Yes, it continues to go well - in fact, last night I had a midnight sesh that just kept going and going, with me sat there with The Dark Knight soundtrack (among other stuff) feeding into my brain through my head phones - it was one of those cases where you say 'oh I'll just finish this little bit off here, then stop and go back over this whole bit' ... but that doesn't happen.
Instead, you do that part, then find yourself writing a few sentences more so you have a good lead-in for the next section, to allow yourself a smooth re-entry into the script, to pick up where you left off, if you will.
However, this cycle just kept happening. I'd write a bit to set myself up for another writing session, then I'd have to write another bit to link in, then I'd have a great idea and have to write that, then I'd remember about a character, then another character and then another character that needed to be placed in the ensuing chaos, and then I'd have to flick back and forth, and at one point I had to re-write a couple of sentences to allow one character to get to a certain location to allow another sequence I had in mind to play out.
Oh yes, chaos indeed - both in what's being written, but also in how it was being written. I was glued to the keyboard hammering away, completely gripped, with the text on screen flying across the glowing monitor at practically 88mph.
I was planning on tying up the end of Act Two, and lying the foundation for the start of Act Three, but instead I not only finished Act Two, but wrote half of Act Three straight away!
Today I tidied up on scene I left aside from last night (as it was truly getting quite late), and so then I'll head back to page 93 (prior to which I've already been through and refined a few days back), have a little tidy up - I'll no doubt lace in certain characters here and there - the trouble with such an ensemble of protagonists is it's easy to lose track of them, so I sometimes have to fix that on my hook back around to refine what I've just written throughout an act.
So once that refining is done, I'll be back to do the second half of Act Three - or indeed, the eighth of eight segments as per my previously mentioned brainstorm map of the whole script.
How many pages now then? Currently I'm about half way down page 116.
I have written a script this long (indeed longer) before, although that wasn't in Final Draft, and it wasn't in a traditional three act structure (it was almost a sort of catharsis for myself in developing ideas, and debriefing myself from my three years at university) ... so really, this is the longest proper script I've ever written (I mostly do short scripts, but my previous feature lengther was 90 pages), and it's most certainly the most complex script I've ever written.
It's been a battle (in the best sense) to write a script with a broad ensemble of characters, covering an epic story, with a considerable amount of action - as well as ideas, and zombie fan nerd wish-listing - but it's been a great experience to write this.
If I'm lucky enough to get the opportunity to actually develop it further, I'll no doubt seek to add things, change things, manipulate certain ideas and so on further than I currently am - but then again, right now I'm coming from nothing on the page at all to something quite big all written out in first draft form (technically second draft, considering that I go back over what I've written each act, and refine ... fettle, if you will). So aye - if given the opportunity to develop it, then I'd already have a very deep, complex, thought-out structure to complete the 'build' upon, so-to-speak.
What's to be written next after this? Well, I might have mentioned some time ago about a horror script I had in mind - related to an allergic reaction I acquired from dodgy clothing dye - in fact I was initially planning to write that before this feature length zombie epic (which is specifically designed for a big budget - well, relatively speaking - and use of CGI, and sets, and kick ass professional gore, and actors and so on ... essentially "The End" is being written as my own ideal zombie film with no budget in mind - or at least a budget infinitely beyond my current, and near-future abilities).
Anyway, yes, where was I? The horror script - that's what I was on about - yes, I'll be looking to write that, and that will be a fair simpler affair (less characters, less locations, an over-all simpler 'potential production'). In fact, I plan to be quite inspired by the up-coming Mum & Dad, a new British horror flick in the vein of the original Texas Chainsaw Massacre (it's not even out yet, and the Daily Mail has already had a whinge ... or was it the Daily Express? Anyway...)
Yes, this horror script would be designed for an indie budget, and indeed a British setting.
So with my scripts, I write shorts that I can film, and I write shorts beyond my means when I have something I need to get onto the page. I write really short-shorts for quick ideas, or for sending to certain groups (like the London Film Academy, although they didn't dig the script I sent - no doubt too anti-government for them ... incumbent Labour government anyway).
Then of course, feature scripts - again, beyond my means at the moment, but set up for the future - it's best to have an idea, which is written out fully and stored away, than to have an idea that's still in your head years down the line when you get the opportunity to put it out there - a time when you might (and hopefully should) be busier than you are (or indeed I am) at present.
Although I'm not exactly twiddling my thumbs either, far from it. So indeed - feature scripts in themselves, which I write, come in different genres, on different scales.
For example, there was 'GenPro' (short nickname title for it), which was a comedy of an indie production level. Now there's 'The End', which is a zombie horror of a big budget production level. Then there will be 'Un-named Horror Script', which will be horror again, but of an indie production level, and a different topic entirely.
I've rambled on long enough, tatty-bye-bo (as Adam Buxton might say).
Oh - and Merry Christmas to one and all (or indeed whatever holiday you enjoy at this time of year).
Monday, 22 December 2008
Tuesday, 16 December 2008
How's the writing going? Good! So it is...
Been a while since my last script update, it's going swimmingly however, so that's good.
I'm currently on page 94, the first act has been given the polishing treatment, and I'm now about to embark on polishing up what I've got of act two so far.
Yes, page 94 and still in act two - but remember than act one took more pages than usual, just because of the sheer volume of detail to explain. However, act two thus far - between page 49 and 94, a lot has happened - I've even added scenes that just sprung to mind and weren't planned at all.
As I'd said before, part of my planning for the script involved a brainstorm layout of the entire script in its simplest form, on which were eight segments. Five of those eight segments are now done, and there's one more to do to finish off act two.
But, I'm going to hold up for a moment, go back to page 49, and work my way through - fettling away, trimming any extraneous fat, adding anything I've neglected, or what have you. I've really gotten into this script writing lark recently, so it's all flowing very freely now, it feels great to be writing this well, especially after I had such a prolonged period of writer's block/malaise prior to finally opening up Final Draft and setting to work.
So yeah, I'll polish up what I've got of act two so far (three of four segments), and once that fettling is done, I'll finish act two and either A) continue into the third act, or B) fettle that one remaining segment of act two.
How long is that fourth of four act two segments gotta be? No more than 15 pages, I don't want to go any higher than 109 pages for the end of act two - and ideally, a little bit shorter than that.
For the script over all, an absolute maximum of 139 pages is my target, but ideally I'd like to clock in at 130 pages...told you it was a zombie epic.
It's been enjoyable to work on this second act, having spent a fair amount of time plugging away at the first act, which was mainly about one thing, whereas act two has a whole variety of stuff going on. There's action, there's a lot more dialogue, there's different locations, there's new ideas, there are montage moments (I need to show the passage of time at certain points, which helps make the whole situation - and certain things that happen during act two - more believable).
So yep - going rather well indeed. I don't know when I might get it finished to the 'draft 1.5' standard that I seek, but it might not take too long - but on the other hand, the Xmas season is coming up shortly - will I get it done before then? Unlikely. Will I get it done before New Year's? More likely, but perhaps not a sure thing. Mid-January would be an easy target to achieve mind you, but I'll hopefully finish it earlier than that.
There's still some final editing to do on Sexual Ethics Part One (the second part will be sometime later, possibly winter 2009), and the next educational DVD I'll be setting to work on hasn't gotten going yet beyond script pondering, so I've got a nice relaxed gap in my day-to-day schedule to really seize the opportunity and write like the wind - in fact, this time last year I was in the midst of writing Generation Procrastination, which became a 90 page graduate comedy...with a surprising (to me) amount of romantic comedy elements ... but surrounded by swearing and discussion about things like public toilets.
Indeed ... anyway, onwards to Final Draft, version number unknown!
I'm currently on page 94, the first act has been given the polishing treatment, and I'm now about to embark on polishing up what I've got of act two so far.
Yes, page 94 and still in act two - but remember than act one took more pages than usual, just because of the sheer volume of detail to explain. However, act two thus far - between page 49 and 94, a lot has happened - I've even added scenes that just sprung to mind and weren't planned at all.
As I'd said before, part of my planning for the script involved a brainstorm layout of the entire script in its simplest form, on which were eight segments. Five of those eight segments are now done, and there's one more to do to finish off act two.
But, I'm going to hold up for a moment, go back to page 49, and work my way through - fettling away, trimming any extraneous fat, adding anything I've neglected, or what have you. I've really gotten into this script writing lark recently, so it's all flowing very freely now, it feels great to be writing this well, especially after I had such a prolonged period of writer's block/malaise prior to finally opening up Final Draft and setting to work.
So yeah, I'll polish up what I've got of act two so far (three of four segments), and once that fettling is done, I'll finish act two and either A) continue into the third act, or B) fettle that one remaining segment of act two.
How long is that fourth of four act two segments gotta be? No more than 15 pages, I don't want to go any higher than 109 pages for the end of act two - and ideally, a little bit shorter than that.
For the script over all, an absolute maximum of 139 pages is my target, but ideally I'd like to clock in at 130 pages...told you it was a zombie epic.
It's been enjoyable to work on this second act, having spent a fair amount of time plugging away at the first act, which was mainly about one thing, whereas act two has a whole variety of stuff going on. There's action, there's a lot more dialogue, there's different locations, there's new ideas, there are montage moments (I need to show the passage of time at certain points, which helps make the whole situation - and certain things that happen during act two - more believable).
So yep - going rather well indeed. I don't know when I might get it finished to the 'draft 1.5' standard that I seek, but it might not take too long - but on the other hand, the Xmas season is coming up shortly - will I get it done before then? Unlikely. Will I get it done before New Year's? More likely, but perhaps not a sure thing. Mid-January would be an easy target to achieve mind you, but I'll hopefully finish it earlier than that.
There's still some final editing to do on Sexual Ethics Part One (the second part will be sometime later, possibly winter 2009), and the next educational DVD I'll be setting to work on hasn't gotten going yet beyond script pondering, so I've got a nice relaxed gap in my day-to-day schedule to really seize the opportunity and write like the wind - in fact, this time last year I was in the midst of writing Generation Procrastination, which became a 90 page graduate comedy...with a surprising (to me) amount of romantic comedy elements ... but surrounded by swearing and discussion about things like public toilets.
Indeed ... anyway, onwards to Final Draft, version number unknown!
Sunday, 14 December 2008
Burn After Reading...(musing catch up part two)
I was quite surprised that the Coen's struck back so quickly, after the bloody fantastic No Country For Old Men (I can't understand why some people abhor that film, I really can't). No wonder then, that its good - but nothing more - the Coen's overall talent sees them through to producing a solid (and sometimes surprisingly dark) comedy caper ... but the sense of under-cooking drops the film right there, on the better side of the middle lane.
The comedy is good, but not guffaw-worthy. The plot is good, but not gripping. It's the case with the whole film, but for a decent viewing time without investing too much effort, it really is worthwhile - particularly for Coen brothers fans.
The comedy is good, but not guffaw-worthy. The plot is good, but not gripping. It's the case with the whole film, but for a decent viewing time without investing too much effort, it really is worthwhile - particularly for Coen brothers fans.
Righteous Kill...(musing catch up part one)
Hey, here's a great idea, get two acting greats who've not really flexed their muscles in a while, who once shared screen time only once before in a fantastic film, and put them together again in a really average, mediocre one!
Aye, the flick's not much cop. "Meh" could quite easily sum it up actually. You see the 'twist' coming a mile away, and the in-between either makes not a lot of sense, or is so incapable of gripping you, you have to wonder what the point of it all was.
And what's more - in this day and age of good quality, low price camera gear - why is it that every time you see a videotape, or a security camera feed in a movie, the picture is always awful ... but awful in a really precise, controlled, pre-figured way. It does my head in, it's as bad as all that fake camera glitching you find so often in first-person-view films (of which there were many in 2008).
See, that's how "meh" it all was, I've ended up talking about a small issue that gets right on my tits, instead of the movie in question ... you're certainly not missing anything.
Aye, the flick's not much cop. "Meh" could quite easily sum it up actually. You see the 'twist' coming a mile away, and the in-between either makes not a lot of sense, or is so incapable of gripping you, you have to wonder what the point of it all was.
And what's more - in this day and age of good quality, low price camera gear - why is it that every time you see a videotape, or a security camera feed in a movie, the picture is always awful ... but awful in a really precise, controlled, pre-figured way. It does my head in, it's as bad as all that fake camera glitching you find so often in first-person-view films (of which there were many in 2008).
See, that's how "meh" it all was, I've ended up talking about a small issue that gets right on my tits, instead of the movie in question ... you're certainly not missing anything.
Sunday, 7 December 2008
Time for some fettling...
Well, the first draft of act one was finished a couple of days ago now, and yesterday I started fettling away at it, thinning it down, trimming off the fat.
I'm 20 pages into this, the second draft of act one, and I've so far managed to cut away 4 pages of waffle, so that feels good - plus it reads better, and looks better when staring at the page as a whole - again I'm taking inspiration from that recent Charlie Brooker Screenwipe special about writers, on which one of them said about keeping the writing as simple and punchy as possible so you hopefully avoid the reader's heart sinking when they see great big chunks of text all over the coming page.
So yeah - this fettling away makes it read better, and look better. I'm tightening the dialogue, fixing the odd sentence that needed changing/removing so that it made sense when something happened/was described later on.
But mostly it's about trimming down the descriptive stuff, taking out extraneous words, shortening words (so "zombie" becomes "zed", or a vehicle type becomes simply initials), that sort of thing.
It does take quite a while, staring into the void of white on screen, pocked with thin black text ... but it feels really good after a session of fat trimming.
As before, it's coming along nicely, and as you can see I forced myself to pause at the start of Act Two, head back to the beginning, and set about trimming away (it also helps to get your head into everything that has come before in a more condensed fashion, you remind yourself about what has happened, about the characters etc, and thus it helps when you get back to the beginning of the following act to continue writing anew).
This said, I do look forward to getting onto Act Two, there's a lot more happening in Act Two, in terms of variety - Act One was two segments on my brainstorm, while Act Two is four segments - and hopefully I won't be writing as long as I did for Act One. I think that first act just had a shed-load of action to describe, lots of visual elements to establish, to get the reader into the world at hand...it reads a little longer on the page than it would on the screen, is what I'm trying to say.
Aye, I don't bother doing a second draft of my blog posts, who's got the time and boring amounts of patience for that? Blogging is like emailing, it's rash and instant!
...
In other news - next week I'll hopefully be ordering my new PC, which will become my primary editing rig ... oh I do look forward to rendering Magic Bullet nice and fast, and yes - to finally getting to play STALKER: Clear Sky, which was sadly just too much for my current rig, a rig which will remain in constant use for all my other tasks - like script writing for example.
Tatty-bye!
I'm 20 pages into this, the second draft of act one, and I've so far managed to cut away 4 pages of waffle, so that feels good - plus it reads better, and looks better when staring at the page as a whole - again I'm taking inspiration from that recent Charlie Brooker Screenwipe special about writers, on which one of them said about keeping the writing as simple and punchy as possible so you hopefully avoid the reader's heart sinking when they see great big chunks of text all over the coming page.
So yeah - this fettling away makes it read better, and look better. I'm tightening the dialogue, fixing the odd sentence that needed changing/removing so that it made sense when something happened/was described later on.
But mostly it's about trimming down the descriptive stuff, taking out extraneous words, shortening words (so "zombie" becomes "zed", or a vehicle type becomes simply initials), that sort of thing.
It does take quite a while, staring into the void of white on screen, pocked with thin black text ... but it feels really good after a session of fat trimming.
As before, it's coming along nicely, and as you can see I forced myself to pause at the start of Act Two, head back to the beginning, and set about trimming away (it also helps to get your head into everything that has come before in a more condensed fashion, you remind yourself about what has happened, about the characters etc, and thus it helps when you get back to the beginning of the following act to continue writing anew).
