2010 Showcase 15+
4.30pm BOTN 2: International Program 15+
5.30pm BOTN 3: International Program 15+
6.30pm BOTN 4: Australian 15+

Cinema 2
7.00pm MIAF Opening Night Gala Screening 18+

Festival Club: 5.00pm - 10.00pm
6.30pm Installation Collection all ages (FREE)
Cinema 1
5.15pm Animation 101: Pause Fest -
Future Vision
6.30pm Focus On Poland 1 18+
8.15pm New York Who’s Who 18+
Cinema 2
6.15pm International Program 1 18+
8.00pm SIGGRAPH Highlights,
presented by RMIT

Festival Club: 5.00pm - 10.00pm
6.30pm Music Video Program all ages
Studio 1
5.00pm Panorama 1 18+
6.00pm Panorama 2 18+
7.00pm Panorama 3 18+
8.00pm Panorama 4: Australian 18+
Cinema 1
5.15pm Animation 102: Gaming Culture In Animation 18+
6.15pm Focus On Poland 2 18+
8.00pm International Program 6: Abstract 18+

Festival Club: 5.00pm - 10.00pm
Cinema 1
5.15pm Animation 103: Making a Cut-out Film,
My Good Half - a work in progress
6.00pm Supinfocom: Le Lab d’Images Project 18+
7.00pm Careers in Animation Forum,
presented by Holmesglen
(all ages) (FREE)
8.30pm RCA 25th Anniversary Retrospective 18+
Cinema 2
6.15pm International Program 2 18+
8.00pm International Program 7: Long Shorts 18+

Festival Club: 5.00pm - 10.00pm
Cinema 1

5.15pm Animation 104: Multi-platforms, Animation In All The Right Places 18+
6.15pm UPA 1: The UPA Style (all ages)
7.45pm The Animate Collection - UK 18+
Cinema 2
6.00pm International Program 8:
Supinfocom Is Back
8.00pm International Program 3 18+

Festival Club: 12.00pm - 11.00pm
Cinema 1

11.30am Kids Program (all ages)
3.00pm International Program 1 (Repeat) 18+
4.30pm International Program 2 (Repeat) 18+
6.00pm Six Pack Film Tribute Program 18+
7.30pm UPA 2: The Story Of UPA
& The Classics
(all ages)
9.00pm Focus on Poland 3 18+
Cinema 2
2.00pm Mister Magoo Collection (all ages)
3.15pm Sky Song (Mati Kutt, Estonia) 18+
4.15pm Australian Showcase 18+
6.15pm International Program 4 18+
7.45pm International Program 5 18+
9.30pm Late Night Bizarre 18+

Festival Club: 4.00pm - 10.00pm
Cinema 1

3.00pm International Program 3 (Repeat) 18+
4.30pm International Program 4 (Repeat) 18+
6.00pm International Program 5 (Repeat) 18+
Cinema 2
4.00pm Technique Focus: Cut-Outs 18+
5.30pm Feature: “Good Bye Mister Christie”
(Phil Mulloy, UK)
8.00pm Best Of The Fest 18+
10.00pm Best Of The Fest (Repeat) 18+

* programs and times are subject to change


Admission is restricted to 18+, except where noted:

> BOTN 1: RCA 2010 Showcase 15+
> BOTN 2: International Program 15+
> BOTN 3: International Program 15+
> BOTN 4: Australian 15+
> SIGGRAPH Highlights, presented by RMIT 15+
> Careers Forum,
presented by Holmesglen
(all ages)
> UPA 1: The UPA Style (all ages)
> Kids Program (all ages)
> UPA 2: The Story Of UPA &
The Classics
(all ages)
> Mister Magoo Collection (all ages)

Film classification regulations in Australia require all films to either be formally classified OR restricted to an audience of 18 years of age and over. Like most festivals, we do not have the resources to classify films, and it is for this reason alone that we are not able to admit any person under the age of 18 years to the main MIAF screenings.

sunday 26 june, 5.30pm
cinema 2
(unclassified 18+)

> read interview

We don’t show many features at MIAF. But this is Phil Mulloy!! His short films (particularly the Intolerance Trilogy) have been some of the most unique and acerbic inclusions in our programs and have won Best of Fest awards in years gone by. Phil was ill the week they were doing ‘Compromise 101’ at film school and his films are all the better for it. And, it would be fair to say, he’s never been a slave to the notion of fine art. His films are often (in fact, normally) a gut-punch delivered with a paint brush. They hold up a sort of pseudo-mirror that somehow reflects where we might be about to go (typically some version of hell). And they are made by a man in a hurry. These images burst from the screen in much the same way as they were probably thrown down on the page in the first place. They can be ugly and contradictory. For his feature, Phil has parked his brushes and plugged in a tablet. The look has changed a bit, so has the pacing, even some of the anger has been given a seat but that strange mirror his films put in front of us is still in our face. The Christies feel like ‘un-people’ and they live in a world where talk is cheap, friends aren’t really friends and nothing that anybody says seems definitive or important. Sound familiar? To quote a certain Richard who may not want his name splashed across MIAF’s website … “one of the most accomplished pieces of quintessential freakery I’ve seen in a good long while”.

