But perhaps the most surprising thing about Moon is that the sinister Kevin Spacey-bot wasn't all that bad. In fact it was quite nice. Didn't try to kill anyone. Didn't shut off any oxygen supplies. And when asked it even explained the entire plot of the film, without even trying to be mysterious. Nice robot.
Wednesday, 30 December 2009
But perhaps the most surprising thing about Moon is that the sinister Kevin Spacey-bot wasn't all that bad. In fact it was quite nice. Didn't try to kill anyone. Didn't shut off any oxygen supplies. And when asked it even explained the entire plot of the film, without even trying to be mysterious. Nice robot.
Sunday, 27 December 2009
Also, I've still not seen Quantum of Solace, so it doesn't bother me to see Daniel Craig 'out of character'. He's not James Bond yet.
Saturday, 26 December 2009
Haruki Murakami's Hard-boiled Wonderland and the End of the World has faults, but Murakami is one of those lucky writers that make you think he's doing it on purpose. They're not faults, they're post-modern jokes, or something. When it wants to be, Hard-boiled Wonderland is a good book. Murakami does surreal very well - there's wardrobes hiding chasms that lead to rivers with silent waterfalls and unicorn skulls that hold dreams. The book is divided into two sections, one half in a modern Tokyo and the other in the fantasy End of the World town. In the 'real' world setting Murakami is determined to show how boring the character's life is. With his last day he literally just sits around thinking about trivial things. But the problem is, it's boring. I know all the mundane details are there for a point, but they'res still mundane. I notice the point he's making but I'm not enjoying it.
There are other faults that I'm not really allowed to call faults. The protagonist is constantly drinking beer. Every woman he meets is desperate to sleep with him. That sort of thing. Comments on the standard American hero, not (probably) bad writing. Most of this is guesswork though, because this is the only Murakami book I've read. He could be a bad writer, but I'm sure he's just being clever.
Tuesday, 22 December 2009
Take the exact same formula into a new film and it's lost all the magic. Now that it doesn't smell like nostalgia it can be seen for what it really is - a bit dull. Maybe this is just because I've seen it all before. But if this had been the first Indiana Jones film I'd ever seen, I still don't think I'd be impressed. Loud action set-pieces aren't that interesting anymore because they can be done by anyone that knows how to work a big computer. And the plot now looks tired because it's not twenty years ago. If it's meant to be a tribute to the old films, then it needs a lot more charm than this, and should probably do away with the silly bit at the end. George Lucas-style filmmaking just isn't that interesting anymore, because everyone can do it. And a lot of them do it better.
Thursday, 17 December 2009
So the YouTube page is going pretty well, but the poor neglected Blogger page is, well, looking neglected. And sad. Anyone that links to it, in any way, can have a credit at the end of the show. Along with my almost eternal gratitude.
Saturday, 12 December 2009
Thursday, 10 December 2009
Friday, 4 December 2009
The Mildly Interesting Secret of Existence features a student that finds the meaning of life in the post, isn't interested, and then is taunted by Hoshuu until he pays attention. Hoshuu isn't really in it until the third film, but this was all her doing. Hoshuu 'is maintenance', she makes sure everyone is still ticking and pats them on the head. She is, however, quite sinister. She's just playing a mean game in this film - poking the student with a stick until he goes mad. She covers his room in orange paper and makes tinkly music follow him around. After the world is mirrored (3:59) she can be seen walking towards the student, who is suddenly mildly interested. Even though she doesn't say anything, her tone comes through in the orange messages.
The Front Desk features another one of these malicious mini-gods. The Secretary interviews people before they're born, giving them jobs and friends. The interview doesn't go well for this man. He's not keen on the options he's given, so he chooses the Fourth Option, the random assignment. Hoshuu explains on the voice-over that 'you'd have to be mad to take the Fourth Option', you don't know what you're getting.
