So I thought I would blog on my first day at the LSF
It was a weird rollercoaster day when I manged to get from having genuine thoughts of what would happen if I just stopped writing altogether to feeling more excited about my project then I have in ages. Most of this can be put down to blood sugar levels but I had an excellent session at a Euroscript script clinic. It really is a bit like seeing a therapist about a script. Just talking about it to someone new means they can point out all the obvious issues that have been allowed to stay in for no good reason. And by acknowledging one thing I was actually able to see why other suggestions didn't work. I have a tendency to just accept any old note once I've conceded one but this time the thing felt like it framed better.
Other highlights would be Jane Leys's talk. Really excellent, despite the fact I was fading badly and feeling like it was all too much during it. I particularly rated the 50 things that could stop them achieving their goals. That sounds like a brilliant exercise and have started work on it. Also Ash Atalla just for being funny and human and positive about the fact that talent will out.
However what I've decided from yesterday is this: I want to know more about craft than trade this time. I always thought that it was most important to come out of the festival with lots of ways to hustle and get yourself heard. But the truth is that I'll learn about that when I'm ready. At the moment I need to feel better about my projects and get that draft out before christmas as planned. Then I can focus on this. And just as writing tips are more useful once you've tried and failed so I suspect are 'how to get noticed' tips. I need to do it for a bit and then pay attention. With that in mind I'm planning to go to the following sesisons:
The preverbal language of cinema
Speed Pitching (and this time remember you're pitching you not your project)
Why most scripts crash and burn in first ten pages
Train your brain for writing success
And the pitch factor (whether I enter or not will depend on how I'm feeling)
Looking forward to it.
Nick
Saturday, 29 October 2011
Thursday, 27 October 2011
Advanced Fun script
This is the main sequence of the first act of a feature I"m working on at the moment. It explains the pitch but also I hope the tone of the piece and something of the characters. Would be interested in any comments.
INT. PUB- DAY
Toby, Lois and Mark are in the corner of the pub. They’re two drinks in and definitely feeling it. Toby is intently watching the football.
TOBY
Oh come on! You fat Geordie... aargh.
Mark and Lois look at each other and smile. Mark drops his smile and asks a question that has been bothering him.
MARK
Is it OK that we haven’t bought a pint since the start of the game?
LOIS
(bemused)
Yeah.
MARK
They don’t think you’re taking the piss not to buy one for 40 minutes.
LOIS
Don’t think so.
Mark nods, considering this.
TOBY
(to the TV)
Oh come on!
MARK
He’s too isolated at the moment. He needs the fullback to give him more support.
COMMENTATOR ON THE TV (O.S.)
The fullback needs to support him more. At the moment he’s just completely isolated.
Lois looks at him, amused.
LOIS
You should be a commentator. Do you play football?
MARK
Not since I was little. I wasn’t able to after that. I don’t know if Toby has told you about my illness?
Toby starts paying attention.
LOIS
A little bit.
MARK
I had chronic fatigue syndrome. For a long time. It took me ages to finish school. And I couldn’t do anything else really. Barely left the house. But I’m feeling better now. I realised I have done for a while. So now, I want to have some fun.
LOIS
Well, cheers to that.
Lois raises her glass but Mark doesn’t. He hasn’t finished yet.
MARK
The thing is: I don’t know how to.
He looks at Lois for a reaction. She’s listening, understanding. Toby is less sure.
MARK (CONT'D)
Today is the third time I’ve ever been to the pub and the first time not for lunch. I’ve never been to a club. Or a gig. Or even a proper house party. I’ve never smoked a joint or had a drunken snog or even been up all night. I’ve never had fun as an adult. And now, when I’m finally fit enough to do so, I don’t know how to. And I don’t have anyone to do it with.
He takes a swig from his pint and braces himself.
MARK (CONT'D)
And I was kind of hoping that you guys might be able to help me. I mean, I feel ridiculous, it's like I’m asking you to be my friend but I figured, with your big nights out, you seem as if you’re pretty good at having fun. So I was wondering if, in the week or so I’m here you might be able to teach me. Nothing too advanced. Just some basic fun.
Toby doesn’t know what to say. Lois does.
LOIS
Yes! Absolutely!
Toby looks at Lois, surprised by this mass enthusiasm.
MARK
Really?
LOIS
Of course! It’s a great idea.
MARK
Are you sure I wouldn’t cramp your style?
LOIS
No!
TOBY
We really have very little style.
LOIS
It would be an honour to show you this city.
TOBY
And what style we do have we keep in open space where it can’t get cramped.
LOIS
We’re going to give you the ultimate guide to having fun.
TOBY
So to be honest, you could be a giant huge fattypuff and you still wouldn’t cramp our style.
LOIS
Right so let’s start planning. What do you want to do first?
MARK
I don’t know, maybe a club?
LOIS
Right what kind of club? R’n’B, Drum’n’Bass, Indie. Or maybe you mean a different type like a pool club? Or a gentleman’s club? I’m probably not the best person to help with you that one. But it’s OK, I’m not judging.
MARK
(slightly overwhelmed)
Maybe it would better to start with a party?
LOIS
Good idea. Which do you fancy: house party, warehouse party, fancy dress party...
Lois is so excited she gets her notepad and starts writing stuff down.
TOBY
Mark, do you want another pint?
MARK
Yeah. I think I’m getting a bit pissed though.
TOBY
Well in that case you’re definitely getting another. Lois?
LOIS
White wine please?
TOBY
Could you give me a hand?
LOIS
Can’t you do that three glass triangle thing?
TOBY
No.
Toby has to more or less drag Lois before she realises she needs to come.
INT. PUB BAR-NIGHT
Toby and Lois get to the bar where there’s enough space for Toby to squeeze into a space with Lois behind him. Toby looks to try and catch someone’s eye as he speaks.
TOBY
When you said I was fun yesterday, did you mean I was deeply scary.
LOIS
I wasn’t scaring him, I was exciting him.
TOBY
Really?
LOIS
Yes. Imgaine it. Clubs, parties, cabarets, flashmobs, everything, all new, all fresh. Who wouldn’t be excited?
TOBY
I wouldn’t be.
LOIS
But you’re boring.
TOBY
Yesterday you said I was fun.
LOIS
Yesterday, you’d just got dumped by your girlfriend and you were giving me the full sad puppy face.
Toby turns around. He has said face on.
LOIS (CONT'D)
Yes, exactly. How can I be honest to that face? No, of course you’re not boring. You’re just, I’m not sure your idea of fun is what he needs right now.
TOBY
My idea of fun, is having fun. It’s not going to a bunch of places which Time Out have told you are hip and happening. It’s not thinking that if you go somewhere trendy you’re automatically having a good time. It’s not planning out ‘how to have fun’. It’s relaxing, going with the flow, being yourself and just having a good time.
LOIS
That doesn’t sound like fun.
Barman comes up to them.
BARMAN
Can I get you anything?
TOBY
You’re a motivational speaker and you’re complaining about me giving out platitudes.
LOIS
I’m not a motivational speaker, I’m a creativity consultant.
BARMAN
I could come back later.
TOBY
You’re someone who loves making plans, who loves creating lists and loves to know what’s trendy.
(to the Barman)
Two pints of Stella and a glass of white wine.
(back to Lois)
That’s not the same as being fun.
LOIS
You really think you know better than me how to have fun?
TOBY
I think there are lots of fun things, Mark won’t do if you have your way.
LOIS
Like what?
TOBY
Like...
Toby’s struggling when the barman comes up to them with the drinks.
BARMAN
That will be £12.30 please.
MARK (O.S.)
It’s my round.
They look round to see Mark. Neither of them are sure how long he’s been there.
TOBY
No don’t be silly. I’ve got this.
MARK
Please. I’ve never been able to say this before in my life. It’s quite exciting.
(to the barman)
It’s my round.
He hands the barman a £20 note. Toby watches a broad smile comes across Mark’s face as he does this.
TOBY
Mark, have you ever played a pub quiz machine?
Mark smiles.
MARK
No.
INT. PUB-LATER
Mark, Lois and Toby are gathered around the quiz machine. They’re very excited about how well they’re doing. The new question comes up and almost instantly Mark is on it.
MARK
Lake Baikal.
He hits the correct button.
TOBY
Come on!
LOIS
I swear he gets the answer before I can even read the question.
Toby is ringing his phone as he looks at the next answer. Seb answers.
INT. ESTATE-DAY
Seb is with a bunch of teenagers who are practicing their parkour. Seb is queuing up to do a jump. It’s not that hard but it requires concentration.
SEB
Hello.
TOBY
Seb, you’re not going to believe this. We’re nearly at £20 on Deal or No Deal!
Seb stops in his tracks.
SEB
(outraged)
What? What are you doing playing Deal or No Deal without me?
INT. PUB- DAY
MARK
Sodium.
LOIS
Oh my god.
She hugs him. Marks doesn’t know how to react.
TOBY
It’s Mark. He’s unbelievable.
EXT. ESTATE-DAY
Seb stops what he’s doing and ushers the other jumpers to the ledge ahead of him.
SEB
Hold on! Hold on! I need to be part of this. Read out the questions! I’m playing!
INT. PUB- DAY
MARK
Capybara.
LOIS
How do you know all this?
MARK
This is what happens when you never go out.
EXT. ESTATE-DAY
Seb is the last one left to do jump.
SEB
Seriously, read out the questions, man. I’m part of this.
BOY
Seb, are you going to jump or what?
SEB
In a minute.
BOY
Catch us up yeah. You know how to do the jump.
SEB
Of course. Of course.
(down the phone)
Seriously, read out the questions.
The boys bounce off.
INT. PUB- DAY
The three of them are huddled around the machine arms across each others shoulders.
LOIS
OK. This is the last question. Ready?
They all nod.
LOIS (CONT'D)
What year was the queen born?
Mark was about to hit an answer but then he stops. He has no idea.
MARK
I was brought up a Republican.
LOIS
Toby?
TOBY
Seb. This is to win it. What year was the Queen born 1924, 1925 or 1926?
EXT. ESTATE-DAY
Seb walks up to the ledge.
SEB
It’s always the first one with dates. Trust me. 1924. It’s a definite.
TOBY
Are you sure?
SEB
As sure as I am that I can do this jump. In fact I’m going to do both together. Ready? On 3, press 1924. 1,2,3.
He jumps.
INT. PUB- DAY
They press 1924. It’s the wrong answer.
LOIS
No! Fuck!
MARK
(mortified)
I’m sorry.
Lois hugs him. Mark is a bit uncomfortable with this much physical touching. Lois backs off.
LOIS
Don’t be ridiculous! You were amazing. Who knew a quiz could be fun?
TOBY
(on the phone)
Seb? Seb? Are you there?
EXT. ESTATE-DAY
We see the area Seb was meant to jump to. He’s not there.
INT. PUB- DAY
Toby looks at his phone to check reception.
TOBY
He’s such a bad loser.
(to Lois and Mark)
I’m sorry but did Lois just say a quiz is fun?
LOIS
Exception that proves the rule.
TOBY
You see Mark, this is what you need to understand. Lois thinks that when you say you want to learn to have fun, what you’re asking for is some bells and whistles programme consisting of heavily planned trips to cool clubs, trendy parties and random happenings where before you can set foot outside the door you need to think carefully about what you’re wearing, what you’re going to do, how you’re going to act. But I reckon what you want is just a more relaxed introduction to the things people do to chill out: the pub, the quiz machine, the football match. No planning, don’t think too hard about it, just go out there and have a good time. So which do you want?
Mark looks from Toby to Lois and back to Toby. He looks as if he’s been asked make Sophie’s choice.
MARK
Can we do both?
Toby and Lois look at each other. Both a little disappointed he didn’t pick them.
LOIS
You mean take it in turns?
MARK
Well, yeah. They both sound fun.
TOBY
And then at the end you can decide which one is actually more fun?
MARK
(joking)
Sure, I’ll score everything out of 10 and see which wins.
Lois and Toby both nod. They’re satisfied with this.
LOIS
Done. We’ll do 7 each and then see who’s got the most points.
Lois and Toby shake. Mark looks at them, not sure if he should explain to them that he was joking.
TOBY
So who’s going to go first?
Lois takes a beermat and hands it to Mark.
LOIS
That side is me. The other is Toby.
Mark looks extremely nervous and tries to flip it but it doesn’t work and just flops. He tries again. Same reaction.
MARK
Shall I do eenie, meenie, miney moh?
This has slightly taken the wind of the sails but Mark diligently goes through it. Halfway through the count he loses count and is about to start again.
TOBY
Don’t bother. You started with me, Lois will win it.
MARK
How do you know?
TOBY
I’m a primary school teacher.
LOIS
(pleased with having won)
Alright. Next Friday, get ready.
INT. PUB- DAY
Toby, Lois and Mark are in the corner of the pub. They’re two drinks in and definitely feeling it. Toby is intently watching the football.
TOBY
Oh come on! You fat Geordie... aargh.
Mark and Lois look at each other and smile. Mark drops his smile and asks a question that has been bothering him.
MARK
Is it OK that we haven’t bought a pint since the start of the game?
LOIS
(bemused)
Yeah.
MARK
They don’t think you’re taking the piss not to buy one for 40 minutes.
LOIS
Don’t think so.
