Morven Masterton on Doc'n Roll: 'We don't discriminate, our festival line-ups always feature something for everyone'
- David Pollock
- 12 April 2019
Doc'n Roll Scotland director tells us more about this year's programme of music films
Describing itself as 'the film festival for music lovers', Doc'n Roll began five years ago in East London, in response to the founders identifying a lack of outlets for documentary films being made about music and musicians, with very few of them actually arriving in cinemas. Now, after touring dates around the UK, it's finally arriving in Scotland for three weekends of screenings over the next three months.
'Doc'n Roll is an indie film festival celebrating an eclectic mix of music and performers in a selection of newly-released documentaries from across the globe,' explains Morven Masterton, director of Doc'n Roll Scotland, who is originally from Dunfermline, but became involved with Doc'n Roll while living in London. 'We don't discriminate, our festival line-ups always feature something for everyone, from the established to the obscure. Doing this has been a musical education for me – I've learned about library music, Doom metal, and Ethiopian jazz as a result of Doc'n Roll.
'Almost everything we programme is a premier,' she continues. 'We try to screen films that haven't been shown in the city before, unless it's so popular we need to organise a second screening. In Edinburgh we have a programme of six films; my personal favourite is Shut Up and Play the Piano (Phillipp Jedicke, 2018), I'm slightly in awe of the talent of Chilly Gonzalez and this film is as wonderfully eccentric and interesting as the man himself. I'm also currently working on a surprise element for the screening of How We Got Over (Robert Clem, 2017; about the rise of gospel choirs after the Second World War), if you like a bit of gospel get along to that late on Saturday afternoon. For the purist collectors, the sorts that spend an afternoon in Vox Box, the opening night doc is The Library Music Film (Paul Elliott and Sean Lamberth, 2018).'