Talk to Hoshuu is set around twenty five years into the man's life. He's having a bit of trouble. Clocks aren't ticking for him anymore and, because of this, he's going to jump off the end of a pier. He should have died in a plane crash, so he's technically dead in Hoshuu's books. She has to clean it up, so she buzzes him into her channel through the radio static (similar to the window being reversed). She wants to start him up again by winding his watch back up, but he's a bit reluctant about the whole thing. It turns out that this is the Fourth Option. It also turns out that Hoshuu isn't all that mean on a good day. After seeing her in the first film, and hearing her in the second, she's revealed as being just 'very English'.
If you've got a few minutes, watch them again (or probably for the first time) with all this in your head. It might be better. And all this nonsense is going to be expanded on in something else I'm writing. It's not a film. It's something you read instead. It'll all make sense one day.
Tuesday, 1 December 2009
The thing is though, I'm not interested in starting any religious debates or challenging any institutions. I just want to make a mildly interesting little show. If people watch an episode and then they want to watch the next one, I'm happy. There were so many pokes at Jesus in the first episode (that's now been cut) it was verging on being a bit Roman. I've realised in writing further episodes that I don't really care about that. I like these characters, and when they all die in a horrible deep-sea diving accident, I'll be a bit upset. Was Jesus really the son of God? I don't care. It is funny though.
I'm saying all this, and very few people have actually seen it yet. It could be rubbish. Remember that.
Sunday, 29 November 2009
So episode four (also known as episode '3') will be easy. Simple. Effortless. No problem at all. Apart from the three new characters we haven't cast yet. They'll turn up though. It's not like we've already been looking for weeks and have found nobody. It'll be fine.
Wednesday, 25 November 2009
Also, I'm lazy.
Sunday, 22 November 2009
If it is an accurate portrayal of the job, then I feel sorry for them all. They went into it expecting fluid and eloquent conversations as they walked through corridors. Instead they get a headache and a punch.
Wednesday, 18 November 2009
What this means is that we now have to make episode four (or episode three, as it's called now) before we have the three episodes to start with. I'll put the cancelled episode under 'Deleted Scenes' on the DVD. Yes, that'll happen.
Tuesday, 17 November 2009
It's all building up to a Christmas special that's already looking better than usual (Cybermen bore me, sorry). And then on to Steven Moffat's reign. It may be unrealistic to expect every episode to be as good as 'The Girl in the Fireplace', but its good to have dreams.
Sunday, 15 November 2009
It's risky. If I didn't know it was The Wire - the 'greatest television of all time' (I'm quoting somebody else there) - then I might not have watched past the second or third episode. David Simon built a show that only really works on DVD, where you can 'read' the 'chapters' when you like. He hasn't even given in to a 'previously' recap. It's the sort of TV that I can't wait to watch again, because I suspect it might be even better the second time.
So who is this HBO? And why do they allow people to make brilliant television? It shouldn't be allowed. Why didn't they cancel The Wire after two seasons? Nobody was watching it. Should have cancelled it. That's the law in television land. Are they the only competent broadcasters in the US? Shut them down immediately.
Wednesday, 11 November 2009
On my naming day when I come 12 I gone front spear and kilt a wyld boar he parbly ben the las wyld pig on the Bundel Downs any how there hadnt ben none for a long time befor him nor I aint looking to see none agen.That's the first sentence from Riddley Walker. It's one of those books where the author has chosen to write in a broken down, fractured version of English. In this case Russell Hoban is writing about a version of Kent, centuries after a nuclear holocaust. I got used to the style and started to read it fluently, but the first hundred pages were like banging my head against a brick wall. An incomprehensible and dense brick wall. It does fit into the muddy and tangled future that the book presents, but I wonder whether it would have been better without. At times the language was taking me out of the story, and I really didn't have much clue what was going on. Was that meant to be happening? It surely can't be a good thing. Will Self, who was inspired to write the similar Book of Dave, says that 'the sensation of groping in the dark that you'll have while deciphering this text is exactly what it is all about'. It takes a lot of imagination and commitment to construct a world like this, so why make sure that most people won't understand it? It's brave, distinctive and intelligent. But also slightly silly.