Phil very kindly took some time out to answer some questions about his
latest film, the path to making features and pompous monumentality.

You are often described as the enfant terrible of British animation. I do it myself when I can?t come up with a more original description. I've seen you laugh this off and I've seen you react more forcefully to it. How are you feeling about that title these days?

Phil Mulloy
To be called anything is actually quite nice. Recently I was called 'brilliant' and 'rubbish' for the same film. Perfect.

What was the motivation for moving from short films to feature-length films?

When times get tough and films get harder to make some people stop making films. My films get longer. It's a matter of the will.

Your earlier short films have such a strong 'hand-painted' ethos to them. To me, that's where part of their sheer power come from. What was it like to move into using a computer?

I have always tried to do my drawings as quickly and in as unconsidered way as possible. Losing control allows for the things you didn't anticipate to happen. The computer allowed me to do things even more quickly. Now I manage to do hardly any drawing at all. And anyway, you can always access other people's drawings on the internet and use those.

The first time I saw Goodbye Mister Christie was at the London International Animation Festival. Your introduction that night, to my mind, was one of the most honest introductions I'd seen in a while. You spoke less about the art and content of your film and more about your desire to work fast, to get the images out there, to get the voices speaking. Is that a fair enough assessment?

Yes, working in the way I did with that film allowed me to work very quickly. I shot that film, the first part of The Christie Trilogy, in a year and am now finishing the second part. That has taken me another year. Of course I don't just work for speed's sake. Working quickly allows me to work through ideas and not get so precious about everything. I can try things out, afford to make mistakes. If things fail, so what? Move on. This may sound very cavalierish, but of course
everything I do is intensely important to me. It's a balancing act between caring and not caring, between being brilliant and being rubbish.

The 'energy' level inherent in Goodbye Mister Christie (and in your previous feature The Christies) seems virtually the inverse to that in most of your short films. Is this how you see it and, if so, is that a conscious decision; something that is fundamental to the longer feature-film length; a progression of your filmmaking style; all of the above; none of the above?

I have always liked the pacing of Robert Bresson's films. Bizarrely, I was thinking of him when making The Christies. I was also thinking of the Canadian experimental filmmaker Michael Snow and a particular film by him called Back and Forth, mainly for the movement of the camera.
Both these filmmakers could be said to pace things slowly. I also tend to have the music in my head as I am making the film. The music (more sound than music) for The Christies was to be slow to give the film a monumental feel. To me the contradiction between cheap, simple means
to create an image that is pompously monumental is attractive. Needless to say, The Christies should really be seen in an Imax theatre.

What are the similarities and differences between Goodbye Mister Christie and its predecessor The Christies?

I began making The Christies as a series and then put all the bits together at the end to create a feature-length film. In some respects this was not very satisfactory. With Goodbye Mister Christie, I set out to write a feature. However, I did not write a script. The film was written as I was making it. Why? Because while making it, I never knew what the next scene would be or where it would lead. For me this was exciting. Illustrating a piece of writing with a beginning, middle and end would have been dull. My own pleasure creating is paramount.

The dialogue in The Christies is a vital and unusual element of the film. How was this dialogue arrived at and what drew you towards creating a film with these voices?

I became interested in computer-generated voices around 2000 and, in fact, made two shorts with the animator Paul Bush using the voices. They were really quite primitive and robotic. A couple of years later I went back to the internet to see if the voices had progressed. They
had. Now they were almost human. I began playing around writing dialogues, made a six-minute film, became interested in the characters and now, over five years later, I am still interested in these same characters.

I work in this fashion - I write a scene of dialogue, then shoot the scene, then write the next scene, then shoot the scene, etc. After a few scenes, I go back and readjust things if I have to. The whole process is really quite simple and of course everything is quite literally at my fingertips.

What is the future for Phil Mulloy short films?

When I finish the trilogy, no doubt I will make some short films again. At any rate I will be playing around with ideas and imagery in some fashion.

There are plans for a third Christies feature?

I have two more films to make in The Christies Trilogy. Right now I am completing the second. I will be laying the sound track in about a month. I hope to begin part three in August.



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