This version of my blog is now closed. I've migrated everything over to my new combined blog and website. You can go there by clicking here. What are you waiting for?
Official Graham Edwards blog and website
Showing posts with label Consuming. Show all posts
Showing posts with label Consuming. Show all posts
Tuesday, 8 February 2011
Monday, 31 January 2011
127 Hours
I saw 127 Hours yesterday, so thought I'd review it today. I've tried writing my reactions to the movie a dozen times, but I just keep ending up with a list of Reasons Why I Like Danny Boyle movies. So that's exactly what I'm going to give you.
1. Dynamic camera angles
2. Energetic editing, plus profoundly lyrical bits
3. A deep commitment to using the above cinematic techniques in service of the story rather than as an end in itself
4. A fearless commitment to making each film different from his last (yet still stamping each with his unmistakeable authority)
5. Astonishing performances
6. Penetrating emotion that grows out of all the above
7. Intelligence
8. Wit
9. Cool
127 Hours delivers items 1-9 on my list, and in spades. James Franco's stunning performance and Danny Boyle's boundless energy have created a film that just soars.
Also, I think that's the first time I've seen someone faint in the cinema.
1. Dynamic camera angles
2. Energetic editing, plus profoundly lyrical bits
3. A deep commitment to using the above cinematic techniques in service of the story rather than as an end in itself
4. A fearless commitment to making each film different from his last (yet still stamping each with his unmistakeable authority)
5. Astonishing performances
6. Penetrating emotion that grows out of all the above
7. Intelligence
8. Wit
9. Cool
127 Hours delivers items 1-9 on my list, and in spades. James Franco's stunning performance and Danny Boyle's boundless energy have created a film that just soars.
Also, I think that's the first time I've seen someone faint in the cinema.
Wednesday, 5 January 2011
Inception
During the Christmas holiday, I finally caught up with everyone else and watched Inception. Liked it a lot. Another great performance from Leo, and I don't believe director Christopher Nolan dropped the ball once in the execution of his complex storyline.
I say complex ... actually, you know, I think it's pretty straightforward. In a good way. The dreams-within-dreams concept has got everyone speculating about Inception's hidden meanings. But I honestly don't think there are any. I think it's a simple story about one man's redemption, told through a dizzying series of reality shifts. Even the (arguably) ambiguous final shot is just a bit of fun, not a serious attempt to undermine the film's essential reality.
I think if Nolan had really wanted to melt our brains, he would have employed more misdirection, and used every opportunity to pull the rug from under our feet. Which he doesn't. Most of the way he's there holding our hand, making sure we don't lose our way. Because the story's not about brain-melting, it's about Leo's character Dom Cobb finding a way back from the brink and coming to terms with what happened to his wife. That's the heart of the story, and it's what gives Inception its surprising emotional depth.
That said, I couldn't help but thrill to all those joyous lurches through unexpected realities, the stunning visuals (a folding city, a zero-g hotel, but never anything too weird) and above all Nolan's bold and confident staging. This is a tight, clean movie that never gets silly, and is never less than utterly gripping.
Now, I've only seen Inception once. Maybe when I watch it again (and I will) I'll spot some of these hidden clues the conspiracy theorists are on about. Somehow I don't think so. I think that with Inception Nolan's done something rather remarkable. He's made a science fiction movie that plays effortlessly to the mainstream crowd, that's packed with audacious ideas and images yet is ultimately about people. No mean feat.
I say complex ... actually, you know, I think it's pretty straightforward. In a good way. The dreams-within-dreams concept has got everyone speculating about Inception's hidden meanings. But I honestly don't think there are any. I think it's a simple story about one man's redemption, told through a dizzying series of reality shifts. Even the (arguably) ambiguous final shot is just a bit of fun, not a serious attempt to undermine the film's essential reality.
I think if Nolan had really wanted to melt our brains, he would have employed more misdirection, and used every opportunity to pull the rug from under our feet. Which he doesn't. Most of the way he's there holding our hand, making sure we don't lose our way. Because the story's not about brain-melting, it's about Leo's character Dom Cobb finding a way back from the brink and coming to terms with what happened to his wife. That's the heart of the story, and it's what gives Inception its surprising emotional depth.
That said, I couldn't help but thrill to all those joyous lurches through unexpected realities, the stunning visuals (a folding city, a zero-g hotel, but never anything too weird) and above all Nolan's bold and confident staging. This is a tight, clean movie that never gets silly, and is never less than utterly gripping.
Now, I've only seen Inception once. Maybe when I watch it again (and I will) I'll spot some of these hidden clues the conspiracy theorists are on about. Somehow I don't think so. I think that with Inception Nolan's done something rather remarkable. He's made a science fiction movie that plays effortlessly to the mainstream crowd, that's packed with audacious ideas and images yet is ultimately about people. No mean feat.
Sunday, 28 November 2010
Horns by Joe Hill
I pegged Joe Hill as one to watch after reading his wonderful Heart Shaped Box. Now I've read his latest novel, Horns, and the peg ain't moving from the spot.
Horns defies categorisation - something I like in a book. Chances are you'll find it shelved under Horror, but it is by turns a mystery, a romance and a supernatural thriller.
It kicks off a little like a Twilight Zone episode, with Iggy Perrish discovering he's grown demon's horns overnight. The horns give him certain insights into other people's secret thoughts. The first part of the book presents a series of episodic encounters as Iggy meets - and discovers he can influence - various people he knows.
This first chunk of the novel is pure entertainment. The story is both comic and tragic. But then Hill delivers a real sucker punch as Iggy realises there are some secrets he'd rather not know.
It's from here that the novel starts revealing its onion-skin layers, as Iggy sets out to uncover the truth about the night his girlfriend Merrin was raped and murdered. Hill throws us a bunch of time-shifts, mixes Twilight Zone with a healthy dose of John Irving, and ups the ante with a truly terrifying psychopathic villain.
Throughout, Hill's real skill is in keeping our emotions firmly with Iggy, despite his gradual (is it real or not?) transformation into a full-blown demon. He even lets us into the psychopath's head and darn it if we don't get to understand him a little bit too.
Add in Hill's perceptive, confident prose and an explosive climax and you get a package that's really rather special. It's a week or so since I finished reading Horns, and it's still bubbling away in my head - always a sign of a class act. Despite the horns, Iggy Perrish is someone I'm not going to forget in a hurry.
Sympathy for the devil indeed.
Horns defies categorisation - something I like in a book. Chances are you'll find it shelved under Horror, but it is by turns a mystery, a romance and a supernatural thriller.
It kicks off a little like a Twilight Zone episode, with Iggy Perrish discovering he's grown demon's horns overnight. The horns give him certain insights into other people's secret thoughts. The first part of the book presents a series of episodic encounters as Iggy meets - and discovers he can influence - various people he knows.
This first chunk of the novel is pure entertainment. The story is both comic and tragic. But then Hill delivers a real sucker punch