Tuesday, 10 November 2009
So, Cormac McCarthy's The Road. That's good. The only novel I've ever read in one sitting. Partly because it isn't very long, but also because he really knows how to tell a story. Stripping a narrative down to its bare minimum is how to keep me entertained. Having only two characters wandering around a post-apocalyptic environment, always on the edge of dying, keeps it focused. You're not taken away from it for a second. They only say and do what they absolutely need to, and McCarthy only writes this. The closeness means you never fully understand the world around them, but that adds to the bleak, sparse mystery of it all.
It's a conversation like this that is all the subject needs:
Why do you think we're going to die?It's this sort of writing that influences me. Just the bare bones is the most effective. There's no need to overload it. I'm becoming more and more obsessed with minimalism. It's half laziness, but also the thought that it might just be better. If a book bores me, it's because there are too many words saying too little. Throw most of them away.
We dont have anything to eat.
We'll find something.
How long do you think people can go without food?
I dont know.
But how long do you think?
Maybe a few days.
And then what? You fall over dead?
Well you dont. It takes a long time. We have water. That's the most important thing. You don't last very long without water.
And yes, there's a film coming. The director has already complained about the trailer, which makes the whole thing look a bit too exciting. He assures us (and by 'us' I mean anyone that's read the book) that it'll be as bleak and harrowing as it should be. Lovely.
Monday, 2 November 2009
I'd appreciate some thoughts on this. Should the first two episodes be put into one video or kept separate? You haven't seen them, but with any web series how likely are you to click to the second episode? Would a double-bill make you watch the second, even if you weren't entirely interested?
Friday, 30 October 2009
Monday, 26 October 2009
The second half is going to be reshot. I'm going to to do some rewriting. I'm going to buy some ice cream. All good.
Thursday, 22 October 2009
It's all going fine. Episode two will be made obscenely soon after the first one. And episode three will be made after that. And then, if I'm very lucky, episode four.
Monday, 19 October 2009
The first three episodes are going to filmed before it's put on the internet. That way people can get far enough into it to be interested. And also, episode four is where it all goes mad. I'll edit it together, and if it's disastrous I'll admit it here. If it's not, then I probably won't say.
Saturday, 17 October 2009
Apart from camera pondering, everything is going smoothly. It'll be fine.
Saturday, 10 October 2009
The good news is, it'll look better than usual, it'll sound better than usual, and it won't have a plot that makes you go 'eh?'
Wednesday, 7 October 2009
The indie film In Search of a Midnight Kiss is in black-and-white. Not for wistful melancholy, but to create a sort of ninety minute dream. Somebody told me recently that most people dream in black-and-white. I don't think that's true, but if it is then they would probably look like this film. It's a romantic comedy that wanders though a monochrome city, turning the place into a surreal memory. I'm not sure that's a good enough reason. It's an excellent film, but it would also have been an excellent film in colour. I'm not going to frown at it though, I'm glad that independent filmmakers can do whatever they want. It should have some quizzical applause, whatever that sounds like.
Maybe the problem is that I'm always expecting these films to be burst into colour Pleasantville-style. And they never do.
Thursday, 1 October 2009
It had good reviews though. This might just be one of those times where everyone else thinks differently to me.
Monday, 28 September 2009
Changeling is a film that feels longer than it actually is. Not because it drags, but because the climax happens about four times. As with many films 'based on true events', there's a lot stuffed in here. It's not always easy to watch but it is a powerful film.
Tuesday, 22 September 2009
It confuses me, though, when a documentary is called a 'masterpiece.' The crew can only film what is real and put in the front of them. The subjects rely on the crew to portray them in the right way. It can't (or shouldn't) be written or orchestrated. So who should take the credit for the 'masterpiece'? How can reality be a 'masterpiece'? I don't know.