This said, I do look forward to getting onto Act Two, there's a lot more happening in Act Two, in terms of variety - Act One was two segments on my brainstorm, while Act Two is four segments - and hopefully I won't be writing as long as I did for Act One. I think that first act just had a shed-load of action to describe, lots of visual elements to establish, to get the reader into the world at hand...it reads a little longer on the page than it would on the screen, is what I'm trying to say.
Aye, I don't bother doing a second draft of my blog posts, who's got the time and boring amounts of patience for that? Blogging is like emailing, it's rash and instant!
...
In other news - next week I'll hopefully be ordering my new PC, which will become my primary editing rig ... oh I do look forward to rendering Magic Bullet nice and fast, and yes - to finally getting to play STALKER: Clear Sky, which was sadly just too much for my current rig, a rig which will remain in constant use for all my other tasks - like script writing for example.
Tatty-bye!
Tuesday, 2 December 2008
I've got tha' feev'ah...
...the writing fever that is.
Have had a good couple of days hammering away at the keyboard in my spare time, I even managed to clock up 10 pages yesterday, so it's coming along nicely - I'm now at page 40.
Like I said before, this is still only the first act, so it's running long at this point, but I'll be going back over Act I after I've finished the first run through, and look to trim it down a bit, tidy things up.
I'm really starting to feel the script writing vibe now, I'm feeling much more fluid in my operation of Final Draft again, my fingers have regained their memory of how it all works - as I said before, it's been a while since I've written a script, so it's about getting my head back into it again - but that seems to have happened and it's going well ... have I said that it's "going well" enough times?
One more - it's going well.
In other news, I'm looking to get my ass a brand new computer specifically for the task of editing this month. I need some extra oomph to feed my Magic Bullet addiction, plus I just need to separate the editing side of things from my existing rig on which I do everything else.
For the past few months I've been researching for my custom spec, getting into the jargon, finding out any potential flaws, seeing who's the current tech leader, and generally getting my brain melted by the confusing world of knowing what you want to put inside your rig - off the shelf this rig most definitely is not.
Ooh I canny wait to get my mits on it! Getting a new computer, plugging it all in, booting it up for the first time, and generally creating your own nest of familiar software (and giving it a thorough run with a flashy game), is one of those joys in a guy's life ... like getting a new car and huffing that new car smell like it was going out of style, hell yeah.
Have had a good couple of days hammering away at the keyboard in my spare time, I even managed to clock up 10 pages yesterday, so it's coming along nicely - I'm now at page 40.
Like I said before, this is still only the first act, so it's running long at this point, but I'll be going back over Act I after I've finished the first run through, and look to trim it down a bit, tidy things up.
I'm really starting to feel the script writing vibe now, I'm feeling much more fluid in my operation of Final Draft again, my fingers have regained their memory of how it all works - as I said before, it's been a while since I've written a script, so it's about getting my head back into it again - but that seems to have happened and it's going well ... have I said that it's "going well" enough times?
One more - it's going well.
In other news, I'm looking to get my ass a brand new computer specifically for the task of editing this month. I need some extra oomph to feed my Magic Bullet addiction, plus I just need to separate the editing side of things from my existing rig on which I do everything else.
For the past few months I've been researching for my custom spec, getting into the jargon, finding out any potential flaws, seeing who's the current tech leader, and generally getting my brain melted by the confusing world of knowing what you want to put inside your rig - off the shelf this rig most definitely is not.
Ooh I canny wait to get my mits on it! Getting a new computer, plugging it all in, booting it up for the first time, and generally creating your own nest of familiar software (and giving it a thorough run with a flashy game), is one of those joys in a guy's life ... like getting a new car and huffing that new car smell like it was going out of style, hell yeah.
Sunday, 30 November 2008
...and the writing continues!
Yepperooni, the script writing is coming along nicely. It's been a week now (typing away in spare time amidst other things to do) and I'm approaching the 30 page mark very, very soon.
It's going well, I'm just writing the ideal zombie movie in my mind, tapping away on the keys what I see in my head and getting it onto the page. There's a lot of description abound, so many of the pages are quite heavy at the moment, there's a lot of visual information to be laced in. It's important to convey as much of that information as possible, I'm even loosely editing how it would look if it was on screen, creating a loose rhythm to certain scenes or moments to help further illustrate what I have in mind.
I'm rather chuffed with it so far, and just as a zombie fan myself, I'm chuffed with some of the stuff I'm writing in - I'm getting to 'see' things I haven't seen yet on screen, and I'm getting to 'see' crowd-pleasing zombies (and zombie kills), I'm 'seeing' a world which hasn't been explored before (or far from properly anyway) in the zombie genre.
Yes, it's going well, even though I've still not got fully into the groove - such as operating Final Draft (still getting used to which keys to press at what point, and getting a real fast flow going on - it's been a while since I was last writing anything you see).
Currently one of eight segments (I did a basic brainstorm of the entire script as part of my copious planning and mapping out) is done, and the second of eight (which will constitute the first act) is about half way done.
I'm writing it long at the moment, partly due to additional information that the reader will need to know to understand what's going on, but mainly due to the sheer amount of visuals I have in mind - and the detail of said visuals. What I'm seeing in my head is mostly quite clear ... so yeah, once that second-of-eight segments is done, I'll pause - go back to the start - and sweep through that first draft of the first act and tidy it up - tighten things, add things, remove unnecessary things, clarify things, and give it a general tidy up.
This is what I did when writing "Generation Procrastination" a while back (in fact that was about a year ago now), and by the end of it what I had was a first draft that was in fact a second draft, ha! Plus it really does help to clarify things in your own head, and you get to catch up on what has come before in a far more condensed space of time - say over a day, rather than possibly two or more weeks (depending on available time, writer's block etc) that it took to originally hammer the keys in the first place.
One thing I will say, the current segment I'm on involves a lot of characters, and I'm having to learn fast about how to deal with so many characters at once - as well as realising that there's only so much you can do too - I even came momentarily a-cropper when I realised my detailed notes for the segment (all segments are fully laid out in note form) didn't include character names (e.g. "one vehicles goes here, the other stays there") - I had to figure out who was where and who dies when, etching in their names at every instance throughout my notes - but the momentary crisis was averted and the segment made a lot more sense to me.
Mind you, on the soon-to-come sweep through, I'll be looking to add a lot more dialogue and get the myriad of characters involved a lot more - even something as simple as finding an opportunity for the characters to use each other's names at least a couple of times (so a potential viewer of the potential film would know who is who by name), is in itself a task.
But aye - it's going well, I'm seriously digging the script when I step back and fully engage 'zombie nerd mode', factor 9, full speed ahead with The Gonk as the anthem in the background.
It's going well, I'm just writing the ideal zombie movie in my mind, tapping away on the keys what I see in my head and getting it onto the page. There's a lot of description abound, so many of the pages are quite heavy at the moment, there's a lot of visual information to be laced in. It's important to convey as much of that information as possible, I'm even loosely editing how it would look if it was on screen, creating a loose rhythm to certain scenes or moments to help further illustrate what I have in mind.
I'm rather chuffed with it so far, and just as a zombie fan myself, I'm chuffed with some of the stuff I'm writing in - I'm getting to 'see' things I haven't seen yet on screen, and I'm getting to 'see' crowd-pleasing zombies (and zombie kills), I'm 'seeing' a world which hasn't been explored before (or far from properly anyway) in the zombie genre.
Yes, it's going well, even though I've still not got fully into the groove - such as operating Final Draft (still getting used to which keys to press at what point, and getting a real fast flow going on - it's been a while since I was last writing anything you see).
Currently one of eight segments (I did a basic brainstorm of the entire script as part of my copious planning and mapping out) is done, and the second of eight (which will constitute the first act) is about half way done.
I'm writing it long at the moment, partly due to additional information that the reader will need to know to understand what's going on, but mainly due to the sheer amount of visuals I have in mind - and the detail of said visuals. What I'm seeing in my head is mostly quite clear ... so yeah, once that second-of-eight segments is done, I'll pause - go back to the start - and sweep through that first draft of the first act and tidy it up - tighten things, add things, remove unnecessary things, clarify things, and give it a general tidy up.
This is what I did when writing "Generation Procrastination" a while back (in fact that was about a year ago now), and by the end of it what I had was a first draft that was in fact a second draft, ha! Plus it really does help to clarify things in your own head, and you get to catch up on what has come before in a far more condensed space of time - say over a day, rather than possibly two or more weeks (depending on available time, writer's block etc) that it took to originally hammer the keys in the first place.
One thing I will say, the current segment I'm on involves a lot of characters, and I'm having to learn fast about how to deal with so many characters at once - as well as realising that there's only so much you can do too - I even came momentarily a-cropper when I realised my detailed notes for the segment (all segments are fully laid out in note form) didn't include character names (e.g. "one vehicles goes here, the other stays there") - I had to figure out who was where and who dies when, etching in their names at every instance throughout my notes - but the momentary crisis was averted and the segment made a lot more sense to me.
Mind you, on the soon-to-come sweep through, I'll be looking to add a lot more dialogue and get the myriad of characters involved a lot more - even something as simple as finding an opportunity for the characters to use each other's names at least a couple of times (so a potential viewer of the potential film would know who is who by name), is in itself a task.
But aye - it's going well, I'm seriously digging the script when I step back and fully engage 'zombie nerd mode', factor 9, full speed ahead with The Gonk as the anthem in the background.
Monday, 24 November 2008
Finally! Writing begins...
Well, last night I finally started work on my latest script - a feature length zombie epic based on a short script I wrote called "The End". I'd previously sent that short script to Gary Ugarek (the dude behind Deadlands) and he rather liked it and said I should expand it into a feature length script.
As soon as he said "you should...", I knew I'd end up doing it sooner or later. This is exactly how VHS: Long Play came about, when a fellow member of Homepage of the Dead said he'd love to see a sequel to VHS and that I should do one. That got my brain started immediately and within hours I'd thrashed out an idea for it, and a few months later I'd actually gotten around to filming it.
Obviously, this new script - this feature length zombie epic - is way beyond my own means. The purpose of writing this script would be to get it seen by people far higher up the ladder, so-to-speak. The idea is to try and come up with new areas not explored by the zombie genre, or areas that have been glimpsed at, but not expanded upon. I want to answer the little questions that fans such as myself came up with in reaction to Land of the Dead (a film that I loved by the way), and finally to really come up with some memorable and even downright fucked up moments, with a sprinkling of action throughout.
Prior to starting this script however, was a month of desperate malaise - I'd started the Final Draft file, gotten the text and font and so on set up how I like - and before that was a period of brain storming and sequence & segment mapping out. Essentially the script is written ... in a brief form at least ... all I have to do is fill in the blanks, glue the parts together, and generally polish the whole thing.
So I got it going last night, a month after I'd started the Final Draft file, and managed to squeeze out three pages. Now yes, that's not a lot, but it's something. Besides, starting a new script - just like starting a new essay when I was at university, or throughout school - is always slow at the beginning.
You're trying to get into the mode of thinking (I had to fish out an old script to familiarise myself with the layout again, not to mention remembering how to use the software itself), and you're also trying to get into the script itself - the surrounding story, and the plot within the confines of the first and last pages. You've got to get your head into the characters, you've got to get the projector in your head rolling so that you can see clearly what you want so that you can write it down - this is what I do when writing. I watch the film in my head, then write down what I see.
Also, there's the issue of getting my head back into my notes and scene/segment layouts I'd written a few months ago. I've got to find all those little nuances, those little ideas I want to sprinkle throughout and figure out all over again where and when I want them - like last night, I was writing the beginning of the opening segment, but forgot I was meaning to include a radio broadcast throughout the first interaction between two characters, so I had to head back and lace that in between what I'd written.
It feels really good though, to get this script going, and like I said before, even though I only did three pages last night, I actually got the thing started. I overcame my crushing malaise, double clicked that FD icon, and started hammering the keyboard. Hopefully I can continue with the script from now on with as little hindrance as possible.
As soon as he said "you should...", I knew I'd end up doing it sooner or later. This is exactly how VHS: Long Play came about, when a fellow member of Homepage of the Dead said he'd love to see a sequel to VHS and that I should do one. That got my brain started immediately and within hours I'd thrashed out an idea for it, and a few months later I'd actually gotten around to filming it.
Obviously, this new script - this feature length zombie epic - is way beyond my own means. The purpose of writing this script would be to get it seen by people far higher up the ladder, so-to-speak. The idea is to try and come up with new areas not explored by the zombie genre, or areas that have been glimpsed at, but not expanded upon. I want to answer the little questions that fans such as myself came up with in reaction to Land of the Dead (a film that I loved by the way), and finally to really come up with some memorable and even downright fucked up moments, with a sprinkling of action throughout.
Prior to starting this script however, was a month of desperate malaise - I'd started the Final Draft file, gotten the text and font and so on set up how I like - and before that was a period of brain storming and sequence & segment mapping out. Essentially the script is written ... in a brief form at least ... all I have to do is fill in the blanks, glue the parts together, and generally polish the whole thing.
So I got it going last night, a month after I'd started the Final Draft file, and managed to squeeze out three pages. Now yes, that's not a lot, but it's something. Besides, starting a new script - just like starting a new essay when I was at university, or throughout school - is always slow at the beginning.
You're trying to get into the mode of thinking (I had to fish out an old script to familiarise myself with the layout again, not to mention remembering how to use the software itself), and you're also trying to get into the script itself - the surrounding story, and the plot within the confines of the first and last pages. You've got to get your head into the characters, you've got to get the projector in your head rolling so that you can see clearly what you want so that you can write it down - this is what I do when writing. I watch the film in my head, then write down what I see.
Also, there's the issue of getting my head back into my notes and scene/segment layouts I'd written a few months ago. I've got to find all those little nuances, those little ideas I want to sprinkle throughout and figure out all over again where and when I want them - like last night, I was writing the beginning of the opening segment, but forgot I was meaning to include a radio broadcast throughout the first interaction between two characters, so I had to head back and lace that in between what I'd written.
It feels really good though, to get this script going, and like I said before, even though I only did three pages last night, I actually got the thing started. I overcame my crushing malaise, double clicked that FD icon, and started hammering the keyboard. Hopefully I can continue with the script from now on with as little hindrance as possible.
Sunday, 23 November 2008
The Siege...
I've had this in my collection for donkey's years, and I've never watched it. Insanely belatedly I got to it ... decent enough, wasn't balled over, not overly fussed. Perhaps it's just odd watching it in a 'post 9/11' world, if I dare be so brand-named about our current climate, especially as the flick is set in New York.
At times it does feel like it descends into 'lefty preaching' while making a valid point. It's insanely difficult to make a serious political picture, especially when you're within the time of Islamic Terrorism (although the terrorists are hardly Islamic ... they're simply terrorists).
It's just like the slew of Iraq-related political dramas that are over-run with Hollywood afford-to-be-liberals, it just feels forced and finger-waggy. It feels smug, it feels too soon, it feels like concluding the unconcluded.
I certainly hope we don't have yet another stupidly premature 'pull out at 98% complete' on our hands, if you start something, you should be up for finishing it (not thinking it'll be done in a month and then party time, which is just a stupid way of thinking and strategising, considering the enemy and style of warfare). Charlie Wilson's War, which focussed on Afghanistan during the late 80s, made a deft point of showing that the government couldn't be arsed to go that last mile, after blasting their way through the previous blood-soaked slog.
This of course brings me onto the bleeding heart, lefty chattering class that spread themselves amongst the news media (both printed and televised), pondering over anything and everything from an afford-to-be-liberal stance. You get the impression they'd think otherwise (at least some of them), if they were a struggling plumber with a wife and three kids, for example.
