Julien Bessette (l) presents an award to George Marshall for his work with the Franco community.

The desire to bring quality cinema to an appreciative audience struck George Marshall at a young age. In 1978 he began running films with friends at dinner parties, screening movies they could not see elsewhere. In 1982 these informal gatherings eventually turned into Flickers-The Newport Film Society, an organization which grew to 375 members. By 1987, the organization moved into a production phase, producing a weekly television series, Between Takes, that was broadcast to 4.5 million households in the New England area.

In 1997, the Rhode Island International Film Festival was born and quickly supported by local moviemakers, including the festivals' Honorary Chairman Bobby Farrelly (who world premiered There's Something About Mary at the 1998 installment). Says Marshall: "The rest, as they say, is history." From August 7 - 12 of this year, RIIFF is back for its sixth installment, and the event keeps getting better. Cited by critics as a "Best Kept Secret Festival," RIIFF's Executive Director George Marshall spoke with MM about what makes his event different, the needless competition among festivals and how a screening itself is its own reward.

Jennifer Wood (MM): MM has named Providence one of the 10 best cities for a moviemaker to live for two years in a row. Why do you think the city keeps landing on this list?

George Marshall (GM): Frankly, because the film festival and the Convergence Arts Festival have created such a welcoming environment for filmmakers to have their work premiered. Last year alone RIIFF hosted 246 filmmakers who registered with the festival. Credit also needs to go not to politicians who bask in someone else's work, but to the terrific schools like Rhode Island College, Brown, RISD and URI, which have shaped the careers for so many budding filmmakers. Film companies land these students as interns and discover [a] level of commitment and dedication hard to find elsewhere. Local heroes like the Farrelly brothers and industry figures like Tom Ohanian (co-inventor of the Avid editing system) have also caused the region to shine.

Providence has so many forward-thinking arts leaders who have done all of the groundwork to put the city on the map. Thanks to state, federal and corporate support (we would not exist, for example, without the unbelievable support of Brooks Pharmacy and its great CEO, Michel Coutu), Providence has become a cultural oasis.

MM: You assert that, geographically, your festival is in a unique position to further the artistic exchange between American and Canadian moviemakers. How are you working to facilitate this cooperation?

GM: We are actively working with the government of Quebec, Telefilm Canada, Tourisme Quebec and the Festival of New Cinema and New Media, Montreal. Thanks to RIIFF's creation from the Jubile Franco-Americain, we have access to many Canadian artists and filmmakers. Now we have an outreach in all of the provinces, not just one. We actively encourage Canadian participation, provide a special sidebar and even have an award for their work. This year, we will be hosting the 25th Anniversary of the Spira Films Collaborative (from Quebec City) with a special retrospective and art gallery presentation. Our opening party at the Rhode Island State House will be dedicated in their honor.

We also hold to the belief that perhaps might seem a bit like heresy, but we feel that filmmakers should collaborate with artists worldwide. We encourage our filmmakers to work in Canada and vice versa. Film should have no borders and no boundaries. It is a universal language for communication and perhaps is the best ambassador in today's troubled world.

MM: You seem genuinely interested in promoting film as an art for all ages. In addition to the KidsEye Film Festival, you also offer a summer film camp for kids. Can you talk a bit about your reason for doing this, how it works and what it accomplishes?

GM: If it isn't obvious, it's the teacher in me (and with many of our board). I love sharing what I know and what I love. The kids camp is now in year five and we have about 30 kids signed up for a fun week in mid-July. We teach everything from make-up, costuming, scriptwriting, camera, editing and sound. As a carrot for the future, the folks at the Feinstein IMAX in Providence do a special screening and a tour of the equipment. I must confess that I really envy these youngsters who take part in the camp. Most already have camera experience and many are light years ahead of where I was at their age. They have so many opportunities in front of them. They are the future and I think it's part of our mission to lead them in a positive direction that encourages their creativity and vision.

MM: Going one step beyond most festivals, RIIFF presents a yearly workshop to run concurrently with the festival. This year, the workshop, Take 1-2-3, will focus on all aspects of moviemaking. Who should be interested in this? What topics will be covered and who will be teaching them?

GM: This is the third year for Take 1-2-3. This industry workshop is more about the stuff they don't teach you in film school. It's very hands-on and it's a great networking opportunity. It works this way: the workshop will focus on the screenplay that wins our screenplay contest. We invite the writer(s) to attend and work with our visiting guest director. In the past we've had Robert Downey, Sr. and Lloyd Kaufman. This year it's Richard Schenkman (who works a lot with Jon Cryer). Every element that would go into realizing the creation of the screenplay into a finished film is addressed-we even host a staged reading. Then, working with the writer, the director will block out about five minutes of the work to shoot.