Friday, 18 September 2009
Some shows have a consistent location with obvious character arcs but can still feel episodic. In ER there a main characters that go through seasons with the same problems but still deal with isolated issues. People come in with a broken head, they live or they die, but it doesn't really matter because next episode it'll be somebody else with a broken head. Maybe this is unfair, patients can't stay in a hospital forever, but they could have tried a little harder to disguise it. A show that gets the blend between episodic and arc right is The West Wing (and never mind for a second that I think it's the Best Television Ever). Occasionally (usually during the middle of a season) a problem is brought up and dealt with entirely within the episode, but it often has consequences, or is at least mentioned later on. The majority of episodes deal with shifting story arcs, with characters that don't forget things. Sometimes it's an election, sometimes it's something more subtle like Bartlet's psychology.
And then there are the shows that are entirely arcy (that's an adjective now). The Wire sees itself as a visual book with chapters instead of episodes, it builds up one story a season that ultimately gives greater rewards. It's more powerful to see a character's demise after thirteen hours rather than forty-five minutes. Maybe the creators make the point too strongly ('Are you paying attention? If you're not paying attention you won't understand our intricate plots. Make sure you're paying attention. Are you sure you're paying attention?') but it's something I'd like to see more of. And it's proven that it can work over a longer season, with the whole point of 24 being the insistent cliffhangers.
There are a few shows that can work with an episodic structure (Doctor Who manages it, I don't know how) and others that go right to the other end of the scale, like Lost. Most shows find a happy middle ground though. Battlestar Galactica, Buffy, Dexter, Firefly - this is all good television.
Monday, 14 September 2009
If this is all sounds a bit pretentious, that's because it is. It's uncompromising space rock. It tells of humans leaving Earth in search of a new home and totalitarian goverments keeping an eye on everything. It's like they've gone a little bit mad. But mostly, it's just some good songs.
Friday, 11 September 2009
That said, when I watched it with friends they said it was 'the scariest thing they'd ever seen'. So, you know, maybe I'm wrong.
Monday, 7 September 2009
And David Brent, obviously, is a brilliant creation. He plays up to the camera, is false, deluded and self-aggrandising. Then in the second season he is given some unexpected depth. He does, after all, just want to be popular and begins to notice that he isn't. His confidence is shattered with jealousy and disappointment. Personally, I wanted the Swindon lot to like him, I wanted him to succeed some of the time. The writing and acting has to be this good for you to feel sympathetic towards a horrible person. He's funny because he isn't, and I wonder whether I would still laugh at him if I was actually there. Putting the camera as an extra character means that we'll never know what he's like without it. The entire time he is talking though the television.
I'm convinced it's a masterpiece.
Saturday, 5 September 2009
It'll be a challenge. I found that gathering the right people for a short film was hard enough, let alone an entire web series. I'll have to find a committed bunch, maybe offering them alcohol/Haribo-based incentives. If all else fails - puppets.
Thursday, 3 September 2009
Here's a trailer for how to be god. As usual it's high on blasphemy but low on expense and sense. I've dropped the 'name god after yourself' idea, it wasn't clear enough and was slightly off putting. And I realise I haven't actually explained what the show is about yet. I'll do that soon.
Tuesday, 1 September 2009
So the trailer for how to be god will be in cinemas soon. Yes. And 'cinemas' was a metaphor. It won't be in cinemas.
Friday, 28 August 2009
There's something very intellectual to say about metafiction here, but that's being far cleverer than I feel like being.
Thursday, 27 August 2009
Maybe there's just something naturally interesting about snipers. The best scenes of the film are when one man has the other in his sights, waiting to make a clear shot. Sheltered from the rest of the battle, it's almost cozy. I'll try to use even more inappropriate adjectives in the next post.
Tuesday, 25 August 2009
Monday, 24 August 2009
I'm reminded of the criticism that Public Enemies came under for using a modern filming style. Road to Perdition is the opposite but at the same time fresh - it's slow and winding rather than intense and fidgety. There's a lot to be said for both styles, but I wonder whether this would have been completely different under other direction. As it is, it's unsettlingly flawless.
Saturday, 22 August 2009
Why did I watch this film when there was a strong chance of it being like this? I need to find some good ones to watch.
