Kate Griffiths


Soul Boys of the Western World (Wellingmax Films) 5 Years ago I retained the services of Kate Griffiths as Archive Producer for the Movie SBOTWW The brief to Kate was to find "anything and everything" archive on the band Spandau Ballet and news archive of the time - particularly 80's UK politics etc. Kate's role went well beyond the definition of archive producer as she was involved with meetings at an early stage with band members , writers and the two directors that were retained on the film. I raise this because when the production changed directors mid way through the production , Kate had to re engage with the creative/archive process, re brief the incoming director and take further instructions. Part of Kate's task was to deal with a dysfunctional band , who had not performed [or spoken] for large parts of their career. Therefore "private band archive" was continually being located during the production process , sometimes material was "found" within weeks of the final cut. Kate had to react very quickly , negotiate and clear , plus find all the masters and from so many analogue formats. Rather that a work of employment , this project was a vocation! It is worth noting that this was a small independent production . The core team was Director , two Producers , Kate as Archive Producer and Editor. For 3 years that was it! Therefore Kate was involved in all aspects of the production , did her work in a most diligent manner and added ideas to the Producers and Director[s] So the above covers length of production , material sourced and creative input On technical matters; The finished film was 110 minutes and 100% archive Kate sourced over 450 hours of archive footage Every frame of the finished film was cleared for all rights. The E&O cover had no exclusions and cover was placed at good premium with no footage being deleted [for clearance E&O issues] from the final cut prior to mastering. Footage came from all over the World , particularly Spain , Italy and the USA E-mails and contractual terms from Kate were precise , with good negotiation on price to fit our meagre budget! A lot of archive material contained music [there were over 47 independent music cues within the soundtrack] Kate had to liaise with music clearance agents and where music rights were not granted/too expensive to license , Kate had to replace archive accordingly. Scott Millaney, Director