Editor’s note: The Orcas Center presentation of “Leonardo Live” received some criticism from Terry Johnsonhttps://theorcasonian.com/letter-to-the-editor-leonardo-da-vincis-london-show (click on the article’s headline to read the comments from Orcas Issues readers that followed Johnson’s review.) Those comments emphatically agreed with Johnson’s viewpoint.
On March 7, the producer of the film, Phil Grabsky, responded. His letter follows.)
Dear all,
I am the director/producer of the show and am disappointed that some of you were unhappy.
It was my intention to try and share the privilege of access to the paintings that I have with those of you who can’t get into galleries after closing or, in this case, couldn’t get to the exhibition.
I have seen that in blogs or comment trails like this, the first one who writes sets the tone: most of the hundreds of responses have been very positive – but actually I agree with some of what you say – though not the rudeness with which you address Tim and Mariella.
But to get an art exhibition into international cinemas – for the first time! – meant dangling the carrot of ‘live’ (as commercially that has been a success in other genre). Actually the live elements were in my opinion unnecessary – at times even undermining – and I won’t do it live again. I agree with Terry that we want detail and insight. There was a lot there: and next time, taking on board critiques, they’ll be more…
I am keen to converse with folk as, simply put, I want to bring you films (whether about Mozart, Beethoven & Haydn – or about Afghanistan – or about exhibitions) that will entertain and inform – not infuriate…
Phil Grabsky
Thank you Phil for responding personally to the feedback. I too attended the Leonardo Live event with great anticipation. Although you indicate that the tone of the feedback often reflects the first person who writes, I can tell you that the sentiments Terry expressed reflected the comments I heard during and after the show, including mine.
Thank you for acknowledging that there were flaws and there is a better way to achieve your artistic goals without compromising their integrity for commercial success.
Mr. Phil Grabsky,
I responded to the film as an educated professional of many decades, and you were presenting the film as a professional producer. I’m sorry, sir, but you came up short. There were many of us who payed good money to attend, who wanted some enlightenment other than what we already know about da Vince (which is what the event proposed), and who were disappointed in the hosts for their lack of knowledge of the artist and what his true genius is (Timothy Marlow I credit with past documentaries, but who is Mariella because she certainly did not present herself as a professional art person of any caliber?). It was like a pre-game warm up show for a sporting event, and your choosing to invite guests who, for most of them, know very little about art, was an insult to the world wide community who were so looking forward to this video.
You say I was “rude” in my comments; no, I don’t think I was, and I don’t believe in pandering to politeness when strong…
“First person sets the tone?” Poor excuse. This was the general feeling right away and I am glad, Phil, that you are able to take some criticism and communicate directly.
And, you are right; we can be disappointed but kind.
I think commercial purpose does not belong with the arts. The audience of art events is seeking the highest level of art education. So my recommendation is to assume the audience is all well educated artists and art lovers. The few who aren’t, will be more inspired with a deep inquiry
even is they don’t grasp everything.
It’s a worthy discussion…and an important one. So I’ll respond again. I have spent the past 28 years making intelligent programs despite what broadcasters wanted of me. My In Search of Mozart, In Search of Beethoven and now In Search of Haydn – and indeed the 100+ art films I have made with Tim Marlow targets those who are interested in art, edcuated in art…and those who aren’t. It is a blight of modern culture that so much dumbing down occurs – and sadly perhaps American TV falls most short inletting down its potential audience. I know there is an audience because – as I am about to do – I travel with my films to American cinemas – and I meet them. That said, Naomi, art can barely exist outside of a need for commercial pragmatism – it didnt in mozart’s day (he barely wrote a piece that wasn’t for money in one way or another) and it doesnt today. The Leonardo film – with or without the live element is expensive to make. Some of the drawings we couldnt afford to clear…
…Thus ‘Live’ was the carrot that got the UK broadcaster and cinemas on board. Without that.no film, no exposure to the exhibition in your cinema. But, as I had hoped, the hugely positive response means I can go forward – and drop the ‘live’. Terry, I appreciate your passion: but Mariella is hugely talented – and knows more about literature (for example) that probably anyone in the UK. Leonardo (please don’t call him da Vinci – that just means of Vinci, where he was born) – deserved this film and it was hugely demanding doing it. We’ll do more and do better. But I for one did learn from the comments of the NG director, the curator of the exhibition, Fiona Shaw, Deborah Bull – please, these are hugely knowledgable about art and were much appreciated. BUT, next time, by not doing it live, we can of course be more selective about what we include and exclude. Projects like this, or In Search of Haydn, are not made for commercial gain but a love of art & music – one I’m sure we all…
…share.
Anyway, let’s let it rest there. If only there was more passion for art…
Again, sorry for any flaws – but I still hope, at very least, you enjoyed looking at the art.
And I hope you’ll come to the next EXHIBITION film with an open mind.
best, Phil Grabsky, PhilGrabskyFilms.com
Phil,
I loved Leonardo Live, despite its acknowledged shortcomings. My wife and I did share some of the pre-opening excitement, here on our island. And I appreciate this subsequent articulate dialogue, and the promise of more EXHIBITION films.
s