Don't mistake me for a Fox News loving righty either, my politics lie in the common sense middle ground (but far from the absolute shit of the current Labour government who've royally shafted the UK for 11 and a half years now, and have introduced legislation/proposals that are far, far more right-winged than the UK's 'right of centre' Conservative Party would ever dare - ID Cards, communications databases, the new preposterously ill-thought-out laws dealing with prostitution, the ghastly mis-use of the terrorism legislation and so-on ... I could go on, but I'd just piss myself right off).
Needless to say, I'm not a fan of Brown & Co.
Rolling back from my tangent, and returning to The Siege - meh, I guess.
The Cottage...
I'd waited on this one a bit, I almost saw it in the cinema (it vanished before we had a chance), and I almost bought it on DVD when it first came out, but I bought something else instead. Saw it for six quid though, and figured why not? Nabbed it, watched it, rather enjoyed it. It's not Shaun of the Dead (in terms of British horror humour), and perhaps the segway from kidnap caper into horror caper could have been handled better), but it was a decent effort with plenty of decent fun to be had.
I'd have liked the horror aspect to have been darker, scarier, far grimmer than what we got - but there was certainly a satisfactory air of 'Ed Gein's farmhouse of horrors' about the final stretch.
I've not seen London To Brighton, well I've seen bits of it, so I can't really compare The Cottage to that...what I can do is compare it to Severance, another low budget Brit 'horror in the country' outing. It's not fantastic, but it's far from shit ... aye, I'll leave it at that.
I'd have liked the horror aspect to have been darker, scarier, far grimmer than what we got - but there was certainly a satisfactory air of 'Ed Gein's farmhouse of horrors' about the final stretch.
I've not seen London To Brighton, well I've seen bits of it, so I can't really compare The Cottage to that...what I can do is compare it to Severance, another low budget Brit 'horror in the country' outing. It's not fantastic, but it's far from shit ... aye, I'll leave it at that.
Hellboy 2...
I was never a fan of the first Hellboy, which I found merely "alright", indeed I could use the word "meh" (now officially in the dictionary). Again, with this sequel I was thoroughly "meh" throughout. I turned down the opportunity of peeping it out at an early screening with a friend of mine (whose blog, the McLegs Mainframe, is over there on the right somewhere). Now he actually digs Hellboy, but he only gave it an average score ... but then again, he dissed The Dark Knight a bit too...deary me.
Now, TDK - my top film of 2008 - was absolutely ball-bustingly awesome in my view. Hellboy 2 ... couldn't give a stuff in the end. It is certainly the work of Del Toro, but I'm just not all that bothered about weird and wonderful monsters flapping around on screen, nor schmaltzy love themes thrown about within said framework.
Right on to those who love it, fair play to them, but it's not for me. I'll be over here awaiting my double-disc doovde of The Dark Knight thank you very much.
Now, TDK - my top film of 2008 - was absolutely ball-bustingly awesome in my view. Hellboy 2 ... couldn't give a stuff in the end. It is certainly the work of Del Toro, but I'm just not all that bothered about weird and wonderful monsters flapping around on screen, nor schmaltzy love themes thrown about within said framework.
Right on to those who love it, fair play to them, but it's not for me. I'll be over here awaiting my double-disc doovde of The Dark Knight thank you very much.
The Strangers...
Took me a while to get around to this one, but I finally got around to it. In a world of ever-increasing splatter dished out by an impossibly-forward/backward/upside-down-thinking cancerous engineer (Saw 4 was almost entirely crap, and Saw 5 is no doubt of a similar pong), it's a pleasant surprise to find that the old art of suspense remains out there somewhere.
Admittedly there occasionally is a reliance on 'shock bangs', which are an incredibly cheap way to scare your audience (the cinema equivalent of your mate yelping "BOO!" at you from behind the sofa). However, there is also that slow, creeping sense of dread (kind of like living under a Labour government) that isn't used nearly as much in the mainstream as I'd like.
The flick isn't quick to please, it crawls along at it's own pace thank you very much, and quite masterfully cranks up the tension and worry of that which is not understood - namely, what the fuck are these masked nutters here for? "Because you were home", as the trailer chillingly mutters.
This sense of dread aside, the film does begin to crawl too much once it's gotten going. Do these masked freaks do much else but disappear from sight and creep around houses? A dash more propulsion in the second act could have helped solve this droop. Strange really, the film is a mix of two types of slow pacing - the good, and the bad.
I can't see this going down well with the moronic, gore-hungry-and-nothing-else-will-do folks who consider SAW 4 to be a superb slice of terror, but for those who like their horror genre varied, there'll be some meat to chew on here.
Admittedly there occasionally is a reliance on 'shock bangs', which are an incredibly cheap way to scare your audience (the cinema equivalent of your mate yelping "BOO!" at you from behind the sofa). However, there is also that slow, creeping sense of dread (kind of like living under a Labour government) that isn't used nearly as much in the mainstream as I'd like.
The flick isn't quick to please, it crawls along at it's own pace thank you very much, and quite masterfully cranks up the tension and worry of that which is not understood - namely, what the fuck are these masked nutters here for? "Because you were home", as the trailer chillingly mutters.
This sense of dread aside, the film does begin to crawl too much once it's gotten going. Do these masked freaks do much else but disappear from sight and creep around houses? A dash more propulsion in the second act could have helped solve this droop. Strange really, the film is a mix of two types of slow pacing - the good, and the bad.
I can't see this going down well with the moronic, gore-hungry-and-nothing-else-will-do folks who consider SAW 4 to be a superb slice of terror, but for those who like their horror genre varied, there'll be some meat to chew on here.
Zack And Miri Make A Porno...
As a big Kevin Smith fan, I was eager to see his latest - consider it moving away from the Askewniverse, take two. After the (actually not bad) Jersey Girl, he returned with the superb Clerks 2, which served as a true way to round the Askewniverse off (although, if a Clerks 3 was do-able, I'd definitely watch it).
Now it's time to move away from that universe again, although the vibe is still very much present and correct - providing a much smoother, gentler transition away from Smith's tried & true universe. Mewes is back and not playing Jay (leaving nothing to our imagination), Anderson is back and not playing Randal, and Jen (Smith's missus) is back for another cameo/bit part (although I found her appearance in Z&M a bit of a pill to swallow considering she's surely a few years senior to Z&M's graduating year).
A guffaw machine throughout the first half, the gags start to spread out a little in the final stretches when the story takes centre stage - which happens a lot in similar comedies, it has to be said. The final act especially, could have used a few more chuckles and could have done with having a few of the loose ends tied up.
Plot wise, there's certainly a rom-com lying in wait somewhere amidst the dick, fart, poop, fanny and vibrator jokes ... yes, you could say it's a bit on the schmaltzy side, a smidge on the obvious side, but at the same time - it works. You like these characters, you enjoy spending time with them, they amuse you, they're sweet and kind natured souls who are probably not that unlike those viewing the flick itself.
It doesn't quite have the full polish that Clerks 2 does, but then again - Clerks 2 was following Jersey Girl (which I liked, but don't consider a huge triumph by any means - it was a simple and sweet romcom ultimately, with a dash of new-fatherhood wisdom). Zack & Miri follows the 8-minute-standing-ovation-receiving Clerks 2.
Thoroughly enjoyable throughout, and one for the Dawn of the Dead uber-fans like myself. Not only do we get the well-known Monroeville Mall (Mecca of the zed-head), but we get cameos from Tom Savini and David Early.
Yes please and then some for the sure-to-be-great DVD, complete with highly anticipated Chop Shop Entertainment making of.
Now it's time to move away from that universe again, although the vibe is still very much present and correct - providing a much smoother, gentler transition away from Smith's tried & true universe. Mewes is back and not playing Jay (leaving nothing to our imagination), Anderson is back and not playing Randal, and Jen (Smith's missus) is back for another cameo/bit part (although I found her appearance in Z&M a bit of a pill to swallow considering she's surely a few years senior to Z&M's graduating year).
A guffaw machine throughout the first half, the gags start to spread out a little in the final stretches when the story takes centre stage - which happens a lot in similar comedies, it has to be said. The final act especially, could have used a few more chuckles and could have done with having a few of the loose ends tied up.
Plot wise, there's certainly a rom-com lying in wait somewhere amidst the dick, fart, poop, fanny and vibrator jokes ... yes, you could say it's a bit on the schmaltzy side, a smidge on the obvious side, but at the same time - it works. You like these characters, you enjoy spending time with them, they amuse you, they're sweet and kind natured souls who are probably not that unlike those viewing the flick itself.
It doesn't quite have the full polish that Clerks 2 does, but then again - Clerks 2 was following Jersey Girl (which I liked, but don't consider a huge triumph by any means - it was a simple and sweet romcom ultimately, with a dash of new-fatherhood wisdom). Zack & Miri follows the 8-minute-standing-ovation-receiving Clerks 2.
Thoroughly enjoyable throughout, and one for the Dawn of the Dead uber-fans like myself. Not only do we get the well-known Monroeville Mall (Mecca of the zed-head), but we get cameos from Tom Savini and David Early.
Yes please and then some for the sure-to-be-great DVD, complete with highly anticipated Chop Shop Entertainment making of.
Sunday, 9 November 2008
Deadlands 2: Trapped...
Well here we are, after the rather bloody successful Deadlands: The Rising (a true case of indie spirit - a bunch of mates get together, learn as they go, and put out a cheap-but-full-of-scope slice of zombie mayhem). So great stuff indeed ... even if the zeds do run (I'm firmly in the 'shambler camp' - that said however, Deadlands and recently Dead Set are my exceptions).
I remember describing the original Deadlands, at one point, as a "technical lava lamp" ... I think what I was meaning by that (whilst also day-dreaming of pulling out my own lava lamp from the cupboard), is that Deadlands was a melting pot of attention-grabbing, learn-as-you-go, full-on indie spirit.
Deadlands 2: Trapped is similar in its success - only this time everything is ratcheted up several notches, displaying in abundance Writer/Director (and a few other titles) Gary Ugarek's dedication to improving on his craft as a filmmaker. Not to say Deadlands: The Rising was bad (I've been a staunch pro-ponent of the flick), but Deadlands 2 is leaps and bounds beyond it.
The cinematography and editing are two distinctly immediate slabs of improvement served up to your eyes. The pace is tight throughout, the coverage is more organised, and the camerawork itself - again, nothing but improvement. At times, the 24-like quiver amplifies the power of the more violent scenes, helping to sell a genuine sense of "oh fuck!" when the zeds storm a military checkpoint for example, or capturing a war of words among our cinema-dwelling protagonists.
Plot wise, it goes like this - some rather unsavory government types are up to no good with a secret biological test, which as any good zombie flick hound knows doesn't go too well ... or does it? Caught in the middle however, are your average and everyday middle-Americans either working the register at the Hagerstown 10 cinema, or out for a night of bar-hopping.
The characters are fleshed out fully in the first act, and are performed well - especially for an indie production. Obviously, you're not going to find Robert DeNiro and Al Pacino burning up the screen over a cup of coffee, but anyone expecting such things from the indie scene simply don't understand the scene. That said, even the non-professional turns dotted here and there stand up against other similarly grounded flicks - but its the central performances that shine. Jim "helicopter zombie" Krut brings the suit-and-tie-menace in gleeful abundance as the diabolical biological project leader, and Durbin, Davidson, Clark, Young and Brush all push their respective boats out.
Excuse my inability with connecting names to faces, but 'dude with the cap' and 'chick with all the ear-rings' were absolutely superb, they grasped the intensity of the situation at hand, the over all "we're fucked" nature of proceedings and delivered performances that punch above the usual indie belt. I'll be honest, I got a few chills up and down my spine during the more explosive scenes.
One of the things that most excites me about Deadlands (the original, and now this sequel), is that sensation of people at the start of their careers (be it in front of, or behind the cameras). This is certainly no truer than the case of the young lads behind Spaghetti Industries - these guys serve up some fantastic, blood-soaked moments of gore.
Finally - scale - there's a boat-load of the stuff, and considering the budget (even lower than Deadlands, which wasn't exactly surfing on the budget of Heaven's Gate) it's incredible to see so much on offer, again leading Deadlands 2: Trapped to punch above the usual indie belt - especially on such a small budget (just to hammer the point home).
Any bad? To be honest there's not much point focussing on any minor, fleeting issues all that much. The political stance of the film (during certain scenes) occasionally strays into blunt-force territory, some dialogue doesn't quite roll off the tongue, and (as a filmmaker myself, at the relative start of my career admittedly) I noticed a few editing issues here and there that I would have tweaked or perhaps done slightly different - but that last point shouldn't bother the vast majority, that's just the filmmaker inside me talking.
What's that pedantic filmmaker amidst my juicy viscera saying? The odd audio issue (e.g. quiet car journeys, the occasional scream bursting forth a bit too loudly, the odd moments of the audio mix being a bit out-of-synch or levelled inconsistently) - the occasional edit issue (e.g. the odd shot appearing grey in comparison to the gloriously deep blacks throughout, and the final moment - which I'd have edited slightly differently...but then again, Gary isn't me and I'm not Gary, so that's purely personal editing choices & styles).
But as previously stated, said issues are piffling in the face of a properly successful, and properly indie-spirited venture - roll on Deadlands 3!
8/10
I remember describing the original Deadlands, at one point, as a "technical lava lamp" ... I think what I was meaning by that (whilst also day-dreaming of pulling out my own lava lamp from the cupboard), is that Deadlands was a melting pot of attention-grabbing, learn-as-you-go, full-on indie spirit.
Deadlands 2: Trapped is similar in its success - only this time everything is ratcheted up several notches, displaying in abundance Writer/Director (and a few other titles) Gary Ugarek's dedication to improving on his craft as a filmmaker. Not to say Deadlands: The Rising was bad (I've been a staunch pro-ponent of the flick), but Deadlands 2 is leaps and bounds beyond it.
The cinematography and editing are two distinctly immediate slabs of improvement served up to your eyes. The pace is tight throughout, the coverage is more organised, and the camerawork itself - again, nothing but improvement. At times, the 24-like quiver amplifies the power of the more violent scenes, helping to sell a genuine sense of "oh fuck!" when the zeds storm a military checkpoint for example, or capturing a war of words among our cinema-dwelling protagonists.
Plot wise, it goes like this - some rather unsavory government types are up to no good with a secret biological test, which as any good zombie flick hound knows doesn't go too well ... or does it? Caught in the middle however, are your average and everyday middle-Americans either working the register at the Hagerstown 10 cinema, or out for a night of bar-hopping.
The characters are fleshed out fully in the first act, and are performed well - especially for an indie production. Obviously, you're not going to find Robert DeNiro and Al Pacino burning up the screen over a cup of coffee, but anyone expecting such things from the indie scene simply don't understand the scene. That said, even the non-professional turns dotted here and there stand up against other similarly grounded flicks - but its the central performances that shine. Jim "helicopter zombie" Krut brings the suit-and-tie-menace in gleeful abundance as the diabolical biological project leader, and Durbin, Davidson, Clark, Young and Brush all push their respective boats out.
Excuse my inability with connecting names to faces, but 'dude with the cap' and 'chick with all the ear-rings' were absolutely superb, they grasped the intensity of the situation at hand, the over all "we're fucked" nature of proceedings and delivered performances that punch above the usual indie belt. I'll be honest, I got a few chills up and down my spine during the more explosive scenes.
One of the things that most excites me about Deadlands (the original, and now this sequel), is that sensation of people at the start of their careers (be it in front of, or behind the cameras). This is certainly no truer than the case of the young lads behind Spaghetti Industries - these guys serve up some fantastic, blood-soaked moments of gore.