Mark nods, considering this.
TOBY
(to the TV)
Oh come on!
MARK
He’s too isolated at the moment. He needs the fullback to give him more support.
COMMENTATOR ON THE TV (O.S.)
The fullback needs to support him more. At the moment he’s just completely isolated.
Lois looks at him, amused.
LOIS
You should be a commentator. Do you play football?
MARK
Not since I was little. I wasn’t able to after that. I don’t know if Toby has told you about my illness?
Toby starts paying attention.
LOIS
A little bit.
MARK
I had chronic fatigue syndrome. For a long time. It took me ages to finish school. And I couldn’t do anything else really. Barely left the house. But I’m feeling better now. I realised I have done for a while. So now, I want to have some fun.
LOIS
Well, cheers to that.
Lois raises her glass but Mark doesn’t. He hasn’t finished yet.
MARK
The thing is: I don’t know how to.
He looks at Lois for a reaction. She’s listening, understanding. Toby is less sure.
MARK (CONT'D)
Today is the third time I’ve ever been to the pub and the first time not for lunch. I’ve never been to a club. Or a gig. Or even a proper house party. I’ve never smoked a joint or had a drunken snog or even been up all night. I’ve never had fun as an adult. And now, when I’m finally fit enough to do so, I don’t know how to. And I don’t have anyone to do it with.
He takes a swig from his pint and braces himself.
MARK (CONT'D)
And I was kind of hoping that you guys might be able to help me. I mean, I feel ridiculous, it's like I’m asking you to be my friend but I figured, with your big nights out, you seem as if you’re pretty good at having fun. So I was wondering if, in the week or so I’m here you might be able to teach me. Nothing too advanced. Just some basic fun.
Toby doesn’t know what to say. Lois does.
LOIS
Yes! Absolutely!
Toby looks at Lois, surprised by this mass enthusiasm.
MARK
Really?
LOIS
Of course! It’s a great idea.
MARK
Are you sure I wouldn’t cramp your style?
LOIS
No!
TOBY
We really have very little style.
LOIS
It would be an honour to show you this city.
TOBY
And what style we do have we keep in open space where it can’t get cramped.
LOIS
We’re going to give you the ultimate guide to having fun.
TOBY
So to be honest, you could be a giant huge fattypuff and you still wouldn’t cramp our style.
LOIS
Right so let’s start planning. What do you want to do first?
MARK
I don’t know, maybe a club?
LOIS
Right what kind of club? R’n’B, Drum’n’Bass, Indie. Or maybe you mean a different type like a pool club? Or a gentleman’s club? I’m probably not the best person to help with you that one. But it’s OK, I’m not judging.
MARK
(slightly overwhelmed)
Maybe it would better to start with a party?
LOIS
Good idea. Which do you fancy: house party, warehouse party, fancy dress party...
Lois is so excited she gets her notepad and starts writing stuff down.
TOBY
Mark, do you want another pint?
MARK
Yeah. I think I’m getting a bit pissed though.
TOBY
Well in that case you’re definitely getting another. Lois?
LOIS
White wine please?
TOBY
Could you give me a hand?
LOIS
Can’t you do that three glass triangle thing?
TOBY
No.
Toby has to more or less drag Lois before she realises she needs to come.
INT. PUB BAR-NIGHT
Toby and Lois get to the bar where there’s enough space for Toby to squeeze into a space with Lois behind him. Toby looks to try and catch someone’s eye as he speaks.
TOBY
When you said I was fun yesterday, did you mean I was deeply scary.
LOIS
I wasn’t scaring him, I was exciting him.
TOBY
Really?
LOIS
Yes. Imgaine it. Clubs, parties, cabarets, flashmobs, everything, all new, all fresh. Who wouldn’t be excited?
TOBY
I wouldn’t be.
LOIS
But you’re boring.
TOBY
Yesterday you said I was fun.
LOIS
Yesterday, you’d just got dumped by your girlfriend and you were giving me the full sad puppy face.
Toby turns around. He has said face on.
LOIS (CONT'D)
Yes, exactly. How can I be honest to that face? No, of course you’re not boring. You’re just, I’m not sure your idea of fun is what he needs right now.
TOBY
My idea of fun, is having fun. It’s not going to a bunch of places which Time Out have told you are hip and happening. It’s not thinking that if you go somewhere trendy you’re automatically having a good time. It’s not planning out ‘how to have fun’. It’s relaxing, going with the flow, being yourself and just having a good time.
LOIS
That doesn’t sound like fun.
Barman comes up to them.
BARMAN
Can I get you anything?
TOBY
You’re a motivational speaker and you’re complaining about me giving out platitudes.
LOIS
I’m not a motivational speaker, I’m a creativity consultant.
BARMAN
I could come back later.
TOBY
You’re someone who loves making plans, who loves creating lists and loves to know what’s trendy.
(to the Barman)
Two pints of Stella and a glass of white wine.
(back to Lois)
That’s not the same as being fun.
LOIS
You really think you know better than me how to have fun?
TOBY
I think there are lots of fun things, Mark won’t do if you have your way.
LOIS
Like what?
TOBY
Like...
Toby’s struggling when the barman comes up to them with the drinks.
BARMAN
That will be £12.30 please.
MARK (O.S.)
It’s my round.
They look round to see Mark. Neither of them are sure how long he’s been there.
TOBY
No don’t be silly. I’ve got this.
MARK
Please. I’ve never been able to say this before in my life. It’s quite exciting.
(to the barman)
It’s my round.
He hands the barman a £20 note. Toby watches a broad smile comes across Mark’s face as he does this.
TOBY
Mark, have you ever played a pub quiz machine?
Mark smiles.
MARK
No.
INT. PUB-LATER
Mark, Lois and Toby are gathered around the quiz machine. They’re very excited about how well they’re doing. The new question comes up and almost instantly Mark is on it.
MARK
Lake Baikal.
He hits the correct button.
TOBY
Come on!
LOIS
I swear he gets the answer before I can even read the question.
Toby is ringing his phone as he looks at the next answer. Seb answers.
INT. ESTATE-DAY
Seb is with a bunch of teenagers who are practicing their parkour. Seb is queuing up to do a jump. It’s not that hard but it requires concentration.
SEB
Hello.
TOBY
Seb, you’re not going to believe this. We’re nearly at £20 on Deal or No Deal!
Seb stops in his tracks.
SEB
(outraged)
What? What are you doing playing Deal or No Deal without me?
INT. PUB- DAY
MARK
Sodium.
LOIS
Oh my god.
She hugs him. Marks doesn’t know how to react.
TOBY
It’s Mark. He’s unbelievable.
EXT. ESTATE-DAY
Seb stops what he’s doing and ushers the other jumpers to the ledge ahead of him.
SEB
Hold on! Hold on! I need to be part of this. Read out the questions! I’m playing!
INT. PUB- DAY
MARK
Capybara.
LOIS
How do you know all this?
MARK
This is what happens when you never go out.
EXT. ESTATE-DAY
Seb is the last one left to do jump.
SEB
Seriously, read out the questions, man. I’m part of this.
BOY
Seb, are you going to jump or what?
SEB
In a minute.
BOY
Catch us up yeah. You know how to do the jump.
SEB
Of course. Of course.
(down the phone)
Seriously, read out the questions.
The boys bounce off.
INT. PUB- DAY
The three of them are huddled around the machine arms across each others shoulders.
LOIS
OK. This is the last question. Ready?
They all nod.
LOIS (CONT'D)
What year was the queen born?
Mark was about to hit an answer but then he stops. He has no idea.
MARK
I was brought up a Republican.
LOIS
Toby?
TOBY
Seb. This is to win it. What year was the Queen born 1924, 1925 or 1926?
EXT. ESTATE-DAY
Seb walks up to the ledge.
SEB
It’s always the first one with dates. Trust me. 1924. It’s a definite.
TOBY
Are you sure?
SEB
As sure as I am that I can do this jump. In fact I’m going to do both together. Ready? On 3, press 1924. 1,2,3.
He jumps.
INT. PUB- DAY
They press 1924. It’s the wrong answer.
LOIS
No! Fuck!
MARK
(mortified)
I’m sorry.
Lois hugs him. Mark is a bit uncomfortable with this much physical touching. Lois backs off.
LOIS
Don’t be ridiculous! You were amazing. Who knew a quiz could be fun?
TOBY
(on the phone)
Seb? Seb? Are you there?
EXT. ESTATE-DAY
We see the area Seb was meant to jump to. He’s not there.
INT. PUB- DAY
Toby looks at his phone to check reception.
TOBY
He’s such a bad loser.
(to Lois and Mark)
I’m sorry but did Lois just say a quiz is fun?
LOIS
Exception that proves the rule.
TOBY
You see Mark, this is what you need to understand. Lois thinks that when you say you want to learn to have fun, what you’re asking for is some bells and whistles programme consisting of heavily planned trips to cool clubs, trendy parties and random happenings where before you can set foot outside the door you need to think carefully about what you’re wearing, what you’re going to do, how you’re going to act. But I reckon what you want is just a more relaxed introduction to the things people do to chill out: the pub, the quiz machine, the football match. No planning, don’t think too hard about it, just go out there and have a good time. So which do you want?
Mark looks from Toby to Lois and back to Toby. He looks as if he’s been asked make Sophie’s choice.
MARK
Can we do both?
Toby and Lois look at each other. Both a little disappointed he didn’t pick them.
LOIS
You mean take it in turns?
MARK
Well, yeah. They both sound fun.
TOBY
And then at the end you can decide which one is actually more fun?
MARK
(joking)
Sure, I’ll score everything out of 10 and see which wins.
Lois and Toby both nod. They’re satisfied with this.
LOIS
Done. We’ll do 7 each and then see who’s got the most points.
Lois and Toby shake. Mark looks at them, not sure if he should explain to them that he was joking.
TOBY
So who’s going to go first?
Lois takes a beermat and hands it to Mark.
LOIS
That side is me. The other is Toby.
Mark looks extremely nervous and tries to flip it but it doesn’t work and just flops. He tries again. Same reaction.
MARK
Shall I do eenie, meenie, miney moh?
This has slightly taken the wind of the sails but Mark diligently goes through it. Halfway through the count he loses count and is about to start again.
TOBY
Don’t bother. You started with me, Lois will win it.
MARK
How do you know?
TOBY
I’m a primary school teacher.
LOIS
(pleased with having won)
Alright. Next Friday, get ready.
London Screenwriter's Festival
So it's tomorrow and I'm trying to gather my thoughts about what I want from it. I've been to a couple of these and both times I've said next time I'll get more out of it and I'm worried that I won't again so I guess it helps to state what I'm interested in doing. So this is what I'm interested in:
1) Pitching. Not because I need people to say 'that sounds fantastic, let's do it'. But because the more times you tell a story the clearer it becomes to you. And so I'm not going to just pitch Advanced Fun. I'm going to pitch a bunch of projects so that I can hear what people say. And any one pitch doesn't really matter because I'm not looking for people to pick it up. They're all just practice.
2) Be pitched to. I just want to hear as many as possible. Hear how people define their stories. How they make people interested. How they turn them off. I want to always ask people what they're working on and even other projects they know about.
3) Tips and experience of writing as something you do in the evening when you're tired. Those little tips and routines that people like
4) Just to enjoy talking about writing for 3 days and soak it up. The talks are interesting. Enjoying them is a decent thing to do and way to spend your money.
1) Pitching. Not because I need people to say 'that sounds fantastic, let's do it'. But because the more times you tell a story the clearer it becomes to you. And so I'm not going to just pitch Advanced Fun. I'm going to pitch a bunch of projects so that I can hear what people say. And any one pitch doesn't really matter because I'm not looking for people to pick it up. They're all just practice.
2) Be pitched to. I just want to hear as many as possible. Hear how people define their stories. How they make people interested. How they turn them off. I want to always ask people what they're working on and even other projects they know about.
3) Tips and experience of writing as something you do in the evening when you're tired. Those little tips and routines that people like
4) Just to enjoy talking about writing for 3 days and soak it up. The talks are interesting. Enjoying them is a decent thing to do and way to spend your money.
Wednesday, 26 October 2011
Midnight in Paris
It's been a very long time since I did this but with the London Screenwriter's Festival in a couple days I should really start again. I'll blog tomorrow about my expectations of the festival but just wanted to say some quick words about Midnight in Paris which I went to see this evening.
There's nothing really to analyse about it. Owen Wilson even brilliantly parodies the smallness of the story by literally saying 'I've had an insight' that nostalgia is not a very realistic emotion and life wasn't better back in the day. I listened to a The Q&A interview with Woody Allen where he talked about this with roughly an argument that went 'things were more beautiful but the medicine was shit so it's not really worth it'. I'm not someone prone to nostalgia. I work on the presumption that now is an exceptional time to be alive, especially as an educated 20 something in London, and so this is not one of those lessons that I in any way need to be reminded of.
