Interview with Alan Jones - Festival programmer, The Trieste Science+Fiction Festival

The Trieste Science+Fiction Festival, now in its 25th year, is a multidisciplinary event devoted to the exploration of the realms of the 'fantastic' genre, and the use of new technologies and experimental languages in film, television and visual arts. It presents 'fantastic' productions from all over the world, focusing particularly on science fiction and fantasy films, cinematographic and audio-visual works.

Alan Jones, Festival Programmer, tells us why he took the job, what his biggest challenges are and what we can expect from the 25th edition.

This is the 25th year for The Trieste Science+Fiction Festival. What do you think gives it its enduring appeal?

Science Fiction has always been about looking forward -  to an exciting future, where anything and everything is possible. That's why the genre endures because it's about hope, wonder and awe and it offers a safe space to explore complex social and ethical questions. The Trieste S+F audience really embraces that in a way I rarely see at other festivals. The pockets of fans discussing what they've just seen and why it's important - or not - in the overall scheme of things.  Everything within the festival  encourages critical thinking and because Trieste covers a whole range of events revolving around  education, family, gaming. literature and movies, a unique perspective is engendered. I have made it my mission to talk to as many members of the audience as possible and I'm always surprised and delighted by their dedication to engage in cosmic conversations. 

This is your fourth year at the helm. What inspired you to take the job and what is your biggest challenge?

I have been attending the Trieste Science+Fiction Festival for over 20 years now. I was first invited to be on the Jury and then became a regular attendee/stalker. I loved the city so much it has become my second home. So, when I was offered the role of Artistic Director I jumped at the chance to spend more time in the country I adore and with the people I have come to respect who mount this incredible undertaking every year. And it really is a monumental operation turning our main venue, the Teatro Rossetti, into a state-of-the-art cinema. I learnt very quickly my biggest challenge was providing as many quality science fiction movies as possible. Before my time there had been a drift away from that core mission and I found that was the main bone of contention with the audience. It's called the Trieste Science+Fiction Festival so Sci-Fi should be the main ingredient. It isn't rocket science... oh actually it is!

What makes science fiction such a powerful lens for exploring contemporary social and political themes in cinema today?

Science Fiction has always been the conduit for commenting on the present, you only have to look at old episodes of 'Star Trek' to see that. Using future scenarios as a mirror to reflect on what's happening now provides a means to discussing complex problems  like AI for example. Hopefully encouraging the imagination  to fly into the far reaches of the universe helps shape the future rather than merely predicting it. I've always said the outside world is never far from view in every SF enterprise, it might take time to discover it, but it's there. 

What are some of the most exciting trends or innovations you’re seeing in science fiction filmmaking right now?

While dystopian fantasy is still at the forefront - unsurprisingly considering the political flux the world is in - I do see hard sci-fi focusing on the more realistic near future issues  -  the 'five days in the future' concept - like AI, biotech, religion and climate change. I like the fact that some creatives are going back to early source material for inspiration like our opening film THE SHRINKING MAN based on the Richard Matheson classic tale of man's insignificance. Sci-Fi horror and other genre-blending is on the rise too and diverse perspectives are becoming more prevalent. 

How does the festival engage with new technologies such as VR, AI, or interactive storytelling formats?

In endless discussions in our wonderful public forum, The Dome, in Piazza Borsa. This fantastic venue became a major  talking point with every Extra-Triestrian last year and I'm thrilled we have the  opportunity to build on its relevance in these key areas. You must remember that Trieste is the city of science anyway and every avenue is constantly explored. That is what the city council expects and what we provide.

What role does European sci-fi cinema play on the global stage compared to American or Asian productions?

It offers a valuable alternative to the dominance of Marvel fluff that's for sure. Each country has their own social and political problems, and they can focus on those issues in their own particular way through language and the genre lens. The cultural and literary influences are different too and that means more thought-provoking character-driven  stories that refuse to rely on expensive CGI spectacle alone. That's why the Melies prizes exist - to celebrate the differences and focus on the philosophical and ethical challenges that appeal to a more intellectual viewership.

