We're raising money to finish this feature-length music documentary after 12 years in the making. We've had exclusive access to all characters and events and now your pledge will help us complete shooting and edit the film by the end of 2016.
This is a untold backstage story of Glastonbury Festival with never seen before material. In the mid 90s, Michael Eavis admitted, his festival did not have the sell-out success it enjoys today. Lost In The Festival is a music documentary that tells how a band of risqué travellers created Lost Vagueness: Glastonbury’s late-night home of vaudeville and freakery that would reignite the attendance of the biggest festival in the world.
Quickly, Lost Vagueness became one of the most sought after destinations catching the attention of the national media. Casinos in the middle of the mud with ballgowns and black tie for hire. A chapel of Love and Loathe for marriages led by Keith Allen. A Launderettas parlour where you could wash your socks, have a hair cut and gulp gin from a tea cup. The more subversive, the better. And so began a new British cultural movement.
From 2004 we closely followed as Lost Vagueness’ wild parties reached further and deeper extremes, constantly redefining it's own genre. Exclusive performances from Fatboy Slim and Madness as well as the ‘wedding’ of Kate Moss and Pete Doherty added to the drama. Then in 2007 Lost Vagueness imploded and the party at Glastonbury came to a crashing and unexpected halt.
Now the story picks up where they all left off. We reminisce with the creators and many of the eccentric performers. Some are with Shangri-La, the Lost Vagueness successor, while for others Lost Vagueness was a springboard for careers in The Roundhouse, The South Bank and other leading festivals. It's hedonism to activism, as most of the old LV crew are also volunteering in the Calais Jungle and the Shangri-La creative vision is face your demons rather than escape them.
Many of its originators were conflicting characters who pushed boundaries, so perhaps Lost Vagueness could never last. Now the film asks if there is still a place for such anarchy and raw energy? Who will champion the outsiders, taking creative and commercial risks as Michael Eavis has?
For you, our lovely supporters, we've plundered the Lost Vagueness vaults and have unique access to a treasure trove of original goodies and some other old tat....
As well as this, there's the opportunity take an aerial masterclass, spend time in the edit suite with us, be an Executive Producer, sip champagne at an exclusive screening, or even have a massive hand made ballroom sign for your next party.
The bulk of what we raise will go into ten weeks of editing. This will give us the opportunity to create a first cut of the film. This cut will allow us to attract further funding to clear the final stage music and archive rights which are the most costly part of the project. By helping us take this crucial first step, the many hours of incredible footage can finally be crafted into what will be a totally original rock and roll journey.
Sofia Olins is an award-winning, collaborative and self-motivated documentary director. She makes impact-focused independent and international development funded films. Her background is in big budget feature films, television and commercials as an assistant director, some of her credits include Peep Show, The IT Crowd, The Royle Family, Troy and Bridget Jones. Last summer her short film Knit me Some Happiness won awards internationally in many major festivals. This May, Sofia launched Our Lives in Transit in the UK and US. Sofia on IMDB
Christopher Hird is a leading figure in UK independent documentary making. He is the founder and managing director of Dartmouth Films. Among the films which Christo has executive produced, four have been shown at the renowned Sundance Film Festival: inc. Black Gold (2006)and The End of the Line (2009). Among his other credits, McCullin (2013) was nominated for two BAFTAs. The Divide released in April was one of the most successful crowd funding appeal by a UK documentary also produced by Dartmouth. For many years he worked in the Glastonbury press office. Christo on IMDB
Jacqui Marson was the co-founder of Wildcat Films. The first independent production company to specialise on unreported wars, winning many Royal Television Society awards for world-exclusive news. Jacqui is also a Chartered Counselling Psychologist, author and trainer. She is a media communicator on psychological issues and regularly appears on national TV. She has written for the Guardian, Observer and Daily Mail. Jacqui wrote The Curse of Lovely: How to break free from the demands of others and say No in 2013, which has been published in 14 languages in over 20 countries.
Multi-award winning editor Claire Ferguson began her careers in fiction working on projects like, Fear and Loathing in Las Vegas and Eyes Wide Shut. She has also edited many documentaries such as Aileen: Life and Death of a Serial Killer and The End of The Line. Claire has a nose for story and character and her ability to give each piece a unique voice has been recognised throughout the industry. Claire on IMDB
Gary Welch has worked with leading UK companies such as Passion Pictures, Ridley Scott Associates and Universal Pictures. In 2014 a music led film he supervised called Northern Soul was nominated for a BAFTA and won Best Film at NME Awards 2015. Gary has recently completed three films, including critically acclaimed, Listen To Me Marlon. He's now working on Raymond Briggs animation, Ethel & Ernest and a dark thriller starring Gabriel Byrne and Harvey Keitel. You will usually find him flicking through a pile of dusty records in a basement or chatting about old records to anyone that will listen. Gary on IMDB
Kate Griffiths has sourced and cleared archive for hundreds of films and television programmes. This project will rely heavily on sourcing fantastic archive and old material to complete the story. In 2015 she won ‘Researcher Of The Year Award’ for her work on ‘Soul Boys Of The Western World’ an archive-only feature music documentary on 80’s supergroup Spandau Ballet. Kate on IMDB
Eleanor Gomes recently graduated from University of Leeds with a first class degree in Philosophy. Whilst at Leeds she was awarded the Mangoletsi Prize for her undergraduate dissertation on perception. Since then she's worked on a major research project for Directors UK which will be published at Cannes Film Festival this year.
In June 2004, I was standing in a small field in Glastonbury called Lost Vagueness. I felt like I’d stumbled upon an illusionary made up world. I was seduced by the rich visuals, it was participatory and not just a passive show. This struck me as the beginning of something immersive, borderless and new. Perhaps something we were all looking for at the time.
I was granted a level of trust and insight from the people behind the magic that felt like a real privilege. I visited homes, went to meetings, helped load trucks and was invited to birthdays parties. I met many extra-ordinary people – who refused to take life as it comes and challenged the norm.
Today boutique festivals are big business. Now is a prime moment to reflect on how and where these festivals began: at Glastonbury with Lost Vagueness. The legacy of the Lost Vagueness ambition and aesthetic can be seen in many of today’s experiences such as Secret Cinema, Bestival, Boomtown and Punchdrunk. And with the passage of time, the film shows us how one cultural movement created the next.
Please join us to show your support, share your Lost Vagueness stories, or just follow our progress, on Facebook, Twitter and Instagram.
Risks and challenges
Probably most of you are wondering, why has it taken so B*7%@@Y long?! And if it’s taken 12 years to get this far, will it take another to finish it?
We've spent over one year preparing to get to this stage. Gathering new interviews, the approval of Glastonbury Festival and a solid team to secure the projects delivery. There is full momentum behind it and once the money is raised, we are primed to go straight into editing.
The edit of this piece will be quite complex and agreeing deals to secure music and archive rights is a long and detailed process. We have the best people on board to do this and so have tried to avert any further challenges with that. The second stage of this project will be to secure further funds to clear the full rights. If we face the risk that we cannot raise second stage funding, we will either use copyright free material or have a back up edit that is less dependent on clearing large rights fees.
Then there is always the mud, but that's another story....Learn about accountability on Kickstarter
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