Members of the class first are instructed in the techniques of the shoot and then get to undertake it. This year, Sony has been great in letting us work with their new HD camera. Rule Broadcasting has also been a wonderful supporter. Finally, the finished work will be posted at two houses: one will use an Avid editor, the other Media 100 and Final Cut Pro. Academy Award winner Tom Ohanian is our resident expert.

Given the time of the class and the low cost, we work on digital format in order to achieve a product for presentation. This class is extremely accessible for all who attend and provides real hands-on experience. It has in the past created the perfect bridge between film and video and fostered networking that, for many graduates, continues today.

MM: What do you see as the key differences in RIIFF as opposed to other festivals, both regionally and internationally?

GM: There are many excellent festivals in our region. I personally know many of the directors whom I hold in the highest respect. RIIFF serves in many ways as a complement to some of the festivals and additionally reflects the 20-year experience of the Flickers' board (and me). We're big on education, so we hold classes. We're big on spurring the work of young artists, too, so we do scholarships. We love the visual media and have made it our goal to present the work of international creative artists. We are also lovers of old film buildings and have found a great cause with the Columbus restoration.

Given the volume of films we screen, RIIFF is the largest festival in New England (206 films screened at RIIFF 2001 in five days; about 175 will screen this year in the same time frame). Our goal is not to be the best; it is simply to be the best that we can be. I'm really not into competing with other festivals. Frankly, I detest the competition. We are here for the filmmakers. Period.

I will not ax a film from consideration if it played another festival or won an award from them. I don't care if we have an exclusive premiere. That is not what we are about. It never ceases to amaze me that with over 1,200 film festivals worldwide, so few of the festivals actually work with one another or collaborate. I've always dreamed of a festival trade organization on the same order of AIVF that would help encourage fledging fests and share experiences. When we got into this gig, there was no manual on what you should or should not do. I wish someone had been there to lend some friendly advice.

MM: Which aspects make RIIFF a unique experience for festivalgoers and moviemakers?

GM: RIIFF also now has a unique accolade in New England: we are an official qualifier for the Academy of Motion Pictures and Sciences in the Short Film category. Only 47 festivals worldwide have this affiliation with the Academy. It means that our best short film winner is, as they say, a contender.

As for the RIIFF experience, well, Providence is a neat place and the people who work for the fest are very accessible and friendly. Myself included. We all roll up our shirtsleeves and are visible throughout the festival. I think last year was the first year I actually got to change from shorts before the opening gala-my staff made this happen since Julie Andrews was present. And since she was a bit of a childhood idol, they made sure that I didn't embarrass myself.

As far as what makes our experience so much different from others, it's the sheer volume of work we present. There is no way you can see everything. We simply offer a lot of choices. Why? Frankly, we want to provide a platform for as many filmmakers as possible. We want them to be able to say that they played a film festival, even if ours may be the only one. Of course, from RIIFF 1998 when we received 207 films in competition to this year with over 800 entries, we've come a long way. The odds are now greater to get into our festival. However, our overall festival is made up of about 90 percent of the films that are entered in competition. We are not about screening something that will be in the multiplex within a week. Let's just say that we have an ethics issue with taking hard-earned money for an entry fee then not screening the work.

Someone recently met with me from a festival in Europe. She told me that she had not heard of about 80 percent of our titles that were screened in 2001. I'm sure the comment was meant to be cutting; I took it as a compliment, however. I know what's happened to our films and the filmmakers after they played RIIFF-and actually so does the Academy of Motion Picture Arts and Sciences. I'm very proud of the films we've screened and feel privileged to have gotten to know so many talented and exceptional filmmakers.

MM: What are some of the events/screenings you're most excited about this year?

GM: Yikes. Far too many. Our opening film, Blind Spot, with James Franco, is a personal favorite. There's also our Jewish Film sidebar, our gay and lesbian festival, our Japanese anime workshop, our Lifetime Achievement Award, our IMAX screening (that benefits the Patricia Neal Scholarship Fund) and our closing Gala with Grease and our '50s party. My favorite parts of the festival are the morning coffee talks and filmmaker mixers. I also love seeing the films that, up until the fest, I've only seen on VHS screeners, being shown in their original format on a big screen. It is a very satisfying experience. Actually, when I see a filmmaker's reaction and the smile they have from a successful screening, I know it's all been worthwhile.

MM: What are the three things you'd like to tell all guests who are visiting Providence for the first time?

GM: Relax. A film festival is a unique experience. It is not something that happens every day in a multiplex. For filmgoers, talk with the filmmakers. Meet. Greet. Reach out. For filmmakers: have fun. Meet the audience. Meet fellow filmmakers. The point about being at the festival is to have your work shown to new audiences. It is not about winning an award. Having your work showcased is the reward. Actually, having your dreams realized and creating your vision is the award.