Wednesday, 19 August 2009
And Tarantino doesn't seem to have the discipline to cut it down. It's a common criticism these days, but this film is long and bloated. It's full of pointless scenes that only have about a minute of life in them. Instead they go on for ten. Tarantino has the idea that he's a genius of dialogue, and everything he writes will be remembered for generations - so why cut any of it? He's wrong. It's all pretty tedious. He has clearly surrounded himself with sycophants that talk him up and compare him to Shakespeare. They tell him it's all wonderful and he believes them. Somebody needed to chop half an hour off this film. He's obsessed with his own importance. I've heard him describe himself as an auteur. It's ridiculous.
I'll try and be balanced here and mention some of the film's nice moments. The Bride escaping from a coffin was entertaining and the daughter's scenes weren't bad. There's not much else. I'm not looking forward to Inglorious Basterds.
Monday, 17 August 2009
Here's what I'm talking about. You'll either like it or you'll fall asleep. Maybe both.
Saturday, 15 August 2009
I will persevere with it, if only because it seems like the best way to promote something. Overall though I'm sticking with Facebook and the friendly world of Blogger.
Friday, 14 August 2009
I'll eventually pick a name for the protagonist of the show, who is god, from the people that follow it. That person will then have the name of god. Okay, so I can't turn anyone into an omnipotent deity in reality, but this is the next best thing. Almost.
I've set up a Blogger page and a Twitter page, with a Facebook group to come. I would hugely appreciate a mention on other blogs or Twitterings, or wherever you live on the internet.
Wednesday, 12 August 2009
I'd be a rubbish film critic. And the title of this post is a spell which removes a person's memory of an event. I researched that.
Tuesday, 11 August 2009
- Working with the title, I can promise to turn people into God by supporting the show. Unfortunately, I do not have the power to do this.
- I could promise the show will unveil God in a behind-the-curtain Wizard of Oz moment. Unfortunately, I don't think it will.
- I could promise the show will reveal the meaning of life. Unfortunately I've already done this, and it was only mildly interesting.
- I could get the Pope's endorsement. I wonder if he's on Twitter.
On writing this I've realised that I might be able to do the first one. We'll see what happens.
Sunday, 9 August 2009
I want to start a viral marketing campaign for this but first I'd have to learn what 'viral marketing' means.
Friday, 24 July 2009
I should probably summarise all this: Inside Man thinks it's clever and isn't, Heat thinks it's clever and is, Taken thinks it isn't clever and isn't.
And with that I'm running away for two weeks.
Wednesday, 22 July 2009
Mann usually makes films about two men locked in some sort of battle. Collateral was claustrophobic and played out a struggle between an improviser and a planner, contained in a taxi. Public Enemies wanted to go somewhere like this but failed because one side was just a flat FBI agent. Heat is epic and sprawling and is about more than two characters, it's a thriller done with thought and intelligence. It wants to be something above its genre.
Sunday, 19 July 2009
Friday, 17 July 2009
DiCaprio gives a typically enjoyable performance, and there's an interesting supporting cast - including, brilliantly, Alan Alda. On the other hand, Cate Blanchett (cough) gives a very annoying performance. I can't blame her for a supposedly accurate, if slightly exaggerated, portrayal of a real person, but the character was mind grating. A small point of criticism on a decent film.
Monday, 13 July 2009
How to make a standard Hollywood action movie
1. A maverick detective with a point to prove. He's a bit of an outsider in the department and his unorthodox methods raise a few eyebrows on the operation. He will eventually get the job done, maybe gaining some respect along the way.
2. A veteran policeman who's seen it all before. He will occasionally smoke and make philosophical comments - 'Why does it have to be like this?'
3. A mastermind criminal who's got it all figured out. He's calm. Very calm. Because he's got it all figured out. It's the perfect plan. He's a genius.
4. A sassy woman's in there somewhere. She's untouchable, unpredictable and sassy. Did I mention she's sassy? Yes, yes I did.