What is the biggest challenge when curating a science fiction festival - audience expectations, logistics, or simply the vastness of the genre itself?

Put simply,  the hope there are enough science fiction movies in any one given year to go round and make the programme interesting, exciting and accessible. Plus ensuring the originality of each movie  will reach out and touch the audience in the way you want it to. 

How do you approach diversity in programming - not just in terms of geography, but also genre, tone, and storytelling style?

Hard to put into words the answer to this question. My  attitude and stance to the genre throughout my entire career has always veered towards diversity.  Because of a new book project I'm currently conceptualising, I've gone through all my set reports over the past five decades, from STAR WARS and ALIEN through THE MATRIX and HELLBOY and it's the one constant I've noticed in my journalism. Why would I change now especially when it's becoming the norm - finally!

What role do emerging filmmakers and debut features play in your programming strategy?

An enormously important one. I take pride in  providing a showcase for emerging talent and first-time filmmakers. They are the future, and if you can define that special something in their work, they will always remember you and be a festival guest for life. 

Do you see any current trends or shifts in the science fiction genre that excite, or worry, you?

Well, that's the beauty of the science fiction genre, the zeitgeist consistently changes.   Today's AI concern will be tomorrow's robot holocaust, global warming, Mars colonisation and medical immortality. I love the unexpected, the new, the challenging so bring it on. But mainly bring it to Trieste as I'm here for a few more years yet!

Finally, tell us what you’re personally highlights are for this year.

The entire TS+F Festival is a highlight because it isn't just about movies but being a part of the Trieste cultural fabric. I take my role very seriously in that respect because, while some may not be interested in the films we show, they might be regarding books, video games, or the discussion forums we organize. I am there for every demographic and never forget that. My favourite films this year are Jan Kounen's THE SHRINKING MAN, Jean Dujardin is terrific in this remake, Glenn McQuaid's quite brilliant THE RESTORATION AT GRAYSON MANOR and quite the best documentary I've seen in ages, Michael Almeryeda and Courtney Stephens' JOHN LILLY AND THE EARTH COINCIDENCE CONTROL OFFICE. 

Interview with Alan Jones

In anticipation of the upcoming FRIGHTFEST SATURDAY SCARES WITH ALAN JONES premiere on the Fast TV channel NYX on January 20, Alan Jones reflects on his journey to journalistic success. He shares anecdotes ranging from pilfering horror movie posters and socializing with ABBA to experiencing disagreements with filmmakers and detailing his forthcoming autobiography.

Did you know from a young age that you wanted to be a journalist?

Alan: No, I loved horror and fantasy movies from the age of ten, or rather the idea of them because obviously I couldn’t go to the cinema and see anything of that nature. I read horror novels nonstop, stole shocker posters pasted up on the billboards at the end of my street, cut out all the wonderfully lurid adverts from newspapers and pasted them into scrapbooks. I was literally waiting for the moment I could pass for sixteen so I could get into X films and start watching all the movies I was desperate to catch up on. 

Can you describe how you got your “big break” into journalism?

Alan: To cut a very long story short - in the early 1970s I worked as a receptionist at the Portobello Hotel in Notting Hill Gate. It was, and still is, a mega-celebrity watering hole and I partied with everyone from ABBA and David Bowie to Queen and Jack Nicholson. One of the guests was sci-fi writer Harlan Ellison who caught me one night writing up film reviews. Before I could stop him, Harlan was reading some entries and he told me he liked my style and that he knew an editor in the USA who could use my ‘talents’. That was Frederick S. Clarke, the editor of the seminal magazine ‘Cinefantastique’

You quickly became a pioneer of genre cinema with your insightful reviews and features, how hard was it building up your almost encyclopaedic knowledge?