But I wanted to pick up two things: first of all the romanticisation of artists. I love Allen's Hemingway. I haven't actually read much Hemingway (although will finally be reading A Farewell to Arms for my book club so will have more to say on this soon) but even I can recognise the parodies he's playing with. But I don't overall give that much of a shit about them. I love art not artists. Curmodgeonly instincts in me don't feel like the self-indulgent lives of artists who go around getting drunk and having wild affairs, being driven places by drivers they never even acknowledge and flying off to Africa are things to approve of. It's not that I don't think a couple evenings with them wouldn't be great but it's a funny kind of intellectual shallowness. My dad always likes to tease my mum that Jane Austen is mills and boon for those with English degrees but I certainly think Allen films are extremely base films for people who consume high culture. You laugh at Hemingway impressions and the constant name checking but basically it's beautiful cities, beautiful women (seriously are there two more beautiful woman alive then Rachel McAdams and Marion Cotillard) people with impossibly wonderful lives being successful and lazy artistic types and smug jokes. I really enjoyed it. It has great charm. But it feels at the same time as if it has less to say then most Will Ferrell movies.
Secondly it's about beautiful cities. I really like that line Owen Wilson has about how he feels a great city is greater than a great piece of art. I think they are magical and I think Allen is great at making them feel it. He's obviously got a very particular way he wants them to feel and that's probably why I rebel against his version of London so much because I have my own but it's a great and important skill which I feel a film can do as well as any medium. And it's one I want to do for London. Toby McDonald who directed Je T'aime John Wayne http://www.youtube.com/watch?v=l3b0M-YsQjU said that he was fed up of London looking less romantic then New York and Paris. And I agree. It's so high on the list of things I want to do with film.
There's nothing really to analyse about it. Owen Wilson even brilliantly parodies the smallness of the story by literally saying 'I've had an insight' that nostalgia is not a very realistic emotion and life wasn't better back in the day. I listened to a The Q&A interview with Woody Allen where he talked about this with roughly an argument that went 'things were more beautiful but the medicine was shit so it's not really worth it'. I'm not someone prone to nostalgia. I work on the presumption that now is an exceptional time to be alive, especially as an educated 20 something in London, and so this is not one of those lessons that I in any way need to be reminded of.
But I wanted to pick up two things: first of all the romanticisation of artists. I love Allen's Hemingway. I haven't actually read much Hemingway (although will finally be reading A Farewell to Arms for my book club so will have more to say on this soon) but even I can recognise the parodies he's playing with. But I don't overall give that much of a shit about them. I love art not artists. Curmodgeonly instincts in me don't feel like the self-indulgent lives of artists who go around getting drunk and having wild affairs, being driven places by drivers they never even acknowledge and flying off to Africa are things to approve of. It's not that I don't think a couple evenings with them wouldn't be great but it's a funny kind of intellectual shallowness. My dad always likes to tease my mum that Jane Austen is mills and boon for those with English degrees but I certainly think Allen films are extremely base films for people who consume high culture. You laugh at Hemingway impressions and the constant name checking but basically it's beautiful cities, beautiful women (seriously are there two more beautiful woman alive then Rachel McAdams and Marion Cotillard) people with impossibly wonderful lives being successful and lazy artistic types and smug jokes. I really enjoyed it. It has great charm. But it feels at the same time as if it has less to say then most Will Ferrell movies.
Secondly it's about beautiful cities. I really like that line Owen Wilson has about how he feels a great city is greater than a great piece of art. I think they are magical and I think Allen is great at making them feel it. He's obviously got a very particular way he wants them to feel and that's probably why I rebel against his version of London so much because I have my own but it's a great and important skill which I feel a film can do as well as any medium. And it's one I want to do for London. Toby McDonald who directed Je T'aime John Wayne http://www.youtube.com/watch?v=l3b0M-YsQjU said that he was fed up of London looking less romantic then New York and Paris. And I agree. It's so high on the list of things I want to do with film.
Wednesday, 23 March 2011
10 pages
I'm entering a competition tomorrow in which I submit 10 pages from my script. I've gone for these 10 because I hope they set up Lois and Toby and the tone is right. I may be wrong. Anyway, let me know what you think.
INT. CASA DEL HIPSTER-NIGHT
Case del Hipster is a cavernous ex-warehouse job with arches where DJs play various unexciting minimalist beats to people bopping their heads with studied nonchalance.
Lois is wearing red shoes, a red belt and a red hat. Toby is wearing a red T-shirt and a red sweatband.
No one else is wearing red.
They look around the room. Toby sees someone in a bright red shirt. They go over to him but when he turns, they don’t recognise him and have to shuffle away after an unfriendly look.
Toby nods, not really hearing.
He makes the universal signal for a drink. Lois nods and gets her wallet out. Toby refuses it authoritatively. He goes up to the bar and tries to get served but he seems to be constantly beaten. Finally he has the barmaid in his sights. He’s definitely next. He’s practically at the bar. She turns to look at him.
The barmaid comes back with the drinks.
Lois comes up to them.
They down their drinks and follow him.
INT. BEDROOM-DAY
Lois wakes up. She has that moment when you realise you’re not in your own bed. This turns to concern when she sees the bed she’s in has black satin sheets. She turns over. Toby is sleeping there. She looks under the covers. They’re both still wearing their clothes from the night before. She looks around the room. She doesn’t recognise it.
Toby makes a strange and pathetic SQUEAL. Seb opens the door.
Seb nods.
INT. LIVING ROOM- DAY
Seb and Toby are playing a football video game while sitting on the sofa.
Beat.
EXT. STREET- DAY
Toby and Lois are marching down the street. Lois stops at the bus stop.
INT. TUBE STATION
Toby comes racing into the station, hands flailing as he gets his wallet out. He doesn’t touch the pad properly and hits the gate. Chastened, he carefully hits it and then starts running down the escalator.
EXT. STREET- DAY
Lois calmly beeps onto the bus and goes up the stairs to the top floor.
INT. TUBE PLATFORM
Toby comes down the escalator and sees the train at the platform. He flings himself through the doors and lands loudly. He smiles to himself about just making it.
He steadies himself and then realises the doors still haven’t shut. He quietly sits down. Then another guy does exactly what he did. But this time the doors do close straight after. The man looks really pleased with himself.
INT. BUS-DAY
Lois is on the top of the bus at the front looking out. The traffic in front of her doesn’t look good.
INT. TUBE CARRIAGE
The train is about to come into the platform. Toby is at the front. Someone next to him tries to get to the front but Toby moves his shoulder across to block him. Don’t even think about it.
The doors open and he bursts out and up the stairs.
EXT. BUS-DAY
The bus clears through some traffic and starts to pick up some speed. Lois nods approvingly. She looks at her watch.
INT. TRAIN STATION DAY
Toby runs onto the platform and looks at the ticker. 7 minutes. He’s dismayed.
EXT. BUS-DAY
The bus is going really slow now. Lois gives up. She gets off and runs.
INT. TRAIN PLATFORM-DAY
The train arrives. Toby get on.
INT. ANOTHER TRAIN PLATFORM.
Lois runs up the stairs as the train arrives. She goes to the correct carriage as the doors open. As they open, she sees Toby in front of her, smiling. She smiles back.
They both get off the train.
She kicks Toby in the bollocks and runs down the stairs. Toby reels.
EXT. STREET- DAY
Lois is running, broad smile on her face, looking behind to see if Toby is coming.
EXT. STREET- DAY
Lois gets to the turn off for their street when a taxi comes by and drops Toby off right next to her. Toby pays and gets out and runs. He nearly runs straight into MARK, 27, but looking much younger despite an attempt at growing a beard. Mark is laden down with two enormous bags and looks bewildered as Lois and then Toby speed past him.
Toby races ahead and just overtakes Lois as they get to the house. He collapses in a heap.
INT. CASA DEL HIPSTER-NIGHT
Case del Hipster is a cavernous ex-warehouse job with arches where DJs play various unexciting minimalist beats to people bopping their heads with studied nonchalance.
Lois is wearing red shoes, a red belt and a red hat. Toby is wearing a red T-shirt and a red sweatband.
No one else is wearing red.
They look around the room. Toby sees someone in a bright red shirt. They go over to him but when he turns, they don’t recognise him and have to shuffle away after an unfriendly look.
LOIS
Maybe, he’s not here yet.
Maybe, he’s not here yet.
Toby nods, not really hearing.
TOBY
He’s probably not here yet. Do you want a drink?
He’s probably not here yet. Do you want a drink?
He makes the universal signal for a drink. Lois nods and gets her wallet out. Toby refuses it authoritatively. He goes up to the bar and tries to get served but he seems to be constantly beaten. Finally he has the barmaid in his sights. He’s definitely next. He’s practically at the bar. She turns to look at him.
TOBY (CONT'D)
Hi.
Hi.
MAN (O.C.)
(to the barmaid)
Hello, two things: Firstly, you really are quite fantastically beautiful and red really suits you. Secondly, could I have two double vodka and tonics for myself and two beers and a shot of tequila for this gentleman to my right. Thank-you.
Toby looks to see SEB, 28, short, angrily handsome and with hair that indicates his generally frenetic manner. Seb is smiling at him with a cheesy eyebrow chucked in for good measure.(to the barmaid)
Hello, two things: Firstly, you really are quite fantastically beautiful and red really suits you. Secondly, could I have two double vodka and tonics for myself and two beers and a shot of tequila for this gentleman to my right. Thank-you.
SEB
Red suits you too, by the way.
TOBY
Yeah, what was that about?
SEB
Just wanted to see who’s my bitch. And it’s you! Which is a surprise. Not the you being my bitch bit obviously but the fact you’re out and about. I mean what is this? Did the missus let you take your cojones out with you or are they back home doing the ironing.
Red suits you too, by the way.
TOBY
Yeah, what was that about?
SEB
Just wanted to see who’s my bitch. And it’s you! Which is a surprise. Not the you being my bitch bit obviously but the fact you’re out and about. I mean what is this? Did the missus let you take your cojones out with you or are they back home doing the ironing.
The barmaid comes back with the drinks.
SEB (CONT'D)
Muchas gracias. Hasta mas tarde.
He gives her a big smile. She doesn't respond.Muchas gracias. Hasta mas tarde.
SEB (CONT'D)
Did you know Americans call what we’re doing right now double fisting? And they call them a prudish people.
TOBY
Actually I’m just having the one fist.
SEB
(disappointed)
Is Julie here?
Did you know Americans call what we’re doing right now double fisting? And they call them a prudish people.
TOBY
Actually I’m just having the one fist.
SEB
(disappointed)
Is Julie here?
Lois comes up to them.
LOIS
Hi Seb.
SEB
Ah, the landlady! Now this is good news. Come on two kisses, let’s get continental. And you’re wearing red as well! Two bitches! This is going to be a fine night. So what brings you two out from the suburbs on a Friday?
Lois looks at Toby. He looks down.Hi Seb.
SEB
Ah, the landlady! Now this is good news. Come on two kisses, let’s get continental. And you’re wearing red as well! Two bitches! This is going to be a fine night. So what brings you two out from the suburbs on a Friday?
LOIS
My colleagues made me feel old today. I needed to prove them wrong.
SEB
Well you’ve come to the wrong place. I feel bloody ancient here. I thought no 21 years old had a job these days. What the hell they doing in an extortion racket like this? Any of your pupils here Toby?
TOBY
You do know I teach primary school?
SEB
Yes. Right, get that tequila down you.
Toby does so.
SEB (CONT'D)
And now the beer.
TOBY
I’m going to pace myself a little.
SEB
Nonsense, you’re probably going to have to head home at 11. Better get you in an embarrassing state before then.
TOBY
I don’t have to go home.
SEB
Really?
TOBY
Really.
SEB
And why’s that?
TOBY
Because she dumped me this afternoon. In 3B. Next to a paper mache dinosaur.
Seb hugs him. Beer goes everywhere.
SEB
You twat! Why didn’t you say? OK, we’re all getting properly trashed now. But not here. I’d probably end up being banned from going 100m from a school. Let’s go.
My colleagues made me feel old today. I needed to prove them wrong.
SEB
Well you’ve come to the wrong place. I feel bloody ancient here. I thought no 21 years old had a job these days. What the hell they doing in an extortion racket like this? Any of your pupils here Toby?
TOBY
You do know I teach primary school?
SEB
Yes. Right, get that tequila down you.
Toby does so.
SEB (CONT'D)
And now the beer.
TOBY
I’m going to pace myself a little.
SEB
Nonsense, you’re probably going to have to head home at 11. Better get you in an embarrassing state before then.
TOBY
I don’t have to go home.
SEB
Really?
TOBY
Really.
SEB
And why’s that?
TOBY
Because she dumped me this afternoon. In 3B. Next to a paper mache dinosaur.
Seb hugs him. Beer goes everywhere.
SEB
You twat! Why didn’t you say? OK, we’re all getting properly trashed now. But not here. I’d probably end up being banned from going 100m from a school. Let’s go.
They down their drinks and follow him.
INT. BEDROOM-DAY
Lois wakes up. She has that moment when you realise you’re not in your own bed. This turns to concern when she sees the bed she’s in has black satin sheets. She turns over. Toby is sleeping there. She looks under the covers. They’re both still wearing their clothes from the night before. She looks around the room. She doesn’t recognise it.
TOBY
(not looking up)
Lois?
LOIS
(whispering)
Yeah?
TOBY
(not whispering)
What are we doing in Seb’s bed?
SEB (O.C.)
(from behind the door)
Right, unless you guys are having sex, I’m coming in 7,6,5,4,3,2
(not looking up)
Lois?
LOIS
(whispering)
Yeah?
