I have known and worked with Len Thornton for fifteen years. He was in charge of short films at Soho Film Lab in London and oversaw the passage of some forty of my films through the laboratory. I depended on him completely and having him in the lab, with his extensive specialist knowledge, became a short-hand: I could phone and ask him for a print or an interneg and it would be done, or consult him on any relevant topic and he’d know the answer.
Len knew all my films intimately, second only to me. He became the guardian of artist’s and filmmaker’s work in the UK, taking an interest way beyond the normal scope of lab employees. When Soho Film Lab was brutally closed without notice, Len managed to get my current jobs finished despite edicts and obstructions from the new management. He also found and rescued my negatives when the lab could no longer find them. The debt of gratitude I owe Len is enormous.
Now I continue to work with him as a freelance consultant. Together we visited labs in Europe and he has become the go-to person for artists and filmmakers wishing to continue to work in film. My fear was always that Len would retire but now it appears that the medium of film is being forced into early retirement instead. Despite how difficult working in film has become, there are many who persevere and if there is a way to do it, Len Thornton will know it.
Len Thornton’s unique experience with film and art makes him an extensive source of knowledge in the the field of experimental film making. His great understanding of the celluloid as well as his sensitivity for the artist’s ideas and wishes enables an exceptional use of this material. I have met Len Thornton when I was working on my 35 mm film “Invert”. In my first experience with film Len guided and exposed me to the life and rules of the celluloid.
Jordan Baseman:
Len’s knowledge of film is extensive. Stock, processing, cameras, lenses and techniques: there is almost nothing that Len does not know. He has worked in the industry his entire life, and this has provided him with a creative approach to the medium that is unlike anyone else.
Most London-based artists working in film have benefitted from Len’s experience, expertise and generosity. I know that I have personally benefitted greatly from his advice.
Mark Neville:
I’ve been working with Len Thornton from since I first began making 16mm films in 1994. Throughout this time he has consistently supplied invaluable guidance to every aspect of my work. This has included advice on everything, from whom to work with on both the production and the post-production sides, to technical details about workflow and the processes involved. His enthusiasm, knowledge, and dedication have made a vast and irreplacable contribution to my experience as an artist working with film. I continue to rely on Len Thornton’s expertise now that he is a freelance film consultant, as he works with me on my current project realised in Helmand Province. I would recommend that any artist film-maker, at any stage of their career, work with Len on their project as a must.
One of the most experienced and knowledgable consultants in the business
Alia Syed:
I have worked with Len Thornton for many years. and he has consistently given me invaluable advice and support. He has engaged with my work and suggested ways to produce the best possible result for each and every project I have worked on. I would strongly recommend anyone to work with Len. His commitment to analogue work, knowledge of the sector and artists work is indispensable.
Studying overseas was the best experience I’ve ever had. It was back in 1998 when I moved to England to become a filmmaker. 16mm was new ground for me, too. It taught me discipline and care for the material I was dealing with. Seeing a mere reflex of what was supposed to be happening within the camera through the viewfinder was thrilling, we had the feeling some sort of miracle was taking place inside.
Talking about miracles, in April 2000 I shot what would become my first piece of “professional” cinema in Catalonia (my graduation short), developed it over here and then took it in a rucksack to a place in London I had been recommended. Len Thornton welcomed me with open arms and soon won my trust as to let go my dear 16mm cans into his hands. I see now that he could have cashed in on me big time and probably been rewarded for that but instead he became a reliable post-production advisor that made all that process really enjoyable (and affordable).
I’d like to illustrate Len’s attitude towards me, an ignorant little whelp, with an anecdote I distinctly recollect. Fortunately, my little movie became a festival favourite in Spain and got screened quite a lot, so I asked Len for more 35 mm copies (11 in total). One year into the distribution of the short, there was an important event in Barcelona and I requested a screen-test: the image was so bad that I complained and the projectionist convinced me that the copy was ruined. It was my only copy available at the time, so I sent Len a nervous e-mail complaining about its quality. He assured me it had been checked before sending it to me and that it was in mint condition. Noticing my indecision (and mistrust) he suggested I should send the copy back to him and have it double-checked. So I did but decided to travel along with the can. Len welcomed me with open arms, we checked the copy together (it’s when I realised that projector in Barcelona must have been really f***** up) and amused by my embarrassment he gave me the copy back together with another one he had already printed just in case… for free! Can you believe it? Ah, and he took me out for lunch on behalf of the Royal Family. God save the Queen!
Don’t get me wrong, but due to my inexperience I feel I never fully appreciated what he did for me during all those months, but now that I ‘ve been in the industry for quite a while I know he acted more like a surrogate father than a lab rep. I believe this is so because Len loves the energy around filmmaking, so he makes sure he creates the conditions for such delicate seeds called short films to sprout and flower.