Alan: Like every genre fan it’s an inherent thing, isn’t it? I learnt everything by seeing the movies, reading such great books at Carlos Clarens’ ‘Horror Movies’ and magazines like ‘Castle of Frankenstein’ and ‘Monthly Film Bulletin’. No internet, no video, if you missed a movie you hoped it would turn up in late night shows in rep or at the Scala cinema. The times I travelled to the Odeon Croydon to see dodgy exploitation double bills…. Back then no one was properly reviewing these movies so it was a blank slate I worked from and that’s why I’m proud of my early reviews. I usually got it right without any outside help clouding my judgement!

You are renowned for your honest reviews, has this ever affected your friendships with creatives in the industry?

Alan: Yes, but if it does affect it that much, they weren’t friends in the first place. So many people when they say they want you to be honest don’t want that at all. I lost Dario Argento for a year because I hated PHENOMENA so much. He got over it. My close friend rock video pioneer Russell Mulcahy too. He took me to Argentina on location with HIGHLANDER II: THE QUICKENING and was really shocked when I slated the finished result. No one died.

You’re hosting NYX’s very first original series, FrightFest Saturday Scares with Alan Jones, how did that come about?

Alan: They asked me. Simple as that. NYX are plugged into the genre zeitgeist in a way very few niche Fast Channels are.

Was it difficult to choose the movies to include in this series?

Alan: Not at all. Each of my choices means something special to me, either in terms of pure fandom or love of the director or because I was on the set watching it being filmed or knowing the people involved. I have been on location with thousands of films since the very first one - STAR WARS in 1977. I want to impart my knowledge and point the viewer to aspects they may not know about the movies in question and make them as enthusiastic about it as I am.

Do you have a personal favourite film which you present?

Alan: If you are holding a scalpel to my throat, wearing black-gloves, I would have to say Mario Bava’s BLOOD AND BLACK LACE because it was the very first X film I saw at the cinema. And when I look back in hindsight, it set the seal on my entire life because it engendered my love of Italy, Italian directors and artistic gore.

How would you sell this series to the casual viewer?

Alan: Even if you are a connoisseur, an aficionado or a casual NYX viewer I guarantee you will learn something you never knew about classics, guilty pleasures and bona fide masterpieces and hopefully see them in a totally new light.

FrightFest is 25 years old this year and is still the biggest celebration of the genre in the UK, you must be proud of how respected this brand has become?

Alan: Absolutely. I couldn’t be more delighted. Who knew when we started FrightFest back in 2000 as a meeting place for genre fans in London, that we would become a brand leader, a champion for independent fantasy, be vitally important to sales agents and be in the Top 20 Greatest Film Festivals of All Time Lists? As long as we keep that sense of community, I see no stopping us extending our reach. We have so much exciting stuff planned for our 25th Anniversary this year, I can’t wait.

So, what are you up to at the moment?

Alan: Apart from watching roughly 20 movies a week for FrightFest, and the other festival I am now Artistic Director of, the Trieste Science+Fiction Festival, I have two books launching this year. One is my ‘Discomania’ autobiography, which contains reviews of every Disco movie you cannot afford to miss (105 of them!). The other book is a volume of every review I wrote for ‘Starburst’ magazine during my 30-year tenure as their main critic. Both books are published by FAB Press. Also, I’ve just filmed my segments for the documentary I WAS A TEENAGE SEX PISTOL, a Disco conversation with my S’Express mate Mark Moore for the 4K restoration of THE MUSIC MACHINE, Britain’s answer to SATURDAY NIGHT FEVER, and next week I’m recording a commentary for OPERA, the most important Argento film for me personally as it was the first one I ever covered on location in Rome. Then there’s the Berlin and Cannes Film Festivals… And filming more ‘Saturday Night Scares’ for NYX of course.

FRIGHTFEST SATURDAY SCARES WITH ALAN JONES is broadcast on Saturday nights on NYX UK, kicking off at 9pm on Saturday 20 Jan. It is produced by FrightFest’s Ian Rattray and Greg Day. NYX can be viewed via Freeview 289 / Channelbox App / TCL TVs / Distro TV