5. If there are hostages they all have to be inherently annoying. They chatter to each other about how they were going to 'a ball game' until the terrorists captured them. There's one that wants to be a hero. There's a loud one. There's a child. There's always a child.
6. A variety of rubbish music. There's the this-is-a-serious-situation music, the walking-cops-with-attitude music and the aren't-these-people-evil music. Whenever the maverick detective phones his girlfriend cue sexy saxophone music.
The only interesting thing about Inside Man is that it's got James Ransone from The Wire in it. Watch that instead.
Sunday, 12 July 2009
Friday, 10 July 2009
I won't mention the ending because, obviously, I'd go to a special sort of hell for that. Apart from to say that it's unsettling, satisfying, tragic and comic - all at the same time. Paul Thomas Anderson has constructed a brilliant thing.
Wednesday, 8 July 2009
I'm glad Mann decided to stick with his digital handheld style, even for a 30s gangster picture. It might not look old-fashioned but I doubt life really happened in smooth Steadicam back then (I'm only guessing). A story like this should be rough, it should have energy. Sometimes modern techniques are better, even if they ruin the nostalgic sheen. I will defend handheld camera work until the end. Or at least until I change my mind about it.
Friday, 3 July 2009
Battlestar Galactica is brilliant. I'm not sure how it ever made it to four seasons, being largely impenetrable for any one who hadn't seen it from the start. It was brave enough to be a sweeping space epic when all TV networks were interested in was hospital dramas. And it moved along at a rapid pace, only very occasionally resorting to episodic fluff. The writers had their hands on a genuinely compelling plot and they weren't afraid to completely and unexpectedly turn it on its head. It's one of those rare shows that isn't afraid of killing its characters, there was a real sense of risk that's usually missing in television. I admire a show that is so full of ideas that it can barely contain itself, always moving onto something new like it knows there isn't much time, never letting itself be cosy or predictable.
Science-fiction is a genre that can be incredibly dull, resorting to an episodic structure to attract new viewers (what Joss Whedon would call 'reset television'). Done properly it can have a deep and dangerous arc that can captivate its fans. It can be pretentious but completely engaging. It can be, in the truest sense of the word, epic. This is science-fiction done properly. It's over now. Which is a shame.
Tuesday, 30 June 2009
I suppose I'm still at that short period, at the start of filmmaking, where I can do whatever I want. In years to come there'll be people telling me I have to cut out a scene or change the tone. Right now I have complete freedom to write whatever I want, shoot it, and stick it on the internet. If it looks good to me, it goes in. Obviously there are going to be other people involved as the process goes along, but I still have the massive, luxurious freedom to do anything. Maybe I need to be controlled. We'll see.
Sunday, 28 June 2009
It won't go into any sort of meaningful production until I get back to university in September, but that does means I have all summer to write it. I'll post more pieces of vague information soon.
Friday, 26 June 2009
Tuesday, 23 June 2009
Essentially it's a tour film around Iceland, where the band pitch up in some field or community centre and play a song. The filming is much like the music - it's gibberish but it makes perfect sense. The camera spends more time on the landscape than the band - on rocks, grass, tractors, houses. The songs fit across these images perfectly, in all their stripped-down acoustic wonderfulness (my word). This isn't exactly a documentary, it's all designed to evoke a mood, and it does that brilliantly. For 'Glósóli' they capture the force of the landscape (waterfalls that go up? It's a funny place). In 'Gítardjamm', tracking shots of an abandoned fish factory are perfectly composed. 'Ágætis Byrjun' has a beach for no necessary reason. There's plenty of history piled on; archive footage of the locations show evidence of a far busier time for the country, creating that poignant theme they like so much. And at the same time there's the people that turn up near the middle of nowhere to watch the band.
It all ends with an extended version of 'Popplagið', an epic song that is louder than most other bands put together. This is surely Sigur Rós at the height of their powers. They'd be very brave to attempt another film.