TOBY
(not whispering)
What are we doing in Seb’s bed?
SEB (O.C.)
(from behind the door)
Right, unless you guys are having sex, I’m coming in 7,6,5,4,3,2
Toby makes a strange and pathetic SQUEAL. Seb opens the door.
SEB (CONT'D)
1! What was that?
TOBY
My fake sex noise.
There’s a moment of silence in the room.1! What was that?
TOBY
My fake sex noise.
SEB
I’m a little disturbed right now
(he gets over it)
So, I trust Sir and Madam had a good sleep. That the bed was to your satisfaction.
TOBY
Very nice. Thank-you, Jeeves.
SEB
Good because one wouldn’t want any discomfort. If one is too drunk to get a taxi in London, one must of course steal the bed of one’s host and let him squat on the sofa.
TOBY
Well, I for one, was hoping you’d join us.
LOIS
Can I use the shower, Seb? I’ll leave you boys to flirt in peace.
I’m a little disturbed right now
(he gets over it)
So, I trust Sir and Madam had a good sleep. That the bed was to your satisfaction.
TOBY
Very nice. Thank-you, Jeeves.
SEB
Good because one wouldn’t want any discomfort. If one is too drunk to get a taxi in London, one must of course steal the bed of one’s host and let him squat on the sofa.
TOBY
Well, I for one, was hoping you’d join us.
LOIS
Can I use the shower, Seb? I’ll leave you boys to flirt in peace.
Seb nods.
INT. LIVING ROOM- DAY
Seb and Toby are playing a football video game while sitting on the sofa.
SEB
And he gets past him again. Leaves him for dead. And, OH YES!, Tune into radio Norfolk, because that, my friend, is the back of the net. Tell me, Toby, you must meet a lot of people who beat you; would you say I’m among the more gracious winners?
TOBY
You are aware you’re the only person I ever play computer games with?
SEB
Well what improving things do you normally do on a Saturday afternoon?
And he gets past him again. Leaves him for dead. And, OH YES!, Tune into radio Norfolk, because that, my friend, is the back of the net. Tell me, Toby, you must meet a lot of people who beat you; would you say I’m among the more gracious winners?
TOBY
You are aware you’re the only person I ever play computer games with?
SEB
Well what improving things do you normally do on a Saturday afternoon?
Beat.
TOBY
We’d watch Masterchef.
Seb gives Toby a hug.We’d watch Masterchef.
SEB
I cannot believe I’m hugging someone who admits to watching Masterchef. So we’ve already found one good thing about this. No more thinking chopping onions makes good television.
Lois comes in.
LOIS
Seb, no man should have that good a hair dryer. Do you mind if I make myself some coffee?
SEB
I don’t have any coffee.
LOIS
What?
SEB
It’s not good for you that stuff. I treat my body like a temple.
TOBY
You did 4 tequila slammers in a row last night.
SEB
A temple to a Mexican god. Who likes to party.
LOIS
What do you have to drink?
SEB
Green Tea.
LOIS
I think I might have to go home. Toby, what time’s your cousin arriving.
TOBY
Oh fuck! He’s coming at 1pm. What’s the time now?
LOIS
12:30pm.
TOBY
Shit! I better go.
(to Seb)
Cheers fella.
SEB
Hug it out one more time, come on.
They hug. Seb gives him a serious look in the eye to makes sure Toby knows he’s there for him. Toby smiles at its slightly intense earnestness and then heads off.I cannot believe I’m hugging someone who admits to watching Masterchef. So we’ve already found one good thing about this. No more thinking chopping onions makes good television.
Lois comes in.
LOIS
Seb, no man should have that good a hair dryer. Do you mind if I make myself some coffee?
SEB
I don’t have any coffee.
LOIS
What?
SEB
It’s not good for you that stuff. I treat my body like a temple.
TOBY
You did 4 tequila slammers in a row last night.
SEB
A temple to a Mexican god. Who likes to party.
LOIS
What do you have to drink?
SEB
Green Tea.
LOIS
I think I might have to go home. Toby, what time’s your cousin arriving.
TOBY
Oh fuck! He’s coming at 1pm. What’s the time now?
LOIS
12:30pm.
TOBY
Shit! I better go.
(to Seb)
Cheers fella.
SEB
Hug it out one more time, come on.
EXT. STREET- DAY
Toby and Lois are marching down the street. Lois stops at the bus stop.
TOBY
What are you doing?
LOIS
I’m getting the bus. It’ll be faster.
TOBY
No, it won’t.
LOIS
It’s quicker, especially on a Saturday.
TOBY
I promise you it’s not.
LOIS
Race ya.
Toby pulls a face as if he’d never stoop to such juvenile behaviour. Then he starts running. Hard. Lois smiles and then she looks round. She can see the bus up the road. She feels pretty confident.What are you doing?
LOIS
I’m getting the bus. It’ll be faster.
TOBY
No, it won’t.
LOIS
It’s quicker, especially on a Saturday.
TOBY
I promise you it’s not.
LOIS
Race ya.
INT. TUBE STATION
Toby comes racing into the station, hands flailing as he gets his wallet out. He doesn’t touch the pad properly and hits the gate. Chastened, he carefully hits it and then starts running down the escalator.
EXT. STREET- DAY
Lois calmly beeps onto the bus and goes up the stairs to the top floor.
INT. TUBE PLATFORM
Toby comes down the escalator and sees the train at the platform. He flings himself through the doors and lands loudly. He smiles to himself about just making it.
He steadies himself and then realises the doors still haven’t shut. He quietly sits down. Then another guy does exactly what he did. But this time the doors do close straight after. The man looks really pleased with himself.
INT. BUS-DAY
Lois is on the top of the bus at the front looking out. The traffic in front of her doesn’t look good.
INT. TUBE CARRIAGE
The train is about to come into the platform. Toby is at the front. Someone next to him tries to get to the front but Toby moves his shoulder across to block him. Don’t even think about it.
The doors open and he bursts out and up the stairs.
EXT. BUS-DAY
The bus clears through some traffic and starts to pick up some speed. Lois nods approvingly. She looks at her watch.
INT. TRAIN STATION DAY
Toby runs onto the platform and looks at the ticker. 7 minutes. He’s dismayed.
EXT. BUS-DAY
The bus is going really slow now. Lois gives up. She gets off and runs.
INT. TRAIN PLATFORM-DAY
The train arrives. Toby get on.
INT. ANOTHER TRAIN PLATFORM.
Lois runs up the stairs as the train arrives. She goes to the correct carriage as the doors open. As they open, she sees Toby in front of her, smiling. She smiles back.
LOIS
I guess that counts as a draw.
INT. YET ANOTHER TRAIN PLATFORM-DAYI guess that counts as a draw.
They both get off the train.
TOBY
You know given that I had to wait for my train, I don’t think it should count as a draw.
LOIS
No, I don’t think it counts as a draw.
TOBY
Really?
LOIS
Yep. First one to the house wins.
You know given that I had to wait for my train, I don’t think it should count as a draw.
LOIS
No, I don’t think it counts as a draw.
TOBY
Really?
LOIS
Yep. First one to the house wins.
She kicks Toby in the bollocks and runs down the stairs. Toby reels.
EXT. STREET- DAY
Lois is running, broad smile on her face, looking behind to see if Toby is coming.
EXT. STREET- DAY
Lois gets to the turn off for their street when a taxi comes by and drops Toby off right next to her. Toby pays and gets out and runs. He nearly runs straight into MARK, 27, but looking much younger despite an attempt at growing a beard. Mark is laden down with two enormous bags and looks bewildered as Lois and then Toby speed past him.
Toby races ahead and just overtakes Lois as they get to the house. He collapses in a heap.
TOBY
(catching his breath)
You. Are not. Very ladylike.
LOIS
You took a bloody taxi!
TOBY
I was injured. I needed a runner.
LOIS
You know, I thought that guy with the bags might be your cousin.
TOBY
Yeah, I was wondering that.
LOIS
Don’t you know what he looks like?
TOBY
I know what he looked like at 13. I’m working on the principle that he might have changed. Well, he’s coming towards us.
Sure enough, Mark is slowly, slightly warily, coming towards them. He’s checking the numbers and realising that, indeed, the two strange running people are outside the house that he’s meant to be going to.(catching his breath)
You. Are not. Very ladylike.
LOIS
You took a bloody taxi!
TOBY
I was injured. I needed a runner.
LOIS
You know, I thought that guy with the bags might be your cousin.
TOBY
Yeah, I was wondering that.
LOIS
Don’t you know what he looks like?
TOBY
I know what he looked like at 13. I’m working on the principle that he might have changed. Well, he’s coming towards us.
LOIS
(to Toby)
Say hello to him.
TOBY
What?
LOIS
Welcome him!
TOBY
What if it’s not him?
LOIS
What if it is?
TOBY/LOIS
You must be Mark!
If Mark wasn’t unsettled before, he is now.(to Toby)
Say hello to him.
TOBY
What?
LOIS
Welcome him!
TOBY
What if it’s not him?
LOIS
What if it is?
Toby and Lois look at each other and then both at the same time.
TOBY/LOIS
You must be Mark!
MARK
Yes.
Yes.
Sunday, 20 March 2011
Comedy SWF
I'm going to this in a couple weeks. It should be good. The lineup is very impressive and I'll know some people to talk to etc. and compares notes.
If you want to go and haven't got a ticket go via one of these blogs: Danny Stack or the founder of the festival Chris Jones. They'll give you a discount code. They both were excellent at the London Screenwriters Festival in October. Supportive, warm and interesting so go through them and come. And if you're coming let me know and we'll hook up.
I'll be talking about the festival more soon.
If you want to go and haven't got a ticket go via one of these blogs: Danny Stack or the founder of the festival Chris Jones. They'll give you a discount code. They both were excellent at the London Screenwriters Festival in October. Supportive, warm and interesting so go through them and come. And if you're coming let me know and we'll hook up.
I'll be talking about the festival more soon.
11 days
A distinctly random idea and one I don't think I'm suited to write but I have this what if about what would happen if you found yourself back in the body of yourself on 1st September 2001. You have 11 days to try and convince somebody who can do something that they have to stop a terrorist atrocity but you're just you. Who's going to listen? Especially when you know it's going to happen because you've been to future. They're going to lock you up.
I have no idea how you'd go about it but that makes it seem fascinating to me.
I have no idea how you'd go about it but that makes it seem fascinating to me.
The Race
I've been re-watching a bit of the West Wing. I finally caught up with the end of Season 7 which I'd never seen and now regret I ever wasted time watching. They clearly had absolutely no idea what to do once John Spencer died as they couldn't really go into governing. They should have just given it a couple episodes to wrap up but I guess tell that to the channel controllers.
But I was reading how there were quite animated debates in the writing room about whether Vinick or Santos should win. Santos was always likely to win but it seems those who were writing Vinick really believed he should win.
Which I think is a great idea for a show. You set up a race- a mayoral race. There are going to be a number of inaugural mayor races in Britain over the next couple years so you can set them there. You go for one like Birmingham where it's conceivable someone other than Labour can win. And you assign writers to the teams and get them to write and direct their bits. You have controllers who are going to chuck problems and information at them and will stop the writers making their characters too likeable and perfect but it's up to the writing, directing and acting team to respond to the events, whether personal or political.
And you could have it semi-live, maybe a couple weeks behind so that the opinion of those watching it can dictate opinion polls. I think it could be a great mix of drama and interactivity. It would also be a great way for a city to be explored. The issues that matter locally will come to the fore and it could give people and idea of politics beyond Westminster.
BBC are moving to Salford so maybe it could be their way of discovering their new city.
But I was reading how there were quite animated debates in the writing room about whether Vinick or Santos should win. Santos was always likely to win but it seems those who were writing Vinick really believed he should win.
Which I think is a great idea for a show. You set up a race- a mayoral race. There are going to be a number of inaugural mayor races in Britain over the next couple years so you can set them there. You go for one like Birmingham where it's conceivable someone other than Labour can win. And you assign writers to the teams and get them to write and direct their bits. You have controllers who are going to chuck problems and information at them and will stop the writers making their characters too likeable and perfect but it's up to the writing, directing and acting team to respond to the events, whether personal or political.
And you could have it semi-live, maybe a couple weeks behind so that the opinion of those watching it can dictate opinion polls. I think it could be a great mix of drama and interactivity. It would also be a great way for a city to be explored. The issues that matter locally will come to the fore and it could give people and idea of politics beyond Westminster.
BBC are moving to Salford so maybe it could be their way of discovering their new city.
The Adjustment Bureau
The Adjustment Bureau
Something I would not recommend to say as you're going into the cinema with someone is 'Nick I don't think I'm going to like this'. Can make you a little nervous.
Naturally expectations being the game it is, I came out frustrated and she came out pleasantly surprised.
But then she thought she was being taken to see a Bourne rip off and I thought I was going to see a modern Matter of Life and Death.
So first, the Bourne bits. Matt Damon is very good at running. If you've seen a Bourne film you'd know that. But it bears repeating. Most people would look ridiculous but he manages to pull it off. Which is just as well as he does a lot of it.
My worry is that he is the reason why there is so much running. It's a film which is trying to mix a number of things: fantasy, romance, action film and political thriller. And it could probably have succeeded if it had just tried three. I'm just bit sure which three.