Finally - scale - there's a boat-load of the stuff, and considering the budget (even lower than Deadlands, which wasn't exactly surfing on the budget of Heaven's Gate) it's incredible to see so much on offer, again leading Deadlands 2: Trapped to punch above the usual indie belt - especially on such a small budget (just to hammer the point home).
Any bad? To be honest there's not much point focussing on any minor, fleeting issues all that much. The political stance of the film (during certain scenes) occasionally strays into blunt-force territory, some dialogue doesn't quite roll off the tongue, and (as a filmmaker myself, at the relative start of my career admittedly) I noticed a few editing issues here and there that I would have tweaked or perhaps done slightly different - but that last point shouldn't bother the vast majority, that's just the filmmaker inside me talking.
What's that pedantic filmmaker amidst my juicy viscera saying? The odd audio issue (e.g. quiet car journeys, the occasional scream bursting forth a bit too loudly, the odd moments of the audio mix being a bit out-of-synch or levelled inconsistently) - the occasional edit issue (e.g. the odd shot appearing grey in comparison to the gloriously deep blacks throughout, and the final moment - which I'd have edited slightly differently...but then again, Gary isn't me and I'm not Gary, so that's purely personal editing choices & styles).
But as previously stated, said issues are piffling in the face of a properly successful, and properly indie-spirited venture - roll on Deadlands 3!
8/10
Wednesday, 5 November 2008
Hancock...
I finally got around to seeing this, and all I can say is "meh". I wasn't expecting a lot already, but thought it might be enjoyable enough fair after reading what Total Film had to say about it ... I did get some moments of entertainment from it, but over all I really can't remember too much about it, or nothing really properly worth remembering anyway.
I guess I would have much preferred to see the original R-rated version those behind it had in mind, I think that could have really provided something fresh and different to the super hero action sub-genre. Instead, we get quite safe fair (I wouldn't say having him mutter "fuck" once, shove a head in an ass and be a bit hung over at the start - before a swift-to-come clean-up as daring territory).
As for the twist - it's pretty obviousy pretty damn soon, and I wasn't exactly fussed...then again I wasn't fussed about the whole movie. Worth a watch, but I could easily not watch it again.
Now if you don't mind, I fancy watching the "Last Day" trailer for Gears of War 2 yet again - now that shit is top notch!
I guess I would have much preferred to see the original R-rated version those behind it had in mind, I think that could have really provided something fresh and different to the super hero action sub-genre. Instead, we get quite safe fair (I wouldn't say having him mutter "fuck" once, shove a head in an ass and be a bit hung over at the start - before a swift-to-come clean-up as daring territory).
As for the twist - it's pretty obviousy pretty damn soon, and I wasn't exactly fussed...then again I wasn't fussed about the whole movie. Worth a watch, but I could easily not watch it again.
Now if you don't mind, I fancy watching the "Last Day" trailer for Gears of War 2 yet again - now that shit is top notch!
The Lone Gunmen...
As I've mentioned before, I've recently had an absolute X-Files marathon (it essentially replaced the vast majority of my TV and film viewing for more than two months), so as part of said marathon it was my aim to get my mits on The Lone Gunmen spin-off, which I'd never seen before.
After some cheeking price raising (after retailers caught on that X-Files box sets were selling well after the recent release of the second flick - which is the reason for my epic marathon), I got my mits on a copy of the box set and finished watching it the other day.
Simply put - enjoyable enough, but far from the excellence of The X-Files, indeed it's a completely different show, almost entirely so. Despite being lighter fair, it still doesn't rise to the heights of the lighter episodes of The X-Files (which were, honestly, superb). It's not complete trash - far from it - but they never really figured out what the show should be, never quite got the tone right. A good idea, unfortunately not a fully successful one.
Some people quite liked it, and fair play to them. Perhaps I was still bowled over by the awesomeness of The X-Files (even though the last two seasons weren't quite up to the standard of the first seven seasons) ... I think I can best sum it up this way.
When I was watching The X-Files, the most episodes in one day I managed was seven (hey, don't judge me, we all have our DVD box set splurges from time-to-time), whereas the most episodes of TLG I managed in one day was two. What now though? Why, Band of Brothers of course - I finally got my mits on it for cheap, it's been over thirty quid for feckin' years!
After some cheeking price raising (after retailers caught on that X-Files box sets were selling well after the recent release of the second flick - which is the reason for my epic marathon), I got my mits on a copy of the box set and finished watching it the other day.
Simply put - enjoyable enough, but far from the excellence of The X-Files, indeed it's a completely different show, almost entirely so. Despite being lighter fair, it still doesn't rise to the heights of the lighter episodes of The X-Files (which were, honestly, superb). It's not complete trash - far from it - but they never really figured out what the show should be, never quite got the tone right. A good idea, unfortunately not a fully successful one.
Some people quite liked it, and fair play to them. Perhaps I was still bowled over by the awesomeness of The X-Files (even though the last two seasons weren't quite up to the standard of the first seven seasons) ... I think I can best sum it up this way.
When I was watching The X-Files, the most episodes in one day I managed was seven (hey, don't judge me, we all have our DVD box set splurges from time-to-time), whereas the most episodes of TLG I managed in one day was two. What now though? Why, Band of Brothers of course - I finally got my mits on it for cheap, it's been over thirty quid for feckin' years!
Jackie Brown...
Back in the day I rented this from our local video store, having already seen Reservoir Dogs and Pulp Fiction (both of which are great flicks, obviously), but much to my dismay - I did not dig Jackie Brown. Sure, this was a decade ago (back in the fun days of VHS rental, ahh the memories), so this is why I figured that at four quid I might as well get the DVD.
After all, having recently re-watched the entire X-Files saga (said episodes of which I'd not seen in at least several years, and at most a decade), and subsequently gotten even more out of it now that I'm a decade older (it's now my new religion, ha!) I thought this might be the case with Jackie Brown.
Well...I loved The X-Files originally, and I've adored it further now that I've had my marathon of it ... I didn't love Jackie Brown originally, so having just seen it the whole way through in one sitting for the first time in a long time (if not ever), I cannot say I now adore it. I certainly don't hate it anymore, I can dig it, but I still maintain that - for me at least - it is Tarantino's weakest flick. Perhaps this comes from the fact that he adapted the script from an existing book, so perhaps it's not the truest Tarantino out there.
So aye - I like it better (or a good deal better) than I originally did, but I remain un-bowled-over ... but it is nice to now have all of QT's flicks on DVD...onwards to the extra features!
After all, having recently re-watched the entire X-Files saga (said episodes of which I'd not seen in at least several years, and at most a decade), and subsequently gotten even more out of it now that I'm a decade older (it's now my new religion, ha!) I thought this might be the case with Jackie Brown.
Well...I loved The X-Files originally, and I've adored it further now that I've had my marathon of it ... I didn't love Jackie Brown originally, so having just seen it the whole way through in one sitting for the first time in a long time (if not ever), I cannot say I now adore it. I certainly don't hate it anymore, I can dig it, but I still maintain that - for me at least - it is Tarantino's weakest flick. Perhaps this comes from the fact that he adapted the script from an existing book, so perhaps it's not the truest Tarantino out there.
So aye - I like it better (or a good deal better) than I originally did, but I remain un-bowled-over ... but it is nice to now have all of QT's flicks on DVD...onwards to the extra features!
Futurama: Bender's Game...
Admittedly, this and The Beast With A Billion Backs were a little bit of a let down compared to the triumphant return (and far more consistent guffaws) of Futurama with Bender's Big Score - that said, Futurama that's not quite as rosy as it once was, is far better than no Futurama - and indeed, better than any current Simpson's episodes.
Here's hoping that the fourth and final installment of this Futurama return to our screens finds all of its heart and soul once more, because a new season on television would be most welcome. The well is far from dry in the Futurama universe and it would be criminal to lose out on future Futurama.
Regardless of the drop in giggles, all Futurama fans should check this out.
Do you reckon I said "Futurama" enough?
Here's hoping that the fourth and final installment of this Futurama return to our screens finds all of its heart and soul once more, because a new season on television would be most welcome. The well is far from dry in the Futurama universe and it would be criminal to lose out on future Futurama.
Regardless of the drop in giggles, all Futurama fans should check this out.
Do you reckon I said "Futurama" enough?
Quantum of Solace...
It's been a bit of a slow time these last few weeks for blogging, I got a bit out of the way of doing it, but I've had a sudden flood of things I've watched to pimp some thoughts on (as such, forgive any spelling or gramatical slip-ups, having just written all this blog juice I can't be arsed to proof read it, it's not like I'm paid for it ha!), so here goes, the first of five posts this evening!
Quantum of Solace...
Having recently dived back into Casino Royale (with the spiffing 3-disc deluxe DVD), I was all set up and ready to go for Quantum of Solace, a sequel with no small amount of hype surrounding it - but QoS was always going to be a bit of a let down after the super-high, concrete-punch return of Bond in Casino Royale.
Indeed, this is the case - but with CR being so damn good, it means that QoS is still a highly enjoyable Bond outing (and certainly a damn sight better than the daft silliness of Brosnan's last outing). Methinks QoS does suffer from not being directed by Martin Campbell (Goldeneye, Casino Royale) who would have probably brought more weight and balance to the second third, which is where QoS does - quite honestly - sag a bit.
That said, the third-third picks the pace back up again (and is indeed occasionally quite rough for a 12A rated flick), but it's the first third where shit really hits the fan. A blistering, gasp-inducing car chase kicks proceedings off immediately, leading on to a considerable amount of action up front - then we have the plot all come in one big lump (pretty much anyway) and this is where it decides to tread a bit of water. Had Campbell been directing, there would have no doubt been some better balancing going on around about here.
That said, Marc Forster does a solid job - but considering he's the man behind flicks such as Stranger Than Fiction and Monster's Ball, perhaps he's not best suited to this sort of film.
Daniel Craig is still absolutely rocking it as the ever-so-smooth (but not sickly so) James Bond - so hurrah that he's signed up for more. The action - when it's rocking your socks on screen - barrels the film along at a fair lick ... it's just that mid-third where it wobbles somewhat. Although I'm adamant that those expressing cries of "boring" are making a mountain out of a molehill, but nor is it a pebble in the road.
QoS is a good half hour or so shorter than Casino Royale, but Campbell's flick feels far brisker and more consistent throughout, whereas QoS erupts from the off, runs a bit out of breath, then regains its composure for a solid closing set piece (although admittedly the sinking of the house in Venice was more impressive).
Don't expect Casino Royale, but likewise don't expect the last of the Brosnan output, and do expect Craig's continued sock-rocking and all should be right in your world.
Quantum of Solace...
Having recently dived back into Casino Royale (with the spiffing 3-disc deluxe DVD), I was all set up and ready to go for Quantum of Solace, a sequel with no small amount of hype surrounding it - but QoS was always going to be a bit of a let down after the super-high, concrete-punch return of Bond in Casino Royale.
Indeed, this is the case - but with CR being so damn good, it means that QoS is still a highly enjoyable Bond outing (and certainly a damn sight better than the daft silliness of Brosnan's last outing). Methinks QoS does suffer from not being directed by Martin Campbell (Goldeneye, Casino Royale) who would have probably brought more weight and balance to the second third, which is where QoS does - quite honestly - sag a bit.
That said, the third-third picks the pace back up again (and is indeed occasionally quite rough for a 12A rated flick), but it's the first third where shit really hits the fan. A blistering, gasp-inducing car chase kicks proceedings off immediately, leading on to a considerable amount of action up front - then we have the plot all come in one big lump (pretty much anyway) and this is where it decides to tread a bit of water. Had Campbell been directing, there would have no doubt been some better balancing going on around about here.
That said, Marc Forster does a solid job - but considering he's the man behind flicks such as Stranger Than Fiction and Monster's Ball, perhaps he's not best suited to this sort of film.
Daniel Craig is still absolutely rocking it as the ever-so-smooth (but not sickly so) James Bond - so hurrah that he's signed up for more. The action - when it's rocking your socks on screen - barrels the film along at a fair lick ... it's just that mid-third where it wobbles somewhat. Although I'm adamant that those expressing cries of "boring" are making a mountain out of a molehill, but nor is it a pebble in the road.
QoS is a good half hour or so shorter than Casino Royale, but Campbell's flick feels far brisker and more consistent throughout, whereas QoS erupts from the off, runs a bit out of breath, then regains its composure for a solid closing set piece (although admittedly the sinking of the house in Venice was more impressive).
Don't expect Casino Royale, but likewise don't expect the last of the Brosnan output, and do expect Craig's continued sock-rocking and all should be right in your world.
Tuesday, 28 October 2008
Frieze Film 2008 - YouTube links...
These are the original edits (the ones shown on Channel 4 were a smidge different, with certain gory images replaced) of the Road Movie project, viewables on YouTube.
Part One:
http://uk.youtube.com/watch?v=LW4cbIw3IW8
Part Two:
http://uk.youtube.com/watch?v=X6Qf4ci7QH8
Part Three:
http://uk.youtube.com/watch?v=tLe4lglgTGA
Part Four:
http://uk.youtube.com/watch?v=tTbcnolKJB8
Enjoy.
...
And yes, there's not been much blogging this month, not sure why ... guess I'm not feeling the blog-juice this month. Anyway, I'm in the midst of writer's block/frustration - trying to get my zombie epic script started ... I finished my X-Files marathon the other day, or about a week ago now actually, and am currently going through Mulder & Scully withdrawal, ha!
Oh yeah, I'm gonna get around to updating my showreel, so expect to see that sometime soon.
Part One:
http://uk.youtube.com/watch?v=LW4cbIw3IW8
Part Two:
http://uk.youtube.com/watch?v=X6Qf4ci7QH8
Part Three:
http://uk.youtube.com/watch?v=tLe4lglgTGA
Part Four:
http://uk.youtube.com/watch?v=tTbcnolKJB8
Enjoy.
...
And yes, there's not been much blogging this month, not sure why ... guess I'm not feeling the blog-juice this month. Anyway, I'm in the midst of writer's block/frustration - trying to get my zombie epic script started ... I finished my X-Files marathon the other day, or about a week ago now actually, and am currently going through Mulder & Scully withdrawal, ha!
Oh yeah, I'm gonna get around to updating my showreel, so expect to see that sometime soon.
Tuesday, 14 October 2008
3 Minute Wonder - further details!
http://www.friezefoundation.org/film
Go to the above link and watch Parts 2 and 4 - where I have footage used.
Obviously everybody only gets brief bits used, as there was 2 hours of chosen footage edited down into four 3 minute shorts, but this means I've had stuff shown on Channel 4 prime time television, and of course I'm credited on the end credits - according to my YouTube channel name of course - which is ZombieWagon.
There's one of my shots (seemingly flipped vertically and horizontally) in the opening titles of each of the four films - again, high contrast black and white footage of the white road markings ... on a road, obviously.
Anyway, in Part 2 my footage is the two high contrast black and white shots driving along a road with a dull sky overhead, at 0:21 and 2:17. (I do actually think Part 2 is the best of the four, and not just because I've got the bulk of my exposure in there, but because I do think it's the best one generally speaking).
In Part 4 I have a brief shot used at 1:35 (grey image with 'ash' falling through the frame - it's originally snow of course).
So aye, on the grand scheme of things and comparitively speaking I have had a good amount of footage used - and of course my original, uncut film can be seen both on the Frieze Film 2008 YouTube page, as well as my own YouTube channel (as linked to in the links section on the right hand side of my blog).
As for air times - well, as I've got a shot used in the opening credits, that gets shown before all of the films, but as for the specific parts I'm further used in:
Part 2 - Tuesday 14th October 2008, Channel 4 at 7:55pm (or an hour later on C4+1)
Part 4 - Thursday 16th October 2008, Channel 4 at 7:55pm (or an hour later on C4+1)
And as previously noted at the top of this blog post, you can see all the films on the Frieze Film 2008 website.