Sunday, 21 June 2009
Also, they restrained themselves from a neat creation-of-the-suit montage. Instead Tony Stark has dialogue with helper robots that have more life in them than most action movie characters.
Saturday, 20 June 2009
Tuesday, 16 June 2009
Monday, 15 June 2009
I'll post it here very soon.
Sunday, 14 June 2009
My films seem to have a morbid fascination with time. In Talk to Hoshuu especially, time is weighty and (almost) inescapable. It all ties in with the fantasy-sort-of-realism side. I've been trying to record the sound of ticking, but failing to find a really loud clock I've had to improvise. Banging the hollow end of a piano, hitting desks, bass drums. None of these sound like ticking but they give a clock face more emphasis. Maybe too much emphasis with the bass drum - it sounded like the passing of time Michael Bay style.
Saturday, 13 June 2009
A photo from the set that closely resembles a shot from the film. These photographers know what they're doing.
Anyway, I said yesterday that I don't want the films to be philosophical, but I think that's hard to avoid. I don't approach them with any grand intentions but the end result is always different. The thought 'No, this needs more art' usually goes through my mind in the editing, along with 'This is far too coherent, needs more random images.' I'm trying to suppress the mini David Lynch inside me and create films that are understandable. Talk to Hoshuu has no such nonsense. Well, not much.
I get a bit carried away because of the themes I've chosen to work with. It's all very existential and timey-wimey (as the Doctor would say), but with an obvious fantasy side. Maybe I've taken on too much in my first shorts, it probably would have been easier to start with something purely realistic. In a way though I think these films have more in common with realism than fantasy. I'm just having a flimsy attempt at giving answers to questions people don't seem to ask. Maybe some irritated secretary does give you an interview before you're born. Maybe some maintenance person is checking you aren't making a mess. Although, maybe not. I was worried that these films would be interpreted as some sort of religious allegory. They aren't. These stories are separate. There's nothing behind them but my silly ideas.
Friday, 12 June 2009
It's the same level as The Secretary from The Front Desk. I imagine there to be a whole cast of workers in this place, all with their own job. Although, seeing as this will probably be my last film on the subject, there might not be anymore. For continuity's sake I should mention that Hoshuu appeared in the The Mildly Interesting Secret of Existence, walking towards an increasingly perplexed Gruff. I hope it looks like I think about these things in advance, because, um, I don't. It's a place of complete fantasy and me making-it-up-as-I-go-along. I don't want the films to be in any way philosophical or dense, just mildly interesting.
And here's a picture of Andrew, a lowly human, looking less statuesque but still important:
Thursday, 11 June 2009
I shouldn't be mentioning this, especially not before anyone's seen the film. Whatever atmosphere it was going to have is now ruined. The lawnmower's out though. It didn't sound ethereal. It sounded like a lawnmower.
Wednesday, 10 June 2009
A bit of character depth would have been nice. Apart from being an eager scholar and having an 'eccentric' Mickey Mouse watch, Robert Langdon has no character. He is the Clever Running Man. In the book, like all of Dan Brown's protagonists, he had some childhood trauma about being in lifts or something. That was rubbish but at least it was trying. No personal context, no flaws, no character. I don't care. He is clever though.
Monday, 1 June 2009
Now editing commences. And there'll be photos.
Sunday, 31 May 2009
Friday, 22 May 2009
Thursday, 21 May 2009
Ok, so it's good, and compared to TV Star Trek it's excellent. It's a successful reboot of the franchise, but take away all the history and the 'significance' and it's just a pretty standard Hollywood sci-fi film. A pretty good standard Hollywood sci-fi film. There's no need to love it just because it makes a nostalgic (not for me, obviously) series cool again. Although I do admire how they've unwritten the entire future of Star Trek with a clever bit of timey-wimey stuff. Alternate realities are always a treat.
Thursday, 14 May 2009
Sunday, 3 May 2009
Wednesday, 22 April 2009
It was worth trying to get out of The Most Confusing Car Park in Wales though. And walking around an eerily empty shopping centre. Zombies? No, no zombies.