Fantasy has to be kept. It's the best bit. There's a wonderful world created of trilbies, transporting through doors and highly bureaucratic angels. It's well conceived, fun and nicely executed. With the exception of the man Damon who can't pull off a trilby at all, everyone looks very snazzy and it gives a great feel to it.
Romance doesn't quite work. I don't really like Emily blunt in it. Partly I don't like her in it, she doesn't quite have the charm. Partly their scenes togetheraren't that well written.
They're not terrible. But not sparkling.
But mostly the problem is that she is a cipher. She doesn't have her own plot. She just is chased first by mr Damon in a nice way and then by the trilbies in a nasty way. Afterwards we were talking about how much more interesting it would be if she was the one who could be a great president and he had to decide whether to risk sacrificing that. Or if her fiancée was actually the person that really mattered and they needed her to support him. And finally they just simply didn't spend enough time together for it to feel right. They needed to have at least spent one night together before he gets too obsessed.
Action: as I said he's very good at running and it gives the film a pace that makes it refreshing given the rest of the subject matter. The director is no Paul greengrass though so while it's fine, it's nothing to write home about.
Political thriller. The first sequence, with him campaigning through to him giving a speech about how everything is focus grouped is really nicely put together. You get the feeling this is one of the bits which the director felt most assured with. And given the amount of
The Democratic party establishment who turn up in the first 10 pages, it's probably the bit he knows best. But they seem to drop it. He's told that they've manipulated his life to make him driven to be President. And that's set up as a bad thing, a cruel piece of social engineering which denies him his chance of happiness. Which is obviously true but I don't think it's considered much of a dilemma. The sense of duty, that the world might need him to be president, is shrugged aside very quickly in a way that I think makes the final decision somewhat unsatisfying.
So I'm not sure what bit i'd drop. I'd just like nearly all of them to be better. It's a great idea and so many details are great and imaginative. But it doesn't quite take the subject matter by the scruff of the neck. It, like so many of my own ideas, doesn't fulfil the promise of the premise. But at least his made a film.
Something I would not recommend to say as you're going into the cinema with someone is 'Nick I don't think I'm going to like this'. Can make you a little nervous.
Naturally expectations being the game it is, I came out frustrated and she came out pleasantly surprised.
But then she thought she was being taken to see a Bourne rip off and I thought I was going to see a modern Matter of Life and Death.
So first, the Bourne bits. Matt Damon is very good at running. If you've seen a Bourne film you'd know that. But it bears repeating. Most people would look ridiculous but he manages to pull it off. Which is just as well as he does a lot of it.
My worry is that he is the reason why there is so much running. It's a film which is trying to mix a number of things: fantasy, romance, action film and political thriller. And it could probably have succeeded if it had just tried three. I'm just bit sure which three.
Fantasy has to be kept. It's the best bit. There's a wonderful world created of trilbies, transporting through doors and highly bureaucratic angels. It's well conceived, fun and nicely executed. With the exception of the man Damon who can't pull off a trilby at all, everyone looks very snazzy and it gives a great feel to it.
Romance doesn't quite work. I don't really like Emily blunt in it. Partly I don't like her in it, she doesn't quite have the charm. Partly their scenes togetheraren't that well written.
They're not terrible. But not sparkling.
But mostly the problem is that she is a cipher. She doesn't have her own plot. She just is chased first by mr Damon in a nice way and then by the trilbies in a nasty way. Afterwards we were talking about how much more interesting it would be if she was the one who could be a great president and he had to decide whether to risk sacrificing that. Or if her fiancée was actually the person that really mattered and they needed her to support him. And finally they just simply didn't spend enough time together for it to feel right. They needed to have at least spent one night together before he gets too obsessed.
Action: as I said he's very good at running and it gives the film a pace that makes it refreshing given the rest of the subject matter. The director is no Paul greengrass though so while it's fine, it's nothing to write home about.
Political thriller. The first sequence, with him campaigning through to him giving a speech about how everything is focus grouped is really nicely put together. You get the feeling this is one of the bits which the director felt most assured with. And given the amount of
The Democratic party establishment who turn up in the first 10 pages, it's probably the bit he knows best. But they seem to drop it. He's told that they've manipulated his life to make him driven to be President. And that's set up as a bad thing, a cruel piece of social engineering which denies him his chance of happiness. Which is obviously true but I don't think it's considered much of a dilemma. The sense of duty, that the world might need him to be president, is shrugged aside very quickly in a way that I think makes the final decision somewhat unsatisfying.
So I'm not sure what bit i'd drop. I'd just like nearly all of them to be better. It's a great idea and so many details are great and imaginative. But it doesn't quite take the subject matter by the scruff of the neck. It, like so many of my own ideas, doesn't fulfil the promise of the premise. But at least his made a film.
Saturday, 5 March 2011
Comfest tweets
This competition is a great way of making you focus on a pitch for your ideas
You can only put in 3 and I'm not sure I put the right three in so I'm putting them all up here. What worries me is that the two that sound worst are the two I've written/am writing. I'm not sure if that's because I know them so well it's hard to make them a simple pitch or because they are less instrinsically funny. Anyway here are the 5. See if you can spot the two I've written and let me know which you think work.
Dave is invincible but he's weak, unfit cowardly, no sense of public service and doesn't want to leave godalming to be a superhero
Three mates always tell great stories about their mate jack except he doesn't exist at least not until he's invited to one of them's wedding
Two flatmates are dumped for being boring and then compete to teach a grown man who's been bedridden since he was 13 how to have fun
A 6yr old girl can get anyone to do what she asks as long as she says please. One cousin wants to use her to save the world, the other to get the girl.
An index lets people bet on their friends lovelives. Girl discovers all her friends have bet she's going to be single all year and she tries to find out why.
You can only put in 3 and I'm not sure I put the right three in so I'm putting them all up here. What worries me is that the two that sound worst are the two I've written/am writing. I'm not sure if that's because I know them so well it's hard to make them a simple pitch or because they are less instrinsically funny. Anyway here are the 5. See if you can spot the two I've written and let me know which you think work.
Dave is invincible but he's weak, unfit cowardly, no sense of public service and doesn't want to leave godalming to be a superhero
Three mates always tell great stories about their mate jack except he doesn't exist at least not until he's invited to one of them's wedding
Two flatmates are dumped for being boring and then compete to teach a grown man who's been bedridden since he was 13 how to have fun
A 6yr old girl can get anyone to do what she asks as long as she says please. One cousin wants to use her to save the world, the other to get the girl.
An index lets people bet on their friends lovelives. Girl discovers all her friends have bet she's going to be single all year and she tries to find out why.
Snog the cat
When you snog some one below your league after having your heart broken by someone above it
It sets off a vicious cycle whereby the person below your league then does the same
Thing to someone below your league.
It started with Brad Pitt and ends with Dave. He doesn't know anyone below him in attractiveness.
Actually no, it's got to be a girl. A highly ugly man who's
Likeable can pull easy. An even vaguely ugly woman who's extremely likeable and impressive finds it much harder.
So she's not looking for someone to be with. She's looking for a cat to snog. And she finds someone but she starts to worry about breaking his heart. And the guy who snogged her cat comes calling again, thinking he may have missed out on something bigger
It sets off a vicious cycle whereby the person below your league then does the same
Thing to someone below your league.
It started with Brad Pitt and ends with Dave. He doesn't know anyone below him in attractiveness.
Actually no, it's got to be a girl. A highly ugly man who's
Likeable can pull easy. An even vaguely ugly woman who's extremely likeable and impressive finds it much harder.
So she's not looking for someone to be with. She's looking for a cat to snog. And she finds someone but she starts to worry about breaking his heart. And the guy who snogged her cat comes calling again, thinking he may have missed out on something bigger
Broadbrush details
I have a day job. And as part of it I've spent two days on a project management course. Which I actually quite liked, this is not a bitch about work or vapid corporate training,
But what it did remind me of is the difference between people who care about detail and those who are about the broad sweep. I'm very very broad sweep. My life is a constant stream of small mistakes stemming from having no eye for detail. I've learnt how to manage it but there's no doubt that it's not my strength.
And I was wondering if writers are detail or sweep people. On one level you'd like to think that writers have a vast range of personalities and take all types.
But on the other hand, writing is a specific activity. One that you do generally on your own. I have found writing so much easier since I felt I was doing it as part of a team but even as a team most of the stuff you do is still on your own. If it's a team sport it's cricket not rugby.
And that means that I suspect that in working patterns, writers are people who value their own company. The level to which that seeps into the rest of their life will vary but if you need to talk to people as part of your work day, I suggest you don't try writing.
So presuming there are similarities, I'm going to suggest that writers are strategic which makes them unlike almost everyone else in film except the producer. Directors I feel I can't say either way.
If you are interested in every little detail then being a writer for the screen would drive you crazy. You don't get to decide what your characters look like, what they wear, their intonation. You don't get to decide how long each scene, how it looks, the tones and rhythms.
You're creating a blueprint and hoping others run with it. You can announce the key details of a character, a scene, a general look but you've got to let a lot of it go. So I reckon it helps from a negative point of view to be strategic. You're not in a position to be detailed in 90 sparsely written pages.
But moreover you do need to be strategic. You need to know how it fits together. You can craft the most wonderful scenes but unless it flows from a to b then it's no good. You have to have that overview of your world. How it connects to itself, its internal logic, what truths dictate how things pan out.
I have a feeling that I'll come back to this in a month and disagree with myself massively. Which is fine, you can never quote walt Whitman enough 'Do i contradict myself, very well i contradict myself; I am large, I contain multitudes'
Plus this is a broad sweep question I don't want to quibble over the details.
But what it did remind me of is the difference between people who care about detail and those who are about the broad sweep. I'm very very broad sweep. My life is a constant stream of small mistakes stemming from having no eye for detail. I've learnt how to manage it but there's no doubt that it's not my strength.
And I was wondering if writers are detail or sweep people. On one level you'd like to think that writers have a vast range of personalities and take all types.
But on the other hand, writing is a specific activity. One that you do generally on your own. I have found writing so much easier since I felt I was doing it as part of a team but even as a team most of the stuff you do is still on your own. If it's a team sport it's cricket not rugby.
And that means that I suspect that in working patterns, writers are people who value their own company. The level to which that seeps into the rest of their life will vary but if you need to talk to people as part of your work day, I suggest you don't try writing.
So presuming there are similarities, I'm going to suggest that writers are strategic which makes them unlike almost everyone else in film except the producer. Directors I feel I can't say either way.
If you are interested in every little detail then being a writer for the screen would drive you crazy. You don't get to decide what your characters look like, what they wear, their intonation. You don't get to decide how long each scene, how it looks, the tones and rhythms.
You're creating a blueprint and hoping others run with it. You can announce the key details of a character, a scene, a general look but you've got to let a lot of it go. So I reckon it helps from a negative point of view to be strategic. You're not in a position to be detailed in 90 sparsely written pages.
But moreover you do need to be strategic. You need to know how it fits together. You can craft the most wonderful scenes but unless it flows from a to b then it's no good. You have to have that overview of your world. How it connects to itself, its internal logic, what truths dictate how things pan out.
I have a feeling that I'll come back to this in a month and disagree with myself massively. Which is fine, you can never quote walt Whitman enough 'Do i contradict myself, very well i contradict myself; I am large, I contain multitudes'
Plus this is a broad sweep question I don't want to quibble over the details.
Born Romantic
Not a self-description (my great discovery of my mid-20s was that I'm not really, i just like Hollywood movies)
It's the name of a bad movie I watched on Monday on the old iplayer. I don't normally review stuff watched at home (I'd just end up getting behind on my reviews again) but I feel like this film is a useful failure from someone trying to do similar things to me.
Those things:
Make London a character like Paris and New York so often are
Be intelligently mainstream and romantic
Look at Londoners as I think of them- in their 20s/30s, mostly from elsewhere originally, not struggling but never going to look right in a Richard Curtis movie
And moreover I suspect it's weaknesses are similar to ones I can see myself making. I'll review it and then pick up on this.
It's got a very weak title sequence with unexciting scenes of that most exciting of dances, Salsa. It then produces its setup of three men pursuing three women all rotating around a salsa club in London. They are shepherded by a ubiquitous and all wise taxi driver played by Adrian lester who somehow manages not to be really annoying, something he deserves great credit for. There's also a poor Greek chorus of misogynistic cabbies which is trite and not worth talking about.
It's a confusing film to watch because I watched it saying to myself that if It wasn't any good I'd turn it off. Then some point after the first act I found myself saying 'this is good' and determined to keep watching it. From then on it was like watching the wheels slowly and safely come off. There was no car crash just the eventual realisation that it's not going to get you there.
So what was good? Catherine McCormack plays a neurotic weirdo who tends graves for those who can't get to them. It's a genuinely interesting idea and I think for the most part she plays her well. Highly highly neurotic but with a warmth and interest in others to go with her vulnerability
They play her off a puppy eyed idiot who steals for not very clear reasons. It's not because he's good at it. It's declared at the end that he's getting off the rush but he doesn't seem to succeed enough for that to be worth it. His one redeeming feature is that he takes care of his dad with alzheimers but he doesn't even seem to do that with much warmth.