Go to the above link and watch Parts 2 and 4 - where I have footage used.
Obviously everybody only gets brief bits used, as there was 2 hours of chosen footage edited down into four 3 minute shorts, but this means I've had stuff shown on Channel 4 prime time television, and of course I'm credited on the end credits - according to my YouTube channel name of course - which is ZombieWagon.
There's one of my shots (seemingly flipped vertically and horizontally) in the opening titles of each of the four films - again, high contrast black and white footage of the white road markings ... on a road, obviously.
Anyway, in Part 2 my footage is the two high contrast black and white shots driving along a road with a dull sky overhead, at 0:21 and 2:17. (I do actually think Part 2 is the best of the four, and not just because I've got the bulk of my exposure in there, but because I do think it's the best one generally speaking).
In Part 4 I have a brief shot used at 1:35 (grey image with 'ash' falling through the frame - it's originally snow of course).
So aye, on the grand scheme of things and comparitively speaking I have had a good amount of footage used - and of course my original, uncut film can be seen both on the Frieze Film 2008 YouTube page, as well as my own YouTube channel (as linked to in the links section on the right hand side of my blog).
As for air times - well, as I've got a shot used in the opening credits, that gets shown before all of the films, but as for the specific parts I'm further used in:
Part 2 - Tuesday 14th October 2008, Channel 4 at 7:55pm (or an hour later on C4+1)
Part 4 - Thursday 16th October 2008, Channel 4 at 7:55pm (or an hour later on C4+1)
And as previously noted at the top of this blog post, you can see all the films on the Frieze Film 2008 website.
Monday, 13 October 2008
3 Minute Wonder...
As previously mentioned, I took part in the Frieze Film 2008 "Road Movie" project (with my short "Memories of Falling Ash", as seen on my YouTube page). Part of the project was for the organisers to pick some of the submitted shorts to be used for four 3 Minute Wonder shorts on Channel 4 at 7:55pm - October 13th through 16th (Mon, Tue, Wed, and Thur).
Of the 140 videos 'attached' to the FF2008 YouTube page, 38 were picked by the project director - of which, I am one.
So fingers crossed they'll use some of my footage in one or more of this week's 3 Minute Wonder slots on Channel 4 at 7:55pm (or indeed Channel 4 +1 at 8:55pm), they obviously liked it enough to pick it, so hopefully that's a good omen and then I can say I've had stuff shown on Channel 4's well-known shorts showcase in prime time television territory, which would be pretty cool.
As for the project itself, as previously stated it's based on/inspired by the 2006 Cormac MacCarthy novel The Road, which I recently bought and am now reading - pretty good actually, I look forward to seeing the film adaptation with Viggo Mortensen.
Of the 140 videos 'attached' to the FF2008 YouTube page, 38 were picked by the project director - of which, I am one.
So fingers crossed they'll use some of my footage in one or more of this week's 3 Minute Wonder slots on Channel 4 at 7:55pm (or indeed Channel 4 +1 at 8:55pm), they obviously liked it enough to pick it, so hopefully that's a good omen and then I can say I've had stuff shown on Channel 4's well-known shorts showcase in prime time television territory, which would be pretty cool.
As for the project itself, as previously stated it's based on/inspired by the 2006 Cormac MacCarthy novel The Road, which I recently bought and am now reading - pretty good actually, I look forward to seeing the film adaptation with Viggo Mortensen.
Sunday, 5 October 2008
Sabrina & the Engineer - Part 2!
This time it's most definitely personal ... well, sorta ... to my back ... and my left ankle (yeah, this ankle):
http://deadshed.blogspot.com/2007/11/guy-fawkes-in-eye.html
Anyway, I've literally just gotten back home having been out all day in Bridnorth (yeah, this Bridgnorth):
http://deadshed.blogspot.com/2007/08/20-hour-saturday.html
Fortunately it wasn't that early a start, setting off around half-noon ... ish ... as I got stuck behind the slowest tractor on planet earth with a trailer filled with American prison style hard labour boulders.
So off we went and soon enough - back to the field we'd been in over a year beforehand. Unfortunately the weather wasn't as nice ... I say nice, but piercing sun and sweaty heat don't do it for me (but by popular definition, I use the word "nice" to describe last year's weather). Mind you, that was August ... this is October.
The previous week had been a bit chilly during the evening performance, but was calm-aired and clear. This week however it was windy, nippy all day and raining intermittently in varying degrees. A bit of a sit down was in order, but not before checking out the base of operations tent - which was full-on M*A*S*H style ... the movie, not the telly show (to me, cos I've only seen the movie, ha!)
Then a meeting in a rowing club, which was a tad random with these three or four dudes in really comfy-looking seats watching the rugger on the box - then back to camper van HQ for another well-earned sit down, then I remember there being a trip to the burger van nearby (I've never before had a burger from such a van before actually, so that's a first for me) - I had a rather good bacon cheese burger, a quarter-or-so pound of lush.
So, after that exertion it was time for another sit down - with the heating blasting, natch. Time for a chat, on a whole range of topics - from how I think Gordon Brown is a gigantic fucking prat (and indeed his entire party, Mandy included when he's not busy being fired), to the intricacies of censorship and internet porn availability, variety and dodginess to goodness knows what else.
Before I knew it, it was time to suit up and get shifting - which involved putting on my rain cover, an item I bought after the filmmaker's nightmare of a project I did last year where everything just went wrong (surrounding the film, not the film in the end happily), but I'd never had reason to use it until now, hazah! One problem, it isn't half a fuss to get over the camera!
Charging forth into battle was next ... which involved a gasp-inducing clamber up the cliff-face that is Bridgnorth (no doubt what started giving my ankle grief) to begin filming at the church - kids, lanterns and more kids with lanterns - then to the streets with a brass band and a boat load of people - then meandering down through the town grabbing wide shots of the approaching procession - then across the bridge and to the first chunk of the main performance.
Chaos (to an extent) descended, stuff was happening but I wasn't entirely sure what was going on, so I grabbed the shots that I could and hung out in anticipation of the steam engine (which crashed a little bit a few minutes later, nothing serious). Annoyingly I'd forgotten to change my widescreen shooting mode, but rectified that on a new tape (so there'll be some sort of cropping jiggery-pokery to do on the first tape - you always forget one thing, guaranteed).
Onwards we marched, grabbing shots of the procession headed by the steam engine, then to the stage (grabbing our pre-placed, and damp, tripods to get going on the main chunk of the finale). The rather spiffing water woman (who was mirrored by water man later in the performance) returned to wow the audience, then onwards to the show proper - singing, lights, flashes of fireworks, a little boat in a man-made temporary river-pond-lake construction, then water man - and then kaboom, kaplow, whizz, bang, ooh and indeed ahh - fireworks, a spiffing show in itself.
I forgot to mention - the rain came in and out during the performance, which was unfortunate, but my gripe was kneeling on wet, freshly mown grass ... nay, soaking grass with clumps of mown grass scattered around ... regardless, I managed to get some nice shots (this water fountain-cum-projector thingymabob was rather nice for my frame compositions) and then ... the end.
A hobbling stumble back to the burger van and an absolutely heavenly-lush injection of Orange Tango, most definitely what the doctor ordered. A stagger back to the van, a quick debrief, then a weary drive back - and now here I am, still in the same jeans that got all soaked and grassy, still stinking like a dead animal after all the running about, and looking forward to a nice kip ... shame about the stiff back and the bastard ankle, perhaps walking four miles on it after spraining it wasn't a good idea ... but it did make me feel a bit like Rocky when we got to where we were heading.
Maybe next time I hurt myself I'll just flop onto the floor and refuse to move until the best care on offer on the planet is delivered immediately, with a free DVD of something awesome is thrown in ... dancing ladies chanting my name optional, ha!
So ends another hectic, yet ultimately rewarding, filming experience.
http://deadshed.blogspot.com/2007/11/guy-fawkes-in-eye.html
Anyway, I've literally just gotten back home having been out all day in Bridnorth (yeah, this Bridgnorth):
http://deadshed.blogspot.com/2007/08/20-hour-saturday.html
Fortunately it wasn't that early a start, setting off around half-noon ... ish ... as I got stuck behind the slowest tractor on planet earth with a trailer filled with American prison style hard labour boulders.
So off we went and soon enough - back to the field we'd been in over a year beforehand. Unfortunately the weather wasn't as nice ... I say nice, but piercing sun and sweaty heat don't do it for me (but by popular definition, I use the word "nice" to describe last year's weather). Mind you, that was August ... this is October.
The previous week had been a bit chilly during the evening performance, but was calm-aired and clear. This week however it was windy, nippy all day and raining intermittently in varying degrees. A bit of a sit down was in order, but not before checking out the base of operations tent - which was full-on M*A*S*H style ... the movie, not the telly show (to me, cos I've only seen the movie, ha!)
Then a meeting in a rowing club, which was a tad random with these three or four dudes in really comfy-looking seats watching the rugger on the box - then back to camper van HQ for another well-earned sit down, then I remember there being a trip to the burger van nearby (I've never before had a burger from such a van before actually, so that's a first for me) - I had a rather good bacon cheese burger, a quarter-or-so pound of lush.
So, after that exertion it was time for another sit down - with the heating blasting, natch. Time for a chat, on a whole range of topics - from how I think Gordon Brown is a gigantic fucking prat (and indeed his entire party, Mandy included when he's not busy being fired), to the intricacies of censorship and internet porn availability, variety and dodginess to goodness knows what else.
Before I knew it, it was time to suit up and get shifting - which involved putting on my rain cover, an item I bought after the filmmaker's nightmare of a project I did last year where everything just went wrong (surrounding the film, not the film in the end happily), but I'd never had reason to use it until now, hazah! One problem, it isn't half a fuss to get over the camera!
Charging forth into battle was next ... which involved a gasp-inducing clamber up the cliff-face that is Bridgnorth (no doubt what started giving my ankle grief) to begin filming at the church - kids, lanterns and more kids with lanterns - then to the streets with a brass band and a boat load of people - then meandering down through the town grabbing wide shots of the approaching procession - then across the bridge and to the first chunk of the main performance.
Chaos (to an extent) descended, stuff was happening but I wasn't entirely sure what was going on, so I grabbed the shots that I could and hung out in anticipation of the steam engine (which crashed a little bit a few minutes later, nothing serious). Annoyingly I'd forgotten to change my widescreen shooting mode, but rectified that on a new tape (so there'll be some sort of cropping jiggery-pokery to do on the first tape - you always forget one thing, guaranteed).
Onwards we marched, grabbing shots of the procession headed by the steam engine, then to the stage (grabbing our pre-placed, and damp, tripods to get going on the main chunk of the finale). The rather spiffing water woman (who was mirrored by water man later in the performance) returned to wow the audience, then onwards to the show proper - singing, lights, flashes of fireworks, a little boat in a man-made temporary river-pond-lake construction, then water man - and then kaboom, kaplow, whizz, bang, ooh and indeed ahh - fireworks, a spiffing show in itself.
I forgot to mention - the rain came in and out during the performance, which was unfortunate, but my gripe was kneeling on wet, freshly mown grass ... nay, soaking grass with clumps of mown grass scattered around ... regardless, I managed to get some nice shots (this water fountain-cum-projector thingymabob was rather nice for my frame compositions) and then ... the end.
A hobbling stumble back to the burger van and an absolutely heavenly-lush injection of Orange Tango, most definitely what the doctor ordered. A stagger back to the van, a quick debrief, then a weary drive back - and now here I am, still in the same jeans that got all soaked and grassy, still stinking like a dead animal after all the running about, and looking forward to a nice kip ... shame about the stiff back and the bastard ankle, perhaps walking four miles on it after spraining it wasn't a good idea ... but it did make me feel a bit like Rocky when we got to where we were heading.
Maybe next time I hurt myself I'll just flop onto the floor and refuse to move until the best care on offer on the planet is delivered immediately, with a free DVD of something awesome is thrown in ... dancing ladies chanting my name optional, ha!
So ends another hectic, yet ultimately rewarding, filming experience.
Sunday, 28 September 2008
Sabrina & the Engineer...
http://www.severnproject.com/home.html
Having helped shoot the Sturgeon Moon project in 2007, I returned to help shoot the new Severn Project performance - Sabrina and the Engineer, taking place in September and October 2008.
Don't try and ask me what the story of S&E is about, because when you're covering it, that's one of the last things you're focussing on - instead you're concerned about the sequence of events, and timing, as well as camera placement and who goes where and when.
On all the Arts Council projects I've covered thus far, there seems to be a bit of a running theme - they're always filming challenges, providing real coverage conundrums to solve, and of course - lots of chaos.
Fortunately the day wasn't as lengthy as some have been before (so no 'up at the literal arse crack of dawn and down plenty after midnight' this time ... which was nice). That said, it wasn't a cake walk either - we got a walkthrough of the events, which I initially struggled to grasp - but then again, it's a bit tricky when you're new to the project (as in, you're not one of the creators), you're new to the location and you're trying to learn choreography and in turn translate it into your own practical choreography...aye, tis complicated.
Throw in a near-last minute change of filming possibilities, a bit of confusion over the timing of certain events, and then another as-you're-in-it change of filming possibilities and you've got a hectic time alright ... oh and my filming position mid-show was interupted by an unexpected cart used in the performance which I wasn't expecting...but it's all part of the fun and chaos of filming such an event.
I don't enjoy the build up, the time spent waiting for it all to get underway, but once it gets going - it's done in a flash. During the performance you're almost fighting your way through, like a safe and artistic-based version of war photography. Things happen around you, you've gotta think fast and act quick and adapt immediately ... all the while being mindful of your white balance settings, your focus, your exposure, your zooming, your framing and your input volume ... among other technical issues.
So aye - chaotic, but during the performance, when it's "go time", that is what I enjoy ... like I said before, the waiting and building tension beforehand isn't something to enjoy but to endure - the actual performance being the prize, and then hopefully after the dust settles you can sit back and enjoy some quality footage as you debrief ... then the weary journey home.
So what stuff was on show? Well, a steam engine leading one procession, another procession with the show's Sabrina on-board a decorated cart meeting the first at the main performance area, live music, fancy lighting, a boat on the river adorned with lights, a bunch of fireworks and then a load of waterjets either side of a woman rigged with hoses up her back and along her arms firing more jets of water (which was actually quite spectacular, very well performed and a joy to film in itself).
All in all it's probably not the sort of thing I'd usually go and see of my own volition ... but is if I was living in a city that did such things, with a group of friends (but I'm not as I certainly can't afford that just yet) ... but that said, while I didn't quite "get" it all, I certainly enjoyed the spectacle of it all and thought everyone did a great job. The audience were certainly all behind it, so that too, in itself, was a pleasure to witness.
The only downside - my back decided to play up throughout the day, and I woke up the morning after with my back a little better, but still a bit 'hung over' and stiff.
Having helped shoot the Sturgeon Moon project in 2007, I returned to help shoot the new Severn Project performance - Sabrina and the Engineer, taking place in September and October 2008.
Don't try and ask me what the story of S&E is about, because when you're covering it, that's one of the last things you're focussing on - instead you're concerned about the sequence of events, and timing, as well as camera placement and who goes where and when.
On all the Arts Council projects I've covered thus far, there seems to be a bit of a running theme - they're always filming challenges, providing real coverage conundrums to solve, and of course - lots of chaos.
Fortunately the day wasn't as lengthy as some have been before (so no 'up at the literal arse crack of dawn and down plenty after midnight' this time ... which was nice). That said, it wasn't a cake walk either - we got a walkthrough of the events, which I initially struggled to grasp - but then again, it's a bit tricky when you're new to the project (as in, you're not one of the creators), you're new to the location and you're trying to learn choreography and in turn translate it into your own practical choreography...aye, tis complicated.
