Leslie – Ann Coles transitioned from dance and interactive performance art to film and television in 1999. Her debut film, “In The Refrigerator” which she wrote, directed and starred in screened in over thirty-five film festival and garnered 13 international awards for Best Debut Filmmaker, Best Picture, Best Actress, Best Short Film, Best Avant Garde, Best Debut Filmmaker, and the Barebones Grande Jury Award for Filmmaker in an Acting Role.
Coles has won three CTV Banff Fellowships and is a Women In The Director’s Chair alumni (2006). As Founder and Artistic Director of the Female Eye Film Festival (FeFF), an independent women director’s festival established in 2001, she selects ninety independent films for the annual Female Eye Film Festival from over five hundred international entries every year. Under the auspices of The Female Eye Young Filmmaker Workshop she has mentor directed and produced 46 short films to date involving female youth at risk.
Leslie – Ann is evolving in convergent media platforms using interactive digital media and is very hands-on in the creation of her original productions including “Melody Makers”, her debut feature.
Melody Makers began as an intimate artist portrait about a rock n’ roll photographer, Barrie Wentzell, but became a much bigger picture when Barrie suggested that I meet his colleagues from Melody Maker magazine. This led me, and my small crew to the UK where I interviewed his colleagues, and others who worked behind the scene during the birth of rock n’ roll. There, I discovered Melody Maker magazine, and learnt of its humble beginnings as a jazz musicians trade paper established in 1926, and of its dramatic transformation to become what was revered as the “bible of rock n roll”. This, then led us to the musicians, who we chased around the country capturing interviews during their North America tours.
This documentary replicates the style in which Barrie took photos back in the day whereby he shot his subjects during their actual interviews, unheard of today. Many of these photos have been integrated stylistically throughout the film. Barrie’s own images blistered across the front page of Melody Maker magazine (1965-1975) and are now incorporated creatively into the documentary as are his entire photographic archive which was photographed, and filmed, in order to maintain the integrity of the analogue process.