And that's a little bit the problem throughout. The girls have very clear flaws in big type: one's neurotic, one's cold and rude and won't let anyone in, one's a massive slut hiding her pain in booze and blokes.
By contrast the flaws with the men are basically that they're not very impressive. One's a thief, one's a failed musician and one I'm not sure but he seems to have had some money now sinking with his ex wife and his decaying house. But the key problem is that they're idiots, obnoxious and apparently all they have to do to change is learn how to salsa.
It seems unequal and this is something I often find to be the case with rom-coms and something i worry might be the case with Advanced Fun.
I'm trying to figure out what Lois's flaws are. She's not very good at letting go, she likes things to be planned. But spontaneity isn't beyond her.
She fails to notice that Mark isn't loving the fun. She doesn't have any feminine intuition. Well certainly not more than Toby.
She's one for distracting from her problems- she thinks she's falling for her flatmate so she goes on a date. She thinks she's lonely so she goes on a quest for fun.
I'm not sure if that's enough. But I do know the flaws have to be the little ones people have, misjudgements, lapses in selfishness not a one liner like in born romantic.
It's the name of a bad movie I watched on Monday on the old iplayer. I don't normally review stuff watched at home (I'd just end up getting behind on my reviews again) but I feel like this film is a useful failure from someone trying to do similar things to me.
Those things:
Make London a character like Paris and New York so often are
Be intelligently mainstream and romantic
Look at Londoners as I think of them- in their 20s/30s, mostly from elsewhere originally, not struggling but never going to look right in a Richard Curtis movie
And moreover I suspect it's weaknesses are similar to ones I can see myself making. I'll review it and then pick up on this.
It's got a very weak title sequence with unexciting scenes of that most exciting of dances, Salsa. It then produces its setup of three men pursuing three women all rotating around a salsa club in London. They are shepherded by a ubiquitous and all wise taxi driver played by Adrian lester who somehow manages not to be really annoying, something he deserves great credit for. There's also a poor Greek chorus of misogynistic cabbies which is trite and not worth talking about.
It's a confusing film to watch because I watched it saying to myself that if It wasn't any good I'd turn it off. Then some point after the first act I found myself saying 'this is good' and determined to keep watching it. From then on it was like watching the wheels slowly and safely come off. There was no car crash just the eventual realisation that it's not going to get you there.
So what was good? Catherine McCormack plays a neurotic weirdo who tends graves for those who can't get to them. It's a genuinely interesting idea and I think for the most part she plays her well. Highly highly neurotic but with a warmth and interest in others to go with her vulnerability
They play her off a puppy eyed idiot who steals for not very clear reasons. It's not because he's good at it. It's declared at the end that he's getting off the rush but he doesn't seem to succeed enough for that to be worth it. His one redeeming feature is that he takes care of his dad with alzheimers but he doesn't even seem to do that with much warmth.
And that's a little bit the problem throughout. The girls have very clear flaws in big type: one's neurotic, one's cold and rude and won't let anyone in, one's a massive slut hiding her pain in booze and blokes.
By contrast the flaws with the men are basically that they're not very impressive. One's a thief, one's a failed musician and one I'm not sure but he seems to have had some money now sinking with his ex wife and his decaying house. But the key problem is that they're idiots, obnoxious and apparently all they have to do to change is learn how to salsa.
It seems unequal and this is something I often find to be the case with rom-coms and something i worry might be the case with Advanced Fun.
I'm trying to figure out what Lois's flaws are. She's not very good at letting go, she likes things to be planned. But spontaneity isn't beyond her.
She fails to notice that Mark isn't loving the fun. She doesn't have any feminine intuition. Well certainly not more than Toby.
She's one for distracting from her problems- she thinks she's falling for her flatmate so she goes on a date. She thinks she's lonely so she goes on a quest for fun.
I'm not sure if that's enough. But I do know the flaws have to be the little ones people have, misjudgements, lapses in selfishness not a one liner like in born romantic.
True Grit
I turned on Beth after this. It's not a shallow sound but even in its well crafted melancholy it's not out of body.
That's not a problem. I still get a lot from it. But the last three films I've seen before this had a visceral sense to them. Of having been a little torn up. But I'm not feeling that now.
Nor do I think this was in anyway the aim. It's funny as you'd expect it to be. There's something of dickens (but not necessarily dickensian) about the side characters they create. Comedic, eccentric and with most of the jokes slipping in as you're riding off (literally in one case). Their sense of the absurd is spot on. And I think is far more powerful for finding its way into a western.
And as I've come to expect the action scenes are tense and immaculately directed. There's a great scene when an entire confrontation is filmed from the point of view of Jeff Bridges and a girl up on a ridge. You can't hear what's going on and the action consequently has a removed quality which feels far fresher and more exciting than another Sub greengrass flurry of steadycam rushes.
And the performances are good. I liked Matt Damon's role. He was a man with some sense of old school chivalry but neither the bravery or the smarts to totally pull it off. He's flawed in that light not too remarkable way most of us are. It was refreshing after the many highly driven creatures with big flaws I've been watching recently.
Speaking of driven: The girl's fantastic. Her precociousness somehow never grates. Partly because it's a true precociousness- she happily admits that there are things she can't do as well as others. She's not afraid to be scared.
But she does suffer from a terrible over assurance. SPOILER. Although to be honest all my reviews are pretty spoiler heavy.
She pays a heavy price for her pig headed determination. She is so smart and canny and bossy she might well have struggled to find a suitable mate in the wild west regardless. But I think the trip, the trauma, the loss of the arm, the stories that went with it, guaranteed it.
Her strength, her brains, her courage allow her to go off and do something remarkable but when she is so young that she doesn't see why the consequences may not be worth the actions. That the results are fairly derisory for a price that you sense is any chance of enjoying the rest of her life.
Telling that familiar tale of vengeance at a terrible price through a teenage girl does work but I'm struck that it took a bit of time for me to feel it and even as I write this, I'm wondering if I'm overdoing the effect it had on the rest of her life.
Certainly I didn't come out of the cinema thinking about the price of venegence particularly.
I think that's mainly because it ends weakly. Like a History of violence it takes a story with strong characters and psychological needs and gives it a straight action ending. It's enjoyable and there are a couple good surprises to the third act but it feels lacking in substance.
And then there's a epilogue which is distinctly unsatisfying. Much of the conjecture I've been talking about comes from that. Much of what makes it more than just a cowboy romp. But they're poor scenes. Undramatic, unengaging.
So good. Very good. But I'm not sure if it wanted to be just purely enjoyable or strived for more than that and so ended up with an end which for my money fell between two stools.
That's not a problem. I still get a lot from it. But the last three films I've seen before this had a visceral sense to them. Of having been a little torn up. But I'm not feeling that now.
Nor do I think this was in anyway the aim. It's funny as you'd expect it to be. There's something of dickens (but not necessarily dickensian) about the side characters they create. Comedic, eccentric and with most of the jokes slipping in as you're riding off (literally in one case). Their sense of the absurd is spot on. And I think is far more powerful for finding its way into a western.
And as I've come to expect the action scenes are tense and immaculately directed. There's a great scene when an entire confrontation is filmed from the point of view of Jeff Bridges and a girl up on a ridge. You can't hear what's going on and the action consequently has a removed quality which feels far fresher and more exciting than another Sub greengrass flurry of steadycam rushes.
And the performances are good. I liked Matt Damon's role. He was a man with some sense of old school chivalry but neither the bravery or the smarts to totally pull it off. He's flawed in that light not too remarkable way most of us are. It was refreshing after the many highly driven creatures with big flaws I've been watching recently.
Speaking of driven: The girl's fantastic. Her precociousness somehow never grates. Partly because it's a true precociousness- she happily admits that there are things she can't do as well as others. She's not afraid to be scared.
But she does suffer from a terrible over assurance. SPOILER. Although to be honest all my reviews are pretty spoiler heavy.
She pays a heavy price for her pig headed determination. She is so smart and canny and bossy she might well have struggled to find a suitable mate in the wild west regardless. But I think the trip, the trauma, the loss of the arm, the stories that went with it, guaranteed it.
Her strength, her brains, her courage allow her to go off and do something remarkable but when she is so young that she doesn't see why the consequences may not be worth the actions. That the results are fairly derisory for a price that you sense is any chance of enjoying the rest of her life.
Telling that familiar tale of vengeance at a terrible price through a teenage girl does work but I'm struck that it took a bit of time for me to feel it and even as I write this, I'm wondering if I'm overdoing the effect it had on the rest of her life.
Certainly I didn't come out of the cinema thinking about the price of venegence particularly.
I think that's mainly because it ends weakly. Like a History of violence it takes a story with strong characters and psychological needs and gives it a straight action ending. It's enjoyable and there are a couple good surprises to the third act but it feels lacking in substance.
And then there's a epilogue which is distinctly unsatisfying. Much of the conjecture I've been talking about comes from that. Much of what makes it more than just a cowboy romp. But they're poor scenes. Undramatic, unengaging.
So good. Very good. But I'm not sure if it wanted to be just purely enjoyable or strived for more than that and so ended up with an end which for my money fell between two stools.
Thursday, 17 February 2011
The rats of Lambeth North
You're never more than 200 metres from a rat or whatever it is. And yet the tube is the only time I'm ever aware of them. I don't really get what they live on in the tube. There's plenty of stuff to feast on left on trains but probably not on platforms yet when they think nobody is looming they scurry up. One got very close but when it realised I'd spied him it backed off. It nestled against the blue and yellow generator at the back of the platform. And then with it's back to wall it sussed out what was going on. Eventually it realised I wasn't going anywhere so it retreated further.
I wonder how far they travel. At liverpool street when I stand at my spot by the first video projector so as to get the quick exit you need onto to the Northern line, there's always a rat on the tracks. Sometimes two.
I presume they're the same ones and that they don't stray far from where they are. But maybe I'm wrong. Maybe rats travel the lines, commuting from Liverpool street to chancery lane. Or migrating all the way to Shepherd's bush over weeks. It's just there are so many and by the projector is such a good spot someone is always picking it up.
Is the rats of the underground a good kids story. I loved the rats of nimh as a kid. I think rats can be likeable. And these rats are small and likeable really. And there are plenty of perils for
Them to deal with.
So where should they be from
London Bridge
Elephant and Castle
Lambeth North
Angel
Mornington Crescent
Borough
Bethnal Green
Warren Street
Euston Square
Pimlico
I wonder how far they travel. At liverpool street when I stand at my spot by the first video projector so as to get the quick exit you need onto to the Northern line, there's always a rat on the tracks. Sometimes two.
I presume they're the same ones and that they don't stray far from where they are. But maybe I'm wrong. Maybe rats travel the lines, commuting from Liverpool street to chancery lane. Or migrating all the way to Shepherd's bush over weeks. It's just there are so many and by the projector is such a good spot someone is always picking it up.
Is the rats of the underground a good kids story. I loved the rats of nimh as a kid. I think rats can be likeable. And these rats are small and likeable really. And there are plenty of perils for
Them to deal with.
So where should they be from
London Bridge
Elephant and Castle
Lambeth North
Angel
Mornington Crescent
Borough
Bethnal Green
Warren Street
Euston Square
Pimlico
Tools not rules
I realised something yesterday. A friend of mine was asking if I adhered to the 3 act structure. It felt a slightly weird question 'of course I do, what do you take me for?' and then he asked me if I felt restrained by it.
And I realised that it was a very long time since I'd felt that. When I first read Story I railed against it but while he overdoes it he doesn't seem much more than obvious now. I feel almost as perplexed as if you asked a footballer if he feels constrained by the fact he can't use his hands. It's a pretty fundamental part of the job.
So what's changed? Well first I think my aspirations have changed. I would like to make broadly commercial fare, mostly in the romantic comedy genre, rather than paradigm shifting works of art.
Secondly and this is probably the cause of 1 - I've discovered screenwriting is hard. Writing a scene is often easy. An intriguing and entertaining 1st act can be put together without too much difficulty. But a 90 page screenplay which works coherently as a whole and ends in a way that fulfil the promise of the premise? That's really hard.
And now I fully appreciate this fact I'm looking for things to help me. If you're struggling to put something together in a coherent way it's not a hindrance to try and get it to fit a 3 act structure it's a massive boon.
I think the book that switched my attitude to it (because I used to be dismissive of it) was the theoretically even more prescriptive Screenwriting: The Sequence Approach, which talks not just about 3 acts but 8 sequences.
Its introduction talked about tools (dramatic irony, exposition as ammunition etc.) and then it just talks through a bunch of films and look at how you could break them down into 8 sequences.
It admits that some films have more sequences than 8 so it starts from the premise that it's just a tool. And what it does is make you do a bunch of short films each with setups, tension and payoffs. And it is by the far the easiest way of dealing with drift in 2nd acts that I know.
So there you go a plug for the sequence approach and an appreciation that I'm now an unquestioning adherent to the rules. And it's made life easier.
And I realised that it was a very long time since I'd felt that. When I first read Story I railed against it but while he overdoes it he doesn't seem much more than obvious now. I feel almost as perplexed as if you asked a footballer if he feels constrained by the fact he can't use his hands. It's a pretty fundamental part of the job.
So what's changed? Well first I think my aspirations have changed. I would like to make broadly commercial fare, mostly in the romantic comedy genre, rather than paradigm shifting works of art.