Throw in a near-last minute change of filming possibilities, a bit of confusion over the timing of certain events, and then another as-you're-in-it change of filming possibilities and you've got a hectic time alright ... oh and my filming position mid-show was interupted by an unexpected cart used in the performance which I wasn't expecting...but it's all part of the fun and chaos of filming such an event.
I don't enjoy the build up, the time spent waiting for it all to get underway, but once it gets going - it's done in a flash. During the performance you're almost fighting your way through, like a safe and artistic-based version of war photography. Things happen around you, you've gotta think fast and act quick and adapt immediately ... all the while being mindful of your white balance settings, your focus, your exposure, your zooming, your framing and your input volume ... among other technical issues.
So aye - chaotic, but during the performance, when it's "go time", that is what I enjoy ... like I said before, the waiting and building tension beforehand isn't something to enjoy but to endure - the actual performance being the prize, and then hopefully after the dust settles you can sit back and enjoy some quality footage as you debrief ... then the weary journey home.
So what stuff was on show? Well, a steam engine leading one procession, another procession with the show's Sabrina on-board a decorated cart meeting the first at the main performance area, live music, fancy lighting, a boat on the river adorned with lights, a bunch of fireworks and then a load of waterjets either side of a woman rigged with hoses up her back and along her arms firing more jets of water (which was actually quite spectacular, very well performed and a joy to film in itself).
All in all it's probably not the sort of thing I'd usually go and see of my own volition ... but is if I was living in a city that did such things, with a group of friends (but I'm not as I certainly can't afford that just yet) ... but that said, while I didn't quite "get" it all, I certainly enjoyed the spectacle of it all and thought everyone did a great job. The audience were certainly all behind it, so that too, in itself, was a pleasure to witness.
The only downside - my back decided to play up throughout the day, and I woke up the morning after with my back a little better, but still a bit 'hung over' and stiff.
Thursday, 18 September 2008
Pineapple Express...
Yep ... Apatow strikes again, and it's actually rather spiffing too. Drillbit Taylor was neutered and merely fairly decent, Forgetting Sarah Marshall was oftentimes hilarious but just missing a little something extra golden. Perhaps the Apatow flavour is beginning to pale a bit now, the dude is certainly shelling out 'produced by' credits like the British government shell out departmental reviews. Oh yeah, then there was that Zohan movie ... I have absolutely no interest in seeing that at all.
Likewise Rogen has been flapping back and forth from movie to movie with gleeful abandon, and continues to leave me baffled that he's pretty much my age (perhaps a smidge older - even though he looks thoroughly thirty plus). Then again, he is a funny fucker - so Pineapple Express (obviously sans censor neutering like Drillbit Taylor - despite one UK-specific trim) is a continuation of form for Rogen (he hasn't dropped form, so there's no need for the "return to" precursor).
Again it was myself and the lads off on a trip to the cinema - which, as we all live in a (semi) rural area is a good old distance away ... hence movie choices have to be informed and considered. If you're splashing out six-sodding-fifty for a ticket and a fiver in fuel (if you're senoir designated), then you want to be seeing something of quality. Fortunately, the lads and I have rarely been let down (en masse at least) and once again Pineapple Express failed to piss us off - so huzzahs all round!
Who wouldn't love a stoner-action-comedy? Boring people methinks, either that or people over thirty (generally). You've got weed jokes, you've got creative swearing, you've got stoned randomness, you've got fiesty comedy-battles, classic moments to chuckle about on the drive home (death by Daewoo, for example) and James Franco NOT playing Harry Osbourne. Don't get me wrong, I really dig the Spider-Man flicks and have them all on double-disc-DVD, but I just feel Franco's having a lot more fun when he's uncut and let loose.
Needless to say, as a big fan of the likes of Superbad, there'll be a pre-order for a double disc extended uncut super-duper-lots-of-other-exciting-words DVD from me post haste!
All-in-all, wickedly hilarious fun. Ya-boo-sucks to the hatin' minority...go direct your ire in the general direction of 'Disaster Movie' and its ilk of putrid ass expulsions.
Sunday, 14 September 2008
Frieze Film 2008 - "Memories of Falling Ash"...
So I'm perusing around the internet, as you do, last night and came across this thing about Frize Film doing a thing about short, experimental films related to The Road, a book by Cormac McCarthy.
http://www.friezefoundation.org/film
I find this out on September 13th, and the deadline to get your films uploaded to YouTube is September 15th. I ponder over night what I could do for it, and revisit the site today - the 14th - and decide to have a go. So I went away, looked through a bunch of my previously shot, but as-yet unused footage, and put together a short experimental piece, in high contrast black & white.
I used music previously provided to me by Brian Wright (I've used his music previously on a few of my shorts) and just dived right in and put it together quite quickly as I was quite enjoying the immediacy of it all - especially getting to use footage I'd shot ages ago for projects that either went nowhere, or shots that were simply never used on other projects, or simply footage that was shot to just have - just in case they were needed, such as now.
So, with the project being about a post-apocalyptic road journey, I decided to follow the 'ashen landscape' route (which is one element of the visuals mentioned in the book - so I've read about anyway, I haven't read the book - but now certainly plan to do so, as it sounds right up my street).
I took footage of driving along a road, which was fortunately mostly empty (so I cut out any passing vehicles) on a rainy, dull day and combined it with footage I'd shot a good couple of years ago now of when we last had snow - which, in high contrast black and white, looks like falling ash upon an ashen landscape.
The notion of the film, is that we're seeing the perspective of a passenger who is journeying through a barren landscape, but keeps having flashes of memories (that appear almost like photographs) of the ashen landscape - these memories denoted by quick fades between the road and the memories, to signify the person blinking in and out of reality.
So indeed - that's what it's about, and I'm currently uploading it to YouTube - so check it out there within the new few hours (it's September 14th at 6pm as I'm writing this).
I've certainly rarely put something together so quickly, and rarely had as much fun and sense of freedom as I have done with this little experimental short.
*Additional*
Just thought I'd mention the tractor with trailer at one point, in case anybody thinks "er, post-apocalypse with a tractor, you wot?" - well, for one, it's not an apocalypse where everyone has died, and for two it's a reference to an idea in the videogame STALKER: Shadow of Chernobyl, in which they have "death trucks" that bring dead men out from the centre of the zone - so the tractor and trailer in my little experimental short, that's supposed to be a sort of death truck if you will - that's the idea behind that shot, so just in case you were wondering, there you go.
http://www.friezefoundation.org/film
I find this out on September 13th, and the deadline to get your films uploaded to YouTube is September 15th. I ponder over night what I could do for it, and revisit the site today - the 14th - and decide to have a go. So I went away, looked through a bunch of my previously shot, but as-yet unused footage, and put together a short experimental piece, in high contrast black & white.
I used music previously provided to me by Brian Wright (I've used his music previously on a few of my shorts) and just dived right in and put it together quite quickly as I was quite enjoying the immediacy of it all - especially getting to use footage I'd shot ages ago for projects that either went nowhere, or shots that were simply never used on other projects, or simply footage that was shot to just have - just in case they were needed, such as now.
So, with the project being about a post-apocalyptic road journey, I decided to follow the 'ashen landscape' route (which is one element of the visuals mentioned in the book - so I've read about anyway, I haven't read the book - but now certainly plan to do so, as it sounds right up my street).
I took footage of driving along a road, which was fortunately mostly empty (so I cut out any passing vehicles) on a rainy, dull day and combined it with footage I'd shot a good couple of years ago now of when we last had snow - which, in high contrast black and white, looks like falling ash upon an ashen landscape.
The notion of the film, is that we're seeing the perspective of a passenger who is journeying through a barren landscape, but keeps having flashes of memories (that appear almost like photographs) of the ashen landscape - these memories denoted by quick fades between the road and the memories, to signify the person blinking in and out of reality.
So indeed - that's what it's about, and I'm currently uploading it to YouTube - so check it out there within the new few hours (it's September 14th at 6pm as I'm writing this).
I've certainly rarely put something together so quickly, and rarely had as much fun and sense of freedom as I have done with this little experimental short.
*Additional*
Just thought I'd mention the tractor with trailer at one point, in case anybody thinks "er, post-apocalypse with a tractor, you wot?" - well, for one, it's not an apocalypse where everyone has died, and for two it's a reference to an idea in the videogame STALKER: Shadow of Chernobyl, in which they have "death trucks" that bring dead men out from the centre of the zone - so the tractor and trailer in my little experimental short, that's supposed to be a sort of death truck if you will - that's the idea behind that shot, so just in case you were wondering, there you go.
Tuesday, 9 September 2008
RocknRolla...
Ritchie's returned to what made him a hit in the first place, 'Lahndahn' thugs up to no good. RocknRolla (the first in a proposed double/triple act) returns to the humour and colourful characters of Lock Stock, and Snatch - but importantly, with the sense of maturity illustrated by his last major outing Revolver, which while stylish and occasionally quite good, was generally shoved up its own arse with pseudo-intellectual, chess-related delusions of cleverness and grandeur.
RocknRolla on the other hand, is a step above Lock Stock (in terms of scale, but LS remains in place as Ritchie's best film), and a good few steps below Revolver (in terms of shoved-up-arsedness). Sure, at times it does drag its feet, but when it gets to the point it's classic (or technically, recent) Ritchie through and through.
The pounding intro displays Guy's reasserted confidence, his sights re-aimed on the correct target to make a twisty, always entertaining piece of movie making that's ideal for the lads to get together to have a sit down to (as I did with some of my mates).
Suffice to say, I'll be there when sequel The Real RocknRolla, rocks up with its cheeky bravado and ballsy swagger.
RocknRolla on the other hand, is a step above Lock Stock (in terms of scale, but LS remains in place as Ritchie's best film), and a good few steps below Revolver (in terms of shoved-up-arsedness). Sure, at times it does drag its feet, but when it gets to the point it's classic (or technically, recent) Ritchie through and through.
The pounding intro displays Guy's reasserted confidence, his sights re-aimed on the correct target to make a twisty, always entertaining piece of movie making that's ideal for the lads to get together to have a sit down to (as I did with some of my mates).
Suffice to say, I'll be there when sequel The Real RocknRolla, rocks up with its cheeky bravado and ballsy swagger.
Thursday, 4 September 2008
Contempt @ The Milano Film Festival 2008...
The Milano Film Festival 2008
I'd spoken about this earlier, but at the time their website hadn't updated, but now it has - so click the above link and check out the page for Contempt of Conscience, which is showing as part of the "State (t)error" segment, described as such:
I'd spoken about this earlier, but at the time their website hadn't updated, but now it has - so click the above link and check out the page for Contempt of Conscience, which is showing as part of the "State (t)error" segment, described as such:
"This out-of-competition season, now at its fourth edition, has increased in the number of works screened and in the audience's interest.
The documentaries tell little know stories or stories whose best-known versions are doctored. Stories about the violation of human rights and democratic principles, that highlight the iniquities and crimes committed under the banner of great concepts like "the export of democracy", "freedom of worship", "war on terror" and "peace missions".
The topics and countries featured in the documentaries try to offer an image of the world as accurate and varied as possible. But of an upside-down world. A world in which many areas haven't been mapped out yet.
In 2007 it was Chechnya, Belarus, Iraq, Italy, Palestine, Bosnia, and the USA."
The documentaries tell little know stories or stories whose best-known versions are doctored. Stories about the violation of human rights and democratic principles, that highlight the iniquities and crimes committed under the banner of great concepts like "the export of democracy", "freedom of worship", "war on terror" and "peace missions".
The topics and countries featured in the documentaries try to offer an image of the world as accurate and varied as possible. But of an upside-down world. A world in which many areas haven't been mapped out yet.
In 2007 it was Chechnya, Belarus, Iraq, Italy, Palestine, Bosnia, and the USA."
And there I am in the credits:
Fotografia - Cinematography: Nick Thomson
Monday, 1 September 2008
200th post spectacular!! ... Step Brothers...
I'd quite enjoyed Talladega Nights, but wasn't roaring with laughter (but then again I watched it alone, and such comedies are best viewed with others I've found, for the most visceral reaction) ... so I figured that Step Brothers would be solidly entertaining at least.
And what was it like? Absolutely fucking hilarious to the point of hysterics. Seriously, my mates and I were gasping for breath, much like the audience was.
Clearly McKay, Ferrel and Reily were having an absolute blast making this film (they all wrote it as well), and it shows in abundance. Two stand out, gasp-for-breath moments came in the form of ... in the least spoilery way possible ... nutsack meets drums, and "onion & tomato ketchup". The latter had me and one mate chuckling throughout the entire next scene, one or other of us spurring the other on with our continued, unabated laughter.
Absolute, sheer fun. No doubt the DVD - like those of other Apatow-involved projects - will be a cornucopia of extra features heavy with ad-libbing and on-set guffawing. An absolute laugh, it really and truly was.
...
So aye, here we be, 200 posts in after however long it's been ... a bit over a year I think if I'm not mistaken. Ah well, off to see another episode of The X-Files!
And what was it like? Absolutely fucking hilarious to the point of hysterics. Seriously, my mates and I were gasping for breath, much like the audience was.
Clearly McKay, Ferrel and Reily were having an absolute blast making this film (they all wrote it as well), and it shows in abundance. Two stand out, gasp-for-breath moments came in the form of ... in the least spoilery way possible ... nutsack meets drums, and "onion & tomato ketchup". The latter had me and one mate chuckling throughout the entire next scene, one or other of us spurring the other on with our continued, unabated laughter.
Absolute, sheer fun. No doubt the DVD - like those of other Apatow-involved projects - will be a cornucopia of extra features heavy with ad-libbing and on-set guffawing. An absolute laugh, it really and truly was.
...
So aye, here we be, 200 posts in after however long it's been ... a bit over a year I think if I'm not mistaken. Ah well, off to see another episode of The X-Files!
Two effed up flicks...
Teeth:
It's just one of those fucked up movies, and obviously you freak out with eek-eyed shock everytime a male member gets lopped off - but then again, all such members get severed as a result of some form of sexual violence, disrespect or just plain old perviness.
Otherwise, I wasn't particularly fussed by the rest of the movie at all, and ended up skimming a magazine at the same time between the shock parts of the movie. Basically that's it, I found it to be generally "meh/alright" with moments of intense "WTF" mixed in.
Funny Games:
Finally got around to checking this one out, and yet again another fucked up film. Mind you, there's barely any violence on screen. Apparently the director is harping on at we the viewer because we should be ashamed of ourselves for watching movies like SAW and Rambo.
Ugh - roll eyes time - fair play you could say, but I think all movies have a purpose (whether it's worth while or not is a per-movie assessment though).
For example, Rambo is a great film and the greatest slice of old school, hardcore action blokery since the 1980s. Yes, it's exceptionally violent and gory - but importantly, you're shocked when said violence is descended upon the innocent, and then you're cheering when it's dished back out against the vile, scum-sucking military junta who conduct themselves in an excessively sickening manner. Plus, it does highlight the Burmese plight while at the same time providing action entertainment - what's wrong with that?
As for SAW, it was the set-up that hooked me in first of all, and then the twisting of the story. The gore in the first one is present, but far from excessive (so I'd say anyway), and it was the plight the character's faced that captured my attention - and indeed the twist had me slack-jawed and WTF-ing for a good while after the end credits. SAW II, which was based on a non-SAW script, wasn't cracked up to much. A naff story and often cringe-inducing gore gags didn't leave a good impression, but then SAW III - with it's back-tracking plot and better story - redelivered the goods. Mind you, the gore gags were far more gruesome than the first film ... and it becomes less about entertainment, than shock cinema survival.
