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JUSTREWARDS
JUSTREWARDS
We’ve always been seen as a sort of pleasant post- script to the Oscar cere- mony. I’m looking for this to turn us into a kind of exciting premonition.”
That’s BAFTA’s new chairman Simon Relph talking about the momen- tous decision to switch next year’s British Film Academy Awards to February 25 – two months earlier than usual and, more significantly, a full month ahead of Hollywood’s greatest annual razzamatazz.
This move, said Relph, 60, arriv- ing in the Chair after more than four decades in the industry and some 20 years of service to the Academy, should accord the BAFTAS a much more “pivotal role” in the run-up to the Oscars.
Dashing between meetings in Piccadilly and his other manifold com- mitments as an industry executive and prolific freelance film producer, Relph admitted: “The ultimate award we have to accept is an Academy Award from America.
“However, ours come very close behind and given that ours is the world’s only other truly international film awards, this will now give us, hope- fully, much more attention – both from the studios and, of course, in terms of media coverage.”
Already enthusiastic noises of response from all sides suggest that Relph, his film committee headed by Stephen Woolley, and council have got it right on the button.
This high-profile calendar turn- about comes, logically if perhaps a tad belatedly, in the wake of the overdue separation of the film and televi-
sion award ceremonies three
years ago.
The significance of that is closely allied to one of Relph’s main priorities as he steps
into the shoes recently vacated by the tireless Tim Angel.
Said Relph: ‘It’s about trying to expand the membership and encourage people to think of the Academy in slightly different terms than they do at present. The fact that we did finally manage to separate the two main award ceremonies did have a positive effect on people’s attitude to joining us.
“I’ve always thought that if the Academy was going to be what I felt it should properly be then it must be more properly representative of all the crafts to which it gives awards. And although there are representatives, there aren’t enough as yet,” he added.
Relph who started out as a lowly assistant director in the Sixties first joined BAFTA when he had risen to become of the most respected ADs around. After becoming a producer on films like Reds, Return of the Soldier and Privates on Parade, Relph also became more “active” with the Academy and did several years service on council. After being appointed head of British Screen in 1985, he decided to take a break from BAFTA management.
“I had found it quite uphill work getting through things I cared about for film-makers. I felt I’d run out of steam at that point. Eventually I got renewed energy and also, second time round, succeeded in persuading some of my senior colleagues to join me at the Academy.”
As well as boosting membership – which Relph agrees has been given along, with the organisation itself, an extra fillip by fresh blasts of sponsor- ship from the likes of Orange, Sky and the Radio Times – he’s keen “to do
something about the Academy itself, to bring it into the 21st Century. We are looking to do some renovation, to enable us to have extra space to do more things for members.
Photo of Simon Relph by Cornel Lucas
“Sometimes, when you come to Piccadilly and there’s a big ‘do’ on, you almost feel unwelcome as a mem- ber, that somehow you don’t belong, that you have to hide in a corner. This should be a place where mem- bers must feel they want to come. No, I don’t want it to be another Groucho Club or Soho House – it’s not that sort of place. On the other hand, if we also did something about the dining room and the food, I think it could be used a lot more.”
So just how would an experienced producer like Relph “pitch” BAFTA today? “I think it is really important there’s
an organisation at the centre of things which provides a focus for our commu- nity of film-makers, TV programme mak- ers and, now, those working in the New Media. This is an apolitical organisation which exists to set standards, to recog- nise the quality of what is done, perhaps set a little bit apart from merely com- mercial achievement.
“I happen to think the whole awards business is important for a number of reasons, none more so than it’s carried out and conducted by, as it were, ‘the peers of the realm.’ I want to move towards creating an organisa- tion to which everybody feels they must belong.
“Here’s a forum where we can dis- cuss all kinds of things which relate to the work we all do, often a wonderful chance – in the case of, say, jury ser- vice – to sit down with people whose work you truly respect.
“Which,” said Relph, who realises he also has a time-straining battle on his hands to juggle his various commit- ments, “really brings me back to where I started. I know I’ve got to do much more work with my colleagues to make sure that people who should be part of BAFTA really do become part of it.” ■
BAFTA’S NEW CHAIRMAN SIMON RELPH SPELLS OUT HIS PRIORITIES TO QUENTIN FALK
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Academy Profile