Secondly and this is probably the cause of 1 - I've discovered screenwriting is hard. Writing a scene is often easy. An intriguing and entertaining 1st act can be put together without too much difficulty. But a 90 page screenplay which works coherently as a whole and ends in a way that fulfil the promise of the premise? That's really hard.
And now I fully appreciate this fact I'm looking for things to help me. If you're struggling to put something together in a coherent way it's not a hindrance to try and get it to fit a 3 act structure it's a massive boon.
I think the book that switched my attitude to it (because I used to be dismissive of it) was the theoretically even more prescriptive Screenwriting: The Sequence Approach, which talks not just about 3 acts but 8 sequences.
Its introduction talked about tools (dramatic irony, exposition as ammunition etc.) and then it just talks through a bunch of films and look at how you could break them down into 8 sequences.
It admits that some films have more sequences than 8 so it starts from the premise that it's just a tool. And what it does is make you do a bunch of short films each with setups, tension and payoffs. And it is by the far the easiest way of dealing with drift in 2nd acts that I know.
So there you go a plug for the sequence approach and an appreciation that I'm now an unquestioning adherent to the rules. And it's made life easier.
About Valentine's Today
There are two girls facing opposite each other on the tube. I wasn't quite sure if they were talking to each other or not. It was like they were Locking eyes and nothing was coming out. Then one touched up her lipstick and sat back.
It must have been the angle. They're both looking down now. Alone in thoughts on Valentine's Day
As am I.
But I've got About Today by the National and it's much more beautiful than Valentine's. There are other days which will make me feel more alone. Days that deserve it
It must have been the angle. They're both looking down now. Alone in thoughts on Valentine's Day
As am I.
But I've got About Today by the National and it's much more beautiful than Valentine's. There are other days which will make me feel more alone. Days that deserve it
Battle Los Angeles
Battle Los Angeles- is Los angeles the best selling place globally to set it?
I just wonder if exec reckon it would Be the best place for it but actually worldwide other cities capture the imagination more. I was thinking Paris.
I tried to type to quickly and had verge wet city come out. I like it. I'm not sure what it means but its sounds are just right.
I just wonder if exec reckon it would Be the best place for it but actually worldwide other cities capture the imagination more. I was thinking Paris.
I tried to type to quickly and had verge wet city come out. I like it. I'm not sure what it means but its sounds are just right.
Brighton Rock
Wanting to like a film is an interesting phenomenon. It's a better thing to do then wanting to dislike a film which is just unnecessary negativism. But it becomes like a solipsistic version of when you recommend a film to others. You're really keen for them to enjoy it and you're not fully concentrating because of that.
I was really keen to like Brighton Rock. Because it was British. Because it felt like an underdog piece when up against the American Oscar run, the King's speech juggernaut and even the star power of Never Let Me Go. Because it just seemed so unfair that the film came out now and will get buried under the competition when it would have done well in October.
So I almost don't know how I feel about it. There's a part of me that thinks it's a fantastic film and yet I have no courage in my conviction.
It is slightly overdirected. But often done so expertly, visual, tense and beautiful.
There are some extraordinary clunkers of dialogue and scenes which fizz or leave you feeling your insides tighten.
There is a clunky Catholicism that never feels anything more than an add on. The sense that Pinky is going to hell and knows it, just trying to put off the inevitable, is palpable. Yet none of the scenes or conversations about catholicism feel authentic. When you compare it to Of Gods and Men it's laughable.
Yet I remember how I felt in the last scene at the dread and sadness I felt at what was about to happen and the true ambiguity I felt about what I think would be better to have felt. And I definitely feel I was watching a film that had me, that had got under my skin and made me really care about a character who doesn't exist.
Rose is the defintion of pathetic. Both definitions. You want to shake her and put her to rights for being so stupid, so blind, so hooked into a false destructive belief in romance (it was an interesting choice of film for Valentine's day) and half the time you're ready to give her up because frankly she deserves it.
And yet you want to protect her, a girl broken down by her mousy downtrodden life and given a chance to be a romantic heroine. Someone who if you can get her out of there she can live. She might one day thrive.
Which is more than can be said for pinky. It's pretty common for gangster flicks to get you routing for a criminal to escape. It's a little more to have you half routing for a boy who seems to pump cold malice through his system.
You hope for his redemption. You hope for his escape. You hope that when his friend claims that he's doing something honourable with Rose he's right. That speaking into a record player that he hates her is the conflicts of a scared and damaged soul. Not just a simple malice.
But you know you're kidding yourself. You're copying Rose in giving him strengths he doesn't possess. And you know that Rose would probably drive you to, if not the hate he feels, but a disgust at her total projection and detachment from the reality he's desperately trying to manage.
They are two really strong performances. Tragic youthful romance made more tragic by the presumption on her part that tragic youthful romance is a magnificent thing rather than pathetic drisly miserable.
So yes I think it's a film which deserves more attention then it's getting. And I hope the people who made it are recognised as talent who should be allowed to do tales of such scope again. And that the distributor have learnt not to try and go toe to toe with the Fox Searchlights of this world.
Two postscripts: I loved the backdrop of fights between mods and rockers. It worked brilliantly.
A lot of the big films of the last year seem to be about young people. This may be the first time I've started to consistently see films about people younger than me.
I was really keen to like Brighton Rock. Because it was British. Because it felt like an underdog piece when up against the American Oscar run, the King's speech juggernaut and even the star power of Never Let Me Go. Because it just seemed so unfair that the film came out now and will get buried under the competition when it would have done well in October.
So I almost don't know how I feel about it. There's a part of me that thinks it's a fantastic film and yet I have no courage in my conviction.
It is slightly overdirected. But often done so expertly, visual, tense and beautiful.
There are some extraordinary clunkers of dialogue and scenes which fizz or leave you feeling your insides tighten.
There is a clunky Catholicism that never feels anything more than an add on. The sense that Pinky is going to hell and knows it, just trying to put off the inevitable, is palpable. Yet none of the scenes or conversations about catholicism feel authentic. When you compare it to Of Gods and Men it's laughable.
Yet I remember how I felt in the last scene at the dread and sadness I felt at what was about to happen and the true ambiguity I felt about what I think would be better to have felt. And I definitely feel I was watching a film that had me, that had got under my skin and made me really care about a character who doesn't exist.
Rose is the defintion of pathetic. Both definitions. You want to shake her and put her to rights for being so stupid, so blind, so hooked into a false destructive belief in romance (it was an interesting choice of film for Valentine's day) and half the time you're ready to give her up because frankly she deserves it.
And yet you want to protect her, a girl broken down by her mousy downtrodden life and given a chance to be a romantic heroine. Someone who if you can get her out of there she can live. She might one day thrive.
Which is more than can be said for pinky. It's pretty common for gangster flicks to get you routing for a criminal to escape. It's a little more to have you half routing for a boy who seems to pump cold malice through his system.
You hope for his redemption. You hope for his escape. You hope that when his friend claims that he's doing something honourable with Rose he's right. That speaking into a record player that he hates her is the conflicts of a scared and damaged soul. Not just a simple malice.
But you know you're kidding yourself. You're copying Rose in giving him strengths he doesn't possess. And you know that Rose would probably drive you to, if not the hate he feels, but a disgust at her total projection and detachment from the reality he's desperately trying to manage.
They are two really strong performances. Tragic youthful romance made more tragic by the presumption on her part that tragic youthful romance is a magnificent thing rather than pathetic drisly miserable.
So yes I think it's a film which deserves more attention then it's getting. And I hope the people who made it are recognised as talent who should be allowed to do tales of such scope again. And that the distributor have learnt not to try and go toe to toe with the Fox Searchlights of this world.
Two postscripts: I loved the backdrop of fights between mods and rockers. It worked brilliantly.
A lot of the big films of the last year seem to be about young people. This may be the first time I've started to consistently see films about people younger than me.
Friends in films
Most films where the protagonist isn't taken completely away from their world, have minor supporting characters who are 'the friends'
The friends are not the cause of the protagonists problems. Jeremy Renner in The town is not a friend in the sense I'm talking here. He's clearly an antagonist.
Friends aren't the cause of the problems in the protaganist's life. Nor are they the solution.
They are there for a number of reasons. To add comic relief. To act as confidants when otherwise dilemmas would be too internalized. To show other sides of a lead's character. In TV they often have counterpoint stories which act as a foil or contrast to the lead's story.
And sometimes they're there because you feel a need to make it clear that the lead has friends. I've just written a scene which essentially does this. I've never had much else I've wanted them to do so they get a scene like this. It's like those dreadful scenes in Bridget Jones with the friends but at least they're essentially a Greek chorus of her neuroses.
It's a romantic comedy which I'm trying to have each lead relatively equally focused on. Yet the lack of real friends for Lois, the female lead, makes it feel lopsided. She has some sort of sidekicks but the point of them is that they're not her friends. They're younger.
Her friends are starting to drift into a different life stage (her best friend Beth has a kid). So from a plot point of view she has sidekicks in Vicky and Tabitha but they are not confidants in the same way that Seb is for Toby.
So the way I see it there a three possibilities:
Don't worry about it. Make the script lean and get people along for the ride so they don't stop and go where are Lois's friends
Have the scene but make it very funny and watchable
Make sure Lois has a genuine friend and thread her through so she has an important role to play.
The friends are not the cause of the protagonists problems. Jeremy Renner in The town is not a friend in the sense I'm talking here. He's clearly an antagonist.
Friends aren't the cause of the problems in the protaganist's life. Nor are they the solution.
They are there for a number of reasons. To add comic relief. To act as confidants when otherwise dilemmas would be too internalized. To show other sides of a lead's character. In TV they often have counterpoint stories which act as a foil or contrast to the lead's story.
And sometimes they're there because you feel a need to make it clear that the lead has friends. I've just written a scene which essentially does this. I've never had much else I've wanted them to do so they get a scene like this. It's like those dreadful scenes in Bridget Jones with the friends but at least they're essentially a Greek chorus of her neuroses.
It's a romantic comedy which I'm trying to have each lead relatively equally focused on. Yet the lack of real friends for Lois, the female lead, makes it feel lopsided. She has some sort of sidekicks but the point of them is that they're not her friends. They're younger.
Her friends are starting to drift into a different life stage (her best friend Beth has a kid). So from a plot point of view she has sidekicks in Vicky and Tabitha but they are not confidants in the same way that Seb is for Toby.
So the way I see it there a three possibilities:
Don't worry about it. Make the script lean and get people along for the ride so they don't stop and go where are Lois's friends
Have the scene but make it very funny and watchable
Make sure Lois has a genuine friend and thread her through so she has an important role to play.
My Commonplace Book
ommonplace book
I'm reading an excellent book on where ideas come from. I read it in very small chunks every night before I go to bed. There are so many interesting ideas in there that I prefer only to have a few pages at a time so I can soak it up.
But one thing I read last night that really interested me was this very popular enlightenment habit which was called a commonplace book. It was a book with all the thoughts they had on everything.
It was based on the important presumptions that thoughts are fleeting. That many good and useful thoughts would be useful later on but lost to the world if you didn't write them down.
Moreover you have no idea whether it's useful at the time. Thoughts are muddled. The devastating simplicity of evolution didn't come in a Eureka moment to Darwin (despite him later developing a narrative around the inspiration Malthus was meant to give him) but by just keeping on going, making notes, re reading the notes. Keeping working, keeping thinking.
And it seems worth doing for those with less grandiose ambitions then discovering the origins of mankind.
I've been vaguely doing it already. The notes function on my phone is very handy for this kind of withering. But the difference is I'm going to post it.
Two reasons for that: one the tagging systems is a useful filing system. And the ability to link back or add comments can keep it all connected
And of course there's a chance someone will read it and either find something useful for their own purposes or leave their own thought which will help the process.
I've realised that I've never written anything I'm proud of where a significant element wasn't suggested by someone else. So please let me steal more ideas from you.
I'm reading an excellent book on where ideas come from. I read it in very small chunks every night before I go to bed. There are so many interesting ideas in there that I prefer only to have a few pages at a time so I can soak it up.
But one thing I read last night that really interested me was this very popular enlightenment habit which was called a commonplace book. It was a book with all the thoughts they had on everything.
It was based on the important presumptions that thoughts are fleeting. That many good and useful thoughts would be useful later on but lost to the world if you didn't write them down.
Moreover you have no idea whether it's useful at the time. Thoughts are muddled. The devastating simplicity of evolution didn't come in a Eureka moment to Darwin (despite him later developing a narrative around the inspiration Malthus was meant to give him) but by just keeping on going, making notes, re reading the notes. Keeping working, keeping thinking.
And it seems worth doing for those with less grandiose ambitions then discovering the origins of mankind.
I've been vaguely doing it already. The notes function on my phone is very handy for this kind of withering. But the difference is I'm going to post it.
Two reasons for that: one the tagging systems is a useful filing system. And the ability to link back or add comments can keep it all connected
And of course there's a chance someone will read it and either find something useful for their own purposes or leave their own thought which will help the process.
I've realised that I've never written anything I'm proud of where a significant element wasn't suggested by someone else. So please let me steal more ideas from you.
Friday, 28 January 2011
Black Swan
Now that's a visceral experience.