Then came SAW IV ... which was a total load of garbage, no doubt SAW V and indeed VI will continue in the same vein as IV.
But anyway - Funny Games, which is what I'm supposed to be on about. Superb performances throughout by all involved, and as a result the simple story often keeps you gripped (even if at times the pacing felt a bit sluggish at certain points). That said, some of the quieter moments - like trying to raise the alarm seemingly after the worst is over - feels real and honest, and indeed the off-screen violence does up the power of the action, but then again so does using a target that is rarely used in film (you'll see what I mean about half way through).
So a generally impressive film, but I do object to the eye-roll-inducing, somewhat holier-than-thou preaching regarding on-screen violence ... I mean, chill out - you're making a fictional movie, sheesh.
Also - I'd much rather have mankind work out their inner turmoil, violence, hatred and all other nasty goings on in a safe medium - such as videogames, or film - rather than do what the vast minority do and take it out on real people, on the real streets and in the real homes of our real, actual world.
It's just one of those fucked up movies, and obviously you freak out with eek-eyed shock everytime a male member gets lopped off - but then again, all such members get severed as a result of some form of sexual violence, disrespect or just plain old perviness.
Otherwise, I wasn't particularly fussed by the rest of the movie at all, and ended up skimming a magazine at the same time between the shock parts of the movie. Basically that's it, I found it to be generally "meh/alright" with moments of intense "WTF" mixed in.
Funny Games:
Finally got around to checking this one out, and yet again another fucked up film. Mind you, there's barely any violence on screen. Apparently the director is harping on at we the viewer because we should be ashamed of ourselves for watching movies like SAW and Rambo.
Ugh - roll eyes time - fair play you could say, but I think all movies have a purpose (whether it's worth while or not is a per-movie assessment though).
For example, Rambo is a great film and the greatest slice of old school, hardcore action blokery since the 1980s. Yes, it's exceptionally violent and gory - but importantly, you're shocked when said violence is descended upon the innocent, and then you're cheering when it's dished back out against the vile, scum-sucking military junta who conduct themselves in an excessively sickening manner. Plus, it does highlight the Burmese plight while at the same time providing action entertainment - what's wrong with that?
As for SAW, it was the set-up that hooked me in first of all, and then the twisting of the story. The gore in the first one is present, but far from excessive (so I'd say anyway), and it was the plight the character's faced that captured my attention - and indeed the twist had me slack-jawed and WTF-ing for a good while after the end credits. SAW II, which was based on a non-SAW script, wasn't cracked up to much. A naff story and often cringe-inducing gore gags didn't leave a good impression, but then SAW III - with it's back-tracking plot and better story - redelivered the goods. Mind you, the gore gags were far more gruesome than the first film ... and it becomes less about entertainment, than shock cinema survival.
Then came SAW IV ... which was a total load of garbage, no doubt SAW V and indeed VI will continue in the same vein as IV.
But anyway - Funny Games, which is what I'm supposed to be on about. Superb performances throughout by all involved, and as a result the simple story often keeps you gripped (even if at times the pacing felt a bit sluggish at certain points). That said, some of the quieter moments - like trying to raise the alarm seemingly after the worst is over - feels real and honest, and indeed the off-screen violence does up the power of the action, but then again so does using a target that is rarely used in film (you'll see what I mean about half way through).
So a generally impressive film, but I do object to the eye-roll-inducing, somewhat holier-than-thou preaching regarding on-screen violence ... I mean, chill out - you're making a fictional movie, sheesh.
Also - I'd much rather have mankind work out their inner turmoil, violence, hatred and all other nasty goings on in a safe medium - such as videogames, or film - rather than do what the vast minority do and take it out on real people, on the real streets and in the real homes of our real, actual world.
Tuesday, 26 August 2008
Where have I been eh?
Busy, that's where. I've been devoured by the monster that is editing.
...
Otherwise, Signing Off has been getting good responses from those who see it, which is rather nice. Also to note, it should be playing in support of Gary Ugarek's new zombie flick Deadlands 2: Trapped at the Hagerstown 10 cinema, so that's rather cool as well.
...
I'm also in the midst of brainstorming a new script, a full length version of the script upon which Signing Off was based, in fact. Thus far the brainstorming is going well, noiiice.
...
Finally - I've come over all 1994 as I've gone all X-Files mad after having seen the new movie recently, actually I think I forgot to write about that on here ... well, I totally dug it. Definitely not for newcomers, but great for fans of the show. So aye, I've just finished barging through the first season and will be starting season two shortly.
Such a bloody good show so it is!
...
Otherwise, Signing Off has been getting good responses from those who see it, which is rather nice. Also to note, it should be playing in support of Gary Ugarek's new zombie flick Deadlands 2: Trapped at the Hagerstown 10 cinema, so that's rather cool as well.
...
I'm also in the midst of brainstorming a new script, a full length version of the script upon which Signing Off was based, in fact. Thus far the brainstorming is going well, noiiice.
...
Finally - I've come over all 1994 as I've gone all X-Files mad after having seen the new movie recently, actually I think I forgot to write about that on here ... well, I totally dug it. Definitely not for newcomers, but great for fans of the show. So aye, I've just finished barging through the first season and will be starting season two shortly.
Such a bloody good show so it is!
Saturday, 16 August 2008
Batman: Gotham Knight...
As is my way, when I get into something, I really get into it and practically - to all intents and purposes - become obsessed with it.
Case in point - The Dark Knight - since seeing it, I've rarely been able to stop thinking about it and how bloody good it was. My desktop background has been a series of Dark Knight promos since viewing the film also ... and yep, I went and snatched up the Batman Begins/Gotham Knight box set.
Batman Begins, as anybody with half a brain knows, is an incredible piece of superhero filmmaking - and a great piece of filmmaking in general too. So it was cool to get to check out the extra features at long last. Then - Gotham Knight. There seems to be a bit of a tradition starting up now, Anime-style films (mostly shorts collected together) acting as prequels to big releases - or indeed just to get a bunch of pre-plot story out of the way (seemingly in the case of Dead Space, a new videogame coming soon).
Anyway, I guess I should finally talk about Gotham Knight - I dug it quite simply. I liked the story of the first one as an idea, but I didn't really like the first story over all. It certainly stood out from the others visually ... but I don't think the look quite suited the franchise.
Fortunately the rest of the films followed the franchises roots and stylings a bit more closely and came up with interesting new 'in between' stories that pre-date the events of The Dark Knight. It's a neat idea, although clearly some aspects wouldn't have fitted into the 'Nolanverse' (I'm mainly talking about the giant Crocodile bloke).
A great little accompanying piece, and quite enjoyable for someone like me who digs Anime, but isn't really, really into it. Basically, if you dug The Animatrix, check out Gotham Knight (especially if you dug the 1990s cartoon).
Case in point - The Dark Knight - since seeing it, I've rarely been able to stop thinking about it and how bloody good it was. My desktop background has been a series of Dark Knight promos since viewing the film also ... and yep, I went and snatched up the Batman Begins/Gotham Knight box set.
Batman Begins, as anybody with half a brain knows, is an incredible piece of superhero filmmaking - and a great piece of filmmaking in general too. So it was cool to get to check out the extra features at long last. Then - Gotham Knight. There seems to be a bit of a tradition starting up now, Anime-style films (mostly shorts collected together) acting as prequels to big releases - or indeed just to get a bunch of pre-plot story out of the way (seemingly in the case of Dead Space, a new videogame coming soon).
Anyway, I guess I should finally talk about Gotham Knight - I dug it quite simply. I liked the story of the first one as an idea, but I didn't really like the first story over all. It certainly stood out from the others visually ... but I don't think the look quite suited the franchise.
Fortunately the rest of the films followed the franchises roots and stylings a bit more closely and came up with interesting new 'in between' stories that pre-date the events of The Dark Knight. It's a neat idea, although clearly some aspects wouldn't have fitted into the 'Nolanverse' (I'm mainly talking about the giant Crocodile bloke).
A great little accompanying piece, and quite enjoyable for someone like me who digs Anime, but isn't really, really into it. Basically, if you dug The Animatrix, check out Gotham Knight (especially if you dug the 1990s cartoon).
Thursday, 14 August 2008
Signing Off - now online!!
View now on YouTube!
Yes indeedy, my new zombie-themed short is now online and ready to view on YouTube. It's 9 minutes in length and features Sean Connell, brother of DeadShed regular Ben.
"The United Kingdom has been ravaged by a viral infection that brings the dead back from the grave. Eventually all that remained was the West Midlands Refugee Camp #3 ... then it too fell, and then Mason Wood was the last man alive in the country."
Enjoy!
http://uk.youtube.com/watch?v=6stcWXqU8fg
Yes indeedy, my new zombie-themed short is now online and ready to view on YouTube. It's 9 minutes in length and features Sean Connell, brother of DeadShed regular Ben.
"The United Kingdom has been ravaged by a viral infection that brings the dead back from the grave. Eventually all that remained was the West Midlands Refugee Camp #3 ... then it too fell, and then Mason Wood was the last man alive in the country."
Enjoy!
http://uk.youtube.com/watch?v=6stcWXqU8fg
Tuesday, 12 August 2008
Black Xmas...
Having seen the original many moons ago, and then again fairly recently, I came across the remake on Sky Movies recently and figured I'd tape it and have a look ... what a shock, it's as shite as the vast majority of all of the other rape & pillage remakes out there at the moment.
Shite script, shite acting, shite directing ... it's just a load of shite really. It either rips out entire chunks of the original flick and just pastes in new actresses, or it goes off into weird new territory that both makes little sense, as well as acts as a hardy new yard stick, for new levels of yawn.
Seriously, why bother at all? Even the title was lazy. Shite, shite, shite, shite ... SHITE.
Shite script, shite acting, shite directing ... it's just a load of shite really. It either rips out entire chunks of the original flick and just pastes in new actresses, or it goes off into weird new territory that both makes little sense, as well as acts as a hardy new yard stick, for new levels of yawn.
Seriously, why bother at all? Even the title was lazy. Shite, shite, shite, shite ... SHITE.
The X-Files: I Want To Believe...
Off down the cinema t'other day with the lads it was, this time the new X-Files movie.
As a fan of the show I was wanted to check out where Mulder and Scully were now at, several years down the line from where we'd left them. While I've now forgotten a lot of the show itself, I was quite quickly right back to the 1990's as Mulder re-appeared under a ceiling cluttered with flung-up yellow pencils.
It's a low budget affair (relatively speaking) at a mere $30 million, so it's not an action-packed, large-scaled extravaganza. Rather it's more an extended episode, and not one of those episodes all about vast conspiracies, super soldiers and/or aliens. No, instead it's like an extended one of those episodes that were just one-offs (and often some of the best), this time involving transplants and a psychic, peadophile priest ... indeed.
The makers aren't seeking to gain any new fans with this entry, it's clearly just for the fans of the show and anyone else can just bloody well catch up, I mean honestly - who was alive in the 1990's and didn't watch The X-Files - losers that's who, haha...yes.
As a fan of the show I was wanted to check out where Mulder and Scully were now at, several years down the line from where we'd left them. While I've now forgotten a lot of the show itself, I was quite quickly right back to the 1990's as Mulder re-appeared under a ceiling cluttered with flung-up yellow pencils.
It's a low budget affair (relatively speaking) at a mere $30 million, so it's not an action-packed, large-scaled extravaganza. Rather it's more an extended episode, and not one of those episodes all about vast conspiracies, super soldiers and/or aliens. No, instead it's like an extended one of those episodes that were just one-offs (and often some of the best), this time involving transplants and a psychic, peadophile priest ... indeed.
The makers aren't seeking to gain any new fans with this entry, it's clearly just for the fans of the show and anyone else can just bloody well catch up, I mean honestly - who was alive in the 1990's and didn't watch The X-Files - losers that's who, haha...yes.
Charlie Bartlett...
I'd seen the adverts on telly, I'd heard something about it being compared to a film I liked (maybe it was compared to Napoleon Dynamite or something), and I knew it had Robert Downey Jr in it. Didn't know anything else, gave it a shot, and after a dull first five or ten minutes, I actually got quite into it and ultimately rather enjoyed it. Basically, rich kid gets shafted out of yet another posh school, turns up at an American comprehensive where it's all a bit rough and such, uses his family's on-call psychiatrist (and some psychology books) to gather a bunch of pills so he can medicate the entire school to deal with their problems.
Essentially, Bartlett just wants to be popular, and this is his elbow into the room so-to-speak. A fairly quirky, high-school set comedy drama type dealio ... with a great, and rather deshevled Downey Jr ... and that chick who was in a few scenes in 40 Year Old Virgin, playing the daughter of the woman that Steve Carell's character ends up boffing ... and the dude who's gonna play the Russian geezer on Star Trek, apparently.
Essentially, Bartlett just wants to be popular, and this is his elbow into the room so-to-speak. A fairly quirky, high-school set comedy drama type dealio ... with a great, and rather deshevled Downey Jr ... and that chick who was in a few scenes in 40 Year Old Virgin, playing the daughter of the woman that Steve Carell's character ends up boffing ... and the dude who's gonna play the Russian geezer on Star Trek, apparently.
Sunday, 10 August 2008
Signing Off - nearing completion...
I've been hammering out some editing for Signing Off over this weekend (as I'm busy during the week doing other editing tasks), and it's nearing completion.
It's been taking a wee while, but then again I've only been fiddling with it on weekends, but it's all coming together nicely now, I should have it finished next weekend and then I'll go about putting it on YouTube.
Now if you don't mind, I'm off to see The X-Files: I Want To Believe...
It's been taking a wee while, but then again I've only been fiddling with it on weekends, but it's all coming together nicely now, I should have it finished next weekend and then I'll go about putting it on YouTube.
Now if you don't mind, I'm off to see The X-Files: I Want To Believe...
Friday, 8 August 2008
Black Sheep...
I'd been meaning to see this flick for a while, being that it's along the same vibe as Braindead (in style, as well as country of origin), and the F/X were done by Weta "Them Lot Who Done Lord Of The Rings" Workshop ... also, it's essentially a zombie movie but with sheep, set in New Zealand, the home of countless numbers of the woolly jumpers in-waiting.
I spied the DVD on the cheap and figured why not? Off the bat, it doesn't live up to the "if you liked Shaun of the Dead" tag, but then again basically all films that use that, never do. Mind you, Black Sheep is far from a write off, it's still quite entertaining, pulls out a few nifty gore gags, gets a few great character moments in here and there, and generally isn't disappointing.
Now - this use of Shaun of the Dead on the cover reminds me of Dead & Breakfast ... dear god was that a sack of shite and a half. Dead & Breakfast doesn't have the humour of Shaun, nor does it have the gore, the style, the intelligence, the comedic acting skill, the script or a whole host of other things.
So basically, Black Sheep is a good bit of modern B-movie fun ... and it's loads better than Dead & Breakfast, another movie which used the name of Shaun of the Dead to flog itself (yeah yeah, that was most likely entirely down to the advertisers, but still).
It'll be interesting to see what the writer/director comes up with next.
I spied the DVD on the cheap and figured why not? Off the bat, it doesn't live up to the "if you liked Shaun of the Dead" tag, but then again basically all films that use that, never do. Mind you, Black Sheep is far from a write off, it's still quite entertaining, pulls out a few nifty gore gags, gets a few great character moments in here and there, and generally isn't disappointing.
Now - this use of Shaun of the Dead on the cover reminds me of Dead & Breakfast ... dear god was that a sack of shite and a half. Dead & Breakfast doesn't have the humour of Shaun, nor does it have the gore, the style, the intelligence, the comedic acting skill, the script or a whole host of other things.
So basically, Black Sheep is a good bit of modern B-movie fun ... and it's loads better than Dead & Breakfast, another movie which used the name of Shaun of the Dead to flog itself (yeah yeah, that was most likely entirely down to the advertisers, but still).
It'll be interesting to see what the writer/director comes up with next.
Saturday, 2 August 2008
North By Northwest...
Back on my degree, we covered Hitchcock fairly often - indeed, one of my prof's was an epic Alfred-fan. So, again, this was a case of 'record it as we might use it on the course, but then leave it in a box of videotapes for years' ... quite.
Now, being a fan of Captain Scarlett when I was younger, I think I'm right in saying, that North By Northwest is my first proper exposure to Cary Grant (upon whom Scarlett was based closely).
Yes, it's a spiffing film, and Grant rocks, and it's one of Hitch's best. Nevermind the obvious, what NBN did was take me right back to my days at university. Watching those cinematic classics in the campus' theatre on restored prints (something I think I'd appreciate even more now, than back then). I dug the old school colour palette, the rear projection, the epic matte paintings, the innuendo of trains going into tunnels, the rough hidden edits (when panning in and out of the train, which in turn took me right back to Hitch's excellent Rope).
So, whilst it was actually my first viewing of Northwest, it managed to feel familiar, to take me on a trip down memory lane thanks to its romantic vision of the time in which it was shot.
I guess you and I could say, with multiple meanings, those indeed were the days.
Now, being a fan of Captain Scarlett when I was younger, I think I'm right in saying, that North By Northwest is my first proper exposure to Cary Grant (upon whom Scarlett was based closely).
Yes, it's a spiffing film, and Grant rocks, and it's one of Hitch's best. Nevermind the obvious, what NBN did was take me right back to my days at university. Watching those cinematic classics in the campus' theatre on restored prints (something I think I'd appreciate even more now, than back then). I dug the old school colour palette, the rear projection, the epic matte paintings, the innuendo of trains going into tunnels, the rough hidden edits (when panning in and out of the train, which in turn took me right back to Hitch's excellent Rope).
So, whilst it was actually my first viewing of Northwest, it managed to feel familiar, to take me on a trip down memory lane thanks to its romantic vision of the time in which it was shot.
I guess you and I could say, with multiple meanings, those indeed were the days.
Starship Troopers 3 - Marauder...
For crying out loud Ed Neumeir! Not only does he need to do something other than Robocop or Starship Troopers, but he needed to have not bothered at all with ST3: Marauder (which he also got to direct). Considering he wrote the first - which was great stuff - and the second, which was Oscar winning when compared to Marauder - it's quite odd to find Ed just taking the piss out of his own creation in such a half-arsed manner. It isn't becoming of the franchise, it leaves you groaning throughout (and not just because the characters are awful and mostly acted by planks of 2x4).
Whilst having more than twice the budget of ST2: Hero of the Federation, Marauder still manages to look cheap, really cheap. At least ST2 knew it had a teeny budget and created a story around that. ST3 on the other hand, has all gone arse up. The plot is cack, with ham-fisted religious "discussion" slapped around uber-facistic, traitor-hanging all-but-Nazi's.
The performances ... oh dear ... yes, the first film was essentially a sci-fi soap opera, but at least it did it well and you did actually believe in the characters. Marauder though, you just sit there studying the dodgy-career-aging on Van-Diem's face, or marvelling at how ill-considered that cook guy is, or how atrocious that propaganda song is.
Oh dear, oh dear, oh dear. What a load of shite.
Whilst having more than twice the budget of ST2: Hero of the Federation, Marauder still manages to look cheap, really cheap. At least ST2 knew it had a teeny budget and created a story around that. ST3 on the other hand, has all gone arse up. The plot is cack, with ham-fisted religious "discussion" slapped around uber-facistic, traitor-hanging all-but-Nazi's.
The performances ... oh dear ... yes, the first film was essentially a sci-fi soap opera, but at least it did it well and you did actually believe in the characters. Marauder though, you just sit there studying the dodgy-career-aging on Van-Diem's face, or marvelling at how ill-considered that cook guy is, or how atrocious that propaganda song is.
Oh dear, oh dear, oh dear. What a load of shite.
The Caine Mutiny...
Yep, another Bogart movie from my collection, one that - as it was on at the same time as Action In The North Atlantic, hadn't been watched, despite being sat there for five and a half years.
Similar to North Atlantic, there isn't much Bogart - yet he's headlining the flick - and, indeed, the simple flippancy of marriage crops up again. It really is amazing how many movies from "back in the day" took marriage so care free. It is odd to think of people only saying that now marriage is taken lightly, but if marriage was taken as lightly back in the day as it was in the movies of the era, then there's no room to complain.
Indeed, divorce has shot up, so maybe it's a case of these days people are actually bothering to end their flippant marriages? Who knows, back to The Caine Mutiny, I did get quite into it - even though it's not got much in the way of action, and it does go on a bit ... however, the main interest is indeed Bogart (when he finally turns up on screen that is). How so? He's playing a mentally disturbed, pain-in-the-arse, rule-Nazi Captain of the lazily-staffed Caine.
Rather than playing the hero, here in his later career years, Bogart plays a fairly tragic figure. One who has most likely become shell-shocked by years of service, a paranoiac, a stickler for detail and harsh punishment. Interesting stuff indeed.
Similar to North Atlantic, there isn't much Bogart - yet he's headlining the flick - and, indeed, the simple flippancy of marriage crops up again. It really is amazing how many movies from "back in the day" took marriage so care free. It is odd to think of people only saying that now marriage is taken lightly, but if marriage was taken as lightly back in the day as it was in the movies of the era, then there's no room to complain.
Indeed, divorce has shot up, so maybe it's a case of these days people are actually bothering to end their flippant marriages? Who knows, back to The Caine Mutiny, I did get quite into it - even though it's not got much in the way of action, and it does go on a bit ... however, the main interest is indeed Bogart (when he finally turns up on screen that is). How so? He's playing a mentally disturbed, pain-in-the-arse, rule-Nazi Captain of the lazily-staffed Caine.
Rather than playing the hero, here in his later career years, Bogart plays a fairly tragic figure. One who has most likely become shell-shocked by years of service, a paranoiac, a stickler for detail and harsh punishment. Interesting stuff indeed.
Thursday, 31 July 2008
The Dark Knight...
This is a great superhero movie. Not only is it a great superhero movie, but it's a great Batman movie, and not only is it a great Batman movie, but it's a great movie ... and not only is it a great movie, but it's a great film.
The Dark Knight is most definitely 'The Godfather II of superhero movies', and indeed so it is the T2 and Aliens of the Batman 'Nolan-verse' (to quote Kevin Smith, who recently ranted and raved passionately about how simply awesome the film is).
Now, at a hefty two and a half hours, you might think it's a tad long - but not once did I check my watch, or think "I wonder how far through is it now?" ... actually I tell a lie, about mid-way through I wondered how far through we were, and hoped that we were only a quarter through the movie, it was that good and I was enjoying it that much.
It's grand, it's epic, it's weighty and it packs a powerful punch.
Just the acting talent on show alone sets this movie high above all other films in its genre. Bale as the eponymous hero continues to rock copiously after his triumphant turn in Batman Begins. Oldman continues to paint Gordon with due care and attention, creating a character you truly respect. Caine again steps up to the plate as Alfred the Butler, the sort of chap anyone would love to have as their uncle, a man of pin-sharp wit and never-bending loyalty.
Now - the two villains - firstly, I'll have to say that Eckhart as Harvey "Two Face" Dent was fantastic, so much so that yes - I too believe in Harvey Dent. It is a shame that his sheer acting talent in this film will end up being kicked aside somewhat, due to the demise of Heath Ledger - who, quite simply, was astonishingly good at being The Joker.
Indeed, with this being Ledger's final full performance, he most definitely went out on one of the highest career notes in cinematic history. Just the scene where The Joker exits an exploding hospital (which was done for real, in one take), leaves you completely entertained as well as staggered. Jack Nicholson definitely created a legendary Joker in Batman 1989, one that was somewhat dark but mostly full of comic exaggeration. Indeed, Burton's Batman - often described as being dark and brooding - is comparatively light and fluffy when sat next to Nolan's shockingly bleak and complex entry. Only in the world of Nolan could The Joker be so exceedingly pitch black, while still managing to raise a wry grin and hearty chuckle from the audience - his "magic trick", or his fussing over a faulty detonator, exemplify this humorously dark tone that Ledger so beautifully captured.
Action wise - again - it leaves you staggered. From the technical marvel of a one-take, Ledger-involving, razing of a hospital, to Batman taking out a semi truck as only he knows how, to many other set pieces, you're just left nothing short of clamped to your seat.
Indeed, certain action sequences demonstrate such a potent and skillful understanding of tension building, that you are desperately strapped in position, and - when a character suffers a certain fate - you're genuinely blown away. In terms of the gloves coming off, I can only think back to the season five opener of 24 as being this shocking.
Why is the movie so involving? The script - which is truly adult in nature - no, I don't mean there are titties flopping around all over the shop. What I mean is, the issues at hand are often deeply complex, and there are some amazingly deep ethical scenarios played out throughout the film that left myself and a friend talking all the way back home again.
Through no action of my own, The Dark Knight remained one, two or three steps ahead of me. I barely was allowed room to stop for breath (or time to grow weary), and by the time the final shot cut to black and the title appeared before the credits, I was gagging for more.
I would have gladly watched another hour of something this well scripted, this well acted, this well directed, and this well assembled. Yes, there is a lot of hype surrounding the film - but try and forget about as much of that as possible - and just get swept away by literally the best film of 2008.
I'd previously said that WALL.E was my #2 of 2008 because I was holding #1 open specifically for The Dark Knight - I was not left disappointed, and am still swooning over how bloody brilliant it all was days later.
One final note - here in the UK it's a 12A, which is an advisory rating. As such there were kids as young as eight (guestimate) in the audience, and at times I did wonder (as Kevin Smith has also), what are they getting out of this movie? This film works on so many levels, most of which circle the depths of the grown up world, that you start to think - is this serving to entertain the kids as much as previous, far lighter installments did?
Well, it must do (at least for some), because when the trailer-bothering shot of the semi truck getting flipped over front-wards, some kid near the back just yelled out "WOOOOOOWWW!!!!", and indeed wow, it was a bloody cool sequence (especially Batman's idea of an about-turn).
Indeed, The Dark Knight stands up and shows the world that even a comic-book-based film can become something to be taken very seriously, that even ballsy box-office-owning entertainment can leave you mulling over a myriad of issues - from the superb acting, to the complicated ethical choices that characters must face throughout.
Now, actually finally, The Dark Knight is occasionally fairly shocking - the sheer detail in the revealing of Two Face alone made my jaw clatter to the floor (both in terms of Nolan's execution, and the CGI wizardry). Truly, this film won't be forgotten anytime soon - and yes, you miserable old farts on Newsnight Review, in a decade The Dark Knight will be looked back upon as a milestone in cinematic history and not just superhero movie history.
Truly great filmmaking, full stop. See it now.
...
Now gimme a top notch DVD to pre-order, chop-chop!
The Dark Knight is most definitely 'The Godfather II of superhero movies', and indeed so it is the T2 and Aliens of the Batman 'Nolan-verse' (to quote Kevin Smith, who recently ranted and raved passionately about how simply awesome the film is).
Now, at a hefty two and a half hours, you might think it's a tad long - but not once did I check my watch, or think "I wonder how far through is it now?" ... actually I tell a lie, about mid-way through I wondered how far through we were, and hoped that we were only a quarter through the movie, it was that good and I was enjoying it that much.
It's grand, it's epic, it's weighty and it packs a powerful punch.
Just the acting talent on show alone sets this movie high above all other films in its genre. Bale as the eponymous hero continues to rock copiously after his triumphant turn in Batman Begins. Oldman continues to paint Gordon with due care and attention, creating a character you truly respect. Caine again steps up to the plate as Alfred the Butler, the sort of chap anyone would love to have as their uncle, a man of pin-sharp wit and never-bending loyalty.
Now - the two villains - firstly, I'll have to say that Eckhart as Harvey "Two Face" Dent was fantastic, so much so that yes - I too believe in Harvey Dent. It is a shame that his sheer acting talent in this film will end up being kicked aside somewhat, due to the demise of Heath Ledger - who, quite simply, was astonishingly good at being The Joker.
Indeed, with this being Ledger's final full performance, he most definitely went out on one of the highest career notes in cinematic history. Just the scene where The Joker exits an exploding hospital (which was done for real, in one take), leaves you completely entertained as well as staggered. Jack Nicholson definitely created a legendary Joker in Batman 1989, one that was somewhat dark but mostly full of comic exaggeration. Indeed, Burton's Batman - often described as being dark and brooding - is comparatively light and fluffy when sat next to Nolan's shockingly bleak and complex entry. Only in the world of Nolan could The Joker be so exceedingly pitch black, while still managing to raise a wry grin and hearty chuckle from the audience - his "magic trick", or his fussing over a faulty detonator, exemplify this humorously dark tone that Ledger so beautifully captured.
Action wise - again - it leaves you staggered. From the technical marvel of a one-take, Ledger-involving, razing of a hospital, to Batman taking out a semi truck as only he knows how, to many other set pieces, you're just left nothing short of clamped to your seat.
Indeed, certain action sequences demonstrate such a potent and skillful understanding of tension building, that you are desperately strapped in position, and - when a character suffers a certain fate - you're genuinely blown away. In terms of the gloves coming off, I can only think back to the season five opener of 24 as being this shocking.
Why is the movie so involving? The script - which is truly adult in nature - no, I don't mean there are titties flopping around all over the shop. What I mean is, the issues at hand are often deeply complex, and there are some amazingly deep ethical scenarios played out throughout the film that left myself and a friend talking all the way back home again.
Through no action of my own, The Dark Knight remained one, two or three steps ahead of me. I barely was allowed room to stop for breath (or time to grow weary), and by the time the final shot cut to black and the title appeared before the credits, I was gagging for more.
I would have gladly watched another hour of something this well scripted, this well acted, this well directed, and this well assembled. Yes, there is a lot of hype surrounding the film - but try and forget about as much of that as possible - and just get swept away by literally the best film of 2008.
I'd previously said that WALL.E was my #2 of 2008 because I was holding #1 open specifically for The Dark Knight - I was not left disappointed, and am still swooning over how bloody brilliant it all was days later.
One final note - here in the UK it's a 12A, which is an advisory rating. As such there were kids as young as eight (guestimate) in the audience, and at times I did wonder (as Kevin Smith has also), what are they getting out of this movie? This film works on so many levels, most of which circle the depths of the grown up world, that you start to think - is this serving to entertain the kids as much as previous, far lighter installments did?
Well, it must do (at least for some), because when the trailer-bothering shot of the semi truck getting flipped over front-wards, some kid near the back just yelled out "WOOOOOOWWW!!!!", and indeed wow, it was a bloody cool sequence (especially Batman's idea of an about-turn).
Indeed, The Dark Knight stands up and shows the world that even a comic-book-based film can become something to be taken very seriously, that even ballsy box-office-owning entertainment can leave you mulling over a myriad of issues - from the superb acting, to the complicated ethical choices that characters must face throughout.
Now, actually finally, The Dark Knight is occasionally fairly shocking - the sheer detail in the revealing of Two Face alone made my jaw clatter to the floor (both in terms of Nolan's execution, and the CGI wizardry). Truly, this film won't be forgotten anytime soon - and yes, you miserable old farts on Newsnight Review, in a decade The Dark Knight will be looked back upon as a milestone in cinematic history and not just superhero movie history.
Truly great filmmaking, full stop. See it now.
...
Now gimme a top notch DVD to pre-order, chop-chop!
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