I enjoyed 127 Hours. It had a lot going for it. But ultimately it was saying relatively little exceptionally well.
This is a story which throws all the cinematic tricks at you, which makes you follow intensely a character who is in nearly every shot of the movie, who makes you come out feeling as if you've just been through the whole ordeal she has. But also feels as if it will stay with you, because it was about something.
What is that something: obsession, discipline, repression. The ability of your self to put you through intense pain.
That sentence should be the other way round but it feels right that way. I'll try and have a think why that is.
I've just watched this film. Came out pumped, playing The National full blast and going through a buzzing Friday night in Soho as if the people weren't really there.
Although half of me was worried that they were looking me. I felt slightly out of control. A little like Nina in this film.
And it took me almost all the way back to calm down.
It's a film that spends a lot of time looking at pain. The first act feels quite a lot like The Wrestler. The same obsession with bodies which are simultaneously being worshiped and destroyed. That sense that if your body is the vehicle for what you want to do then you make it suffer. You're both completely dependent on your body and yet strangely divorced from it. Able to bring pain upon it so that it does what you want it to do.
But while for Mickey Rourke's character it was only the body that suffered that kind of concerted pain (his mind was taking plenty of hits but not in a controlled or entirely self-inflicted way), Natalie Portman's character is doing the same thing to mind.
I'm not going to give spoilers although to be honest I'm not sure there's much that's not revealed by the trailer. The trailer suggests it's a horror film but while it is undoubtedly horrific in places you realise early on that this is a film in which what she is doing to herself is far more metaphorical. The confusion lies in that, like her, you are unable to distinguish between what is definitely real and what could be but might not be.
After a Red Shoes esque opening with ballet dancers becoming their characters, it takes a surprisingly gritty turn. The handheld cameras, slightly scratchy sound and dull colours of her world with her mum surprised me after the high style of the trailer and I liked it. For a film that is in many ways about suffocation, it lets you breathe at the beginning.
And from that you get a good sense of her character. What's wrong with her is explained quite explicitly by her maestro Vincent Cassel. Her pursuit of perfect technique has left her frigid, solitary, awkward in company. She can play virginial better than anyone else. But she cannot also be sensual, seductive.
We see why. She has an obsessive single mum who feels that she never got to be a great ballerina because she got pregnant and is determined to see her little girl go one better. That means early nights and hard work. But it also most definitely means remaining a little girl. No sex. Just being tucked in in a room full of fluffy teddies. Pinks and whites. Nothing black.
Setting up so heavily the motif of black vs white makes your set design easier. Vincent Cassel's flat is laughable in its obsession with this. But it's a simple effective way of building the idea and letting us know whether Nina is turning black or staying white.
I have a feeling that there are no black faces in this film. There are certainly none among the cast of the ballet. I imagine that's reasonably accurate of the ballet world, moreover I think putting Natalie Portman up against a black character, even a small one, would have distracted it from its motif. It would have complicated the dynamics in a way that would have taken us out of Natalie Portman's increasingly crazed head.
I feel like there's lots more to say but I want to say just two things. Firstly Mila Kunis is very good in a role that I think gets under noticed. She plays two roles really, she's half of Nina's black swan. And she's a girl called Lily. And it's as Lily that I think she does something very important. In a very stylised flick, she plays normal in a way that both feels it but doesn't interrupt the feel of the film. The fact that everytime we see her we're not quite sure whether she is the relatively normal Lily or the black swan helps to keep that edge. But I think it's hard to give off the warmth she does in a film like this and remain likeable. I think it's exactly the kind of performance that makes a film and never gets noticed. It's not as exceptional a piece of work as Natalie Portman's and doesn't the deserve the massive acclaim that Natalie's correctly picking up. But it's the kind of role that makes sure a movie is more than just an actress's tour de force.
Secondly, there's a sex scene in her which really feels dynamic, erotic and absolutely part of it. You don't get many of them. Broadband and the total accessibility of porn has killed off the token soft core scene to fill out a movie but in a way I hoped it would make sex scenes work better because they're no longer partly as use as porn. They can be more erotic than that. Here it works and it works because it's happening to a character's whose head you're inhabiting.
Final note, I watched it in a freezing cinema, (i'm still really freezing) and with a desperate need to go to the toilet through most of it. I think that added to the experience as it made me feel suitably on edge. Also I can't imagine seeing this on a small screen, not least for the surround sound. There are a couple times when it feels like Vincent Cassell is talking behind you and I nearly looked round for his approval. This film really got under my skin.
I enjoyed 127 Hours. It had a lot going for it. But ultimately it was saying relatively little exceptionally well.
This is a story which throws all the cinematic tricks at you, which makes you follow intensely a character who is in nearly every shot of the movie, who makes you come out feeling as if you've just been through the whole ordeal she has. But also feels as if it will stay with you, because it was about something.
What is that something: obsession, discipline, repression. The ability of your self to put you through intense pain.
That sentence should be the other way round but it feels right that way. I'll try and have a think why that is.
I've just watched this film. Came out pumped, playing The National full blast and going through a buzzing Friday night in Soho as if the people weren't really there.
Although half of me was worried that they were looking me. I felt slightly out of control. A little like Nina in this film.
And it took me almost all the way back to calm down.
It's a film that spends a lot of time looking at pain. The first act feels quite a lot like The Wrestler. The same obsession with bodies which are simultaneously being worshiped and destroyed. That sense that if your body is the vehicle for what you want to do then you make it suffer. You're both completely dependent on your body and yet strangely divorced from it. Able to bring pain upon it so that it does what you want it to do.
But while for Mickey Rourke's character it was only the body that suffered that kind of concerted pain (his mind was taking plenty of hits but not in a controlled or entirely self-inflicted way), Natalie Portman's character is doing the same thing to mind.
I'm not going to give spoilers although to be honest I'm not sure there's much that's not revealed by the trailer. The trailer suggests it's a horror film but while it is undoubtedly horrific in places you realise early on that this is a film in which what she is doing to herself is far more metaphorical. The confusion lies in that, like her, you are unable to distinguish between what is definitely real and what could be but might not be.
After a Red Shoes esque opening with ballet dancers becoming their characters, it takes a surprisingly gritty turn. The handheld cameras, slightly scratchy sound and dull colours of her world with her mum surprised me after the high style of the trailer and I liked it. For a film that is in many ways about suffocation, it lets you breathe at the beginning.
And from that you get a good sense of her character. What's wrong with her is explained quite explicitly by her maestro Vincent Cassel. Her pursuit of perfect technique has left her frigid, solitary, awkward in company. She can play virginial better than anyone else. But she cannot also be sensual, seductive.
We see why. She has an obsessive single mum who feels that she never got to be a great ballerina because she got pregnant and is determined to see her little girl go one better. That means early nights and hard work. But it also most definitely means remaining a little girl. No sex. Just being tucked in in a room full of fluffy teddies. Pinks and whites. Nothing black.
Setting up so heavily the motif of black vs white makes your set design easier. Vincent Cassel's flat is laughable in its obsession with this. But it's a simple effective way of building the idea and letting us know whether Nina is turning black or staying white.
I have a feeling that there are no black faces in this film. There are certainly none among the cast of the ballet. I imagine that's reasonably accurate of the ballet world, moreover I think putting Natalie Portman up against a black character, even a small one, would have distracted it from its motif. It would have complicated the dynamics in a way that would have taken us out of Natalie Portman's increasingly crazed head.
I feel like there's lots more to say but I want to say just two things. Firstly Mila Kunis is very good in a role that I think gets under noticed. She plays two roles really, she's half of Nina's black swan. And she's a girl called Lily. And it's as Lily that I think she does something very important. In a very stylised flick, she plays normal in a way that both feels it but doesn't interrupt the feel of the film. The fact that everytime we see her we're not quite sure whether she is the relatively normal Lily or the black swan helps to keep that edge. But I think it's hard to give off the warmth she does in a film like this and remain likeable. I think it's exactly the kind of performance that makes a film and never gets noticed. It's not as exceptional a piece of work as Natalie Portman's and doesn't the deserve the massive acclaim that Natalie's correctly picking up. But it's the kind of role that makes sure a movie is more than just an actress's tour de force.
Secondly, there's a sex scene in her which really feels dynamic, erotic and absolutely part of it. You don't get many of them. Broadband and the total accessibility of porn has killed off the token soft core scene to fill out a movie but in a way I hoped it would make sex scenes work better because they're no longer partly as use as porn. They can be more erotic than that. Here it works and it works because it's happening to a character's whose head you're inhabiting.
Final note, I watched it in a freezing cinema, (i'm still really freezing) and with a desperate need to go to the toilet through most of it. I think that added to the experience as it made me feel suitably on edge. Also I can't imagine seeing this on a small screen, not least for the surround sound. There are a couple times when it feels like Vincent Cassell is talking behind you and I nearly looked round for his approval. This film really got under my skin.
127 Hours
So a new year. A new attempt at blogging. I'm going to try and review films I see in the cinema but not bother with others to make it more manageable.
127 hours made me think of the Social Network. Both of them have brilliant and i think not sufficiently remarked upon performances which capture brilliant young men and the emotional limits that tend to come with Being one of them.
More importantly make fine, watchable films out of not particularly obvious cinematic ideas. As Simon Beaufoy said in the creative screenwriting magazine interview, 'It's one guy, down a canyon, on his own and he doesn't move. Great cinema.'
And it is. From the exhilarating dynamism of the short first act, through the brilliant first day of him trying to figure out what he'a going to do, the interview where he cracks up pretending to be a chatshow host to the extraordinary scene where he takes the knife to his arm, it is great cinema. I can't imagine being half as effective on the small screen.
It is what I think of as experience cinema. Other good examples include United 93 and Hunger (maybe it should be considered a British specialist genre). There is a conscious effort to try and make you understand what the people on screen are going through. I guess it's kind of a highbrow version of horror. The point is that the glory of it is in its viscerality rather than the scope of the tale or the acuteness of the observations of humanity. It tells us as much about ourselves as any of those would.
But it does it in a way that is definitely cinematic. I consider Hunger and United 93 two of the best films of the last decade but I'm not sure I'd think it if I'd seen them on DVD. They look amazing, mesmerising with strong visuals that require the darkness of a room that gives you nothing else to look at.
And I think crucially it requires surround sound. The sound editing is extraordinary particularly at the end. It fools you into thinking you're seeing things you're not and mean even as you look at away, you're still there, feeling, experiencing.
It has a hallucinatory quality and not all of the 2nd act quite gets you over the fact nothing's happening but it's taken you along far enough that you feel the beats with him. You need to dream and think of other place when he does. You get scared by his hallucinations. And when he gets to cutting, you're ready in the same way he is. Yes it's going to be excruciating but it's time for a heave.
That's not to say watching it is equivalent to cutting your arm off but you follow his emotions well. And like him, when he comes free, you feel in shock.
like social network I'm in awe of the people who made it and remember more than I normally do of a film. And yet, it doesn't really really resonate. There's a tiny bit of 'that was interesting'. Hell of a thing to say about two young men who made a billion and a social phenomenon on the one hand and cut off the other hand. But there you go. I don't think i'm alone in thinking it.
127 hours made me think of the Social Network. Both of them have brilliant and i think not sufficiently remarked upon performances which capture brilliant young men and the emotional limits that tend to come with Being one of them.
More importantly make fine, watchable films out of not particularly obvious cinematic ideas. As Simon Beaufoy said in the creative screenwriting magazine interview, 'It's one guy, down a canyon, on his own and he doesn't move. Great cinema.'
And it is. From the exhilarating dynamism of the short first act, through the brilliant first day of him trying to figure out what he'a going to do, the interview where he cracks up pretending to be a chatshow host to the extraordinary scene where he takes the knife to his arm, it is great cinema. I can't imagine being half as effective on the small screen.
It is what I think of as experience cinema. Other good examples include United 93 and Hunger (maybe it should be considered a British specialist genre). There is a conscious effort to try and make you understand what the people on screen are going through. I guess it's kind of a highbrow version of horror. The point is that the glory of it is in its viscerality rather than the scope of the tale or the acuteness of the observations of humanity. It tells us as much about ourselves as any of those would.
But it does it in a way that is definitely cinematic. I consider Hunger and United 93 two of the best films of the last decade but I'm not sure I'd think it if I'd seen them on DVD. They look amazing, mesmerising with strong visuals that require the darkness of a room that gives you nothing else to look at.
And I think crucially it requires surround sound. The sound editing is extraordinary particularly at the end. It fools you into thinking you're seeing things you're not and mean even as you look at away, you're still there, feeling, experiencing.
It has a hallucinatory quality and not all of the 2nd act quite gets you over the fact nothing's happening but it's taken you along far enough that you feel the beats with him. You need to dream and think of other place when he does. You get scared by his hallucinations. And when he gets to cutting, you're ready in the same way he is. Yes it's going to be excruciating but it's time for a heave.
That's not to say watching it is equivalent to cutting your arm off but you follow his emotions well. And like him, when he comes free, you feel in shock.
like social network I'm in awe of the people who made it and remember more than I normally do of a film. And yet, it doesn't really really resonate. There's a tiny bit of 'that was interesting'. Hell of a thing to say about two young men who made a billion and a social phenomenon on the one hand and cut off the other hand. But there you go. I don't think i'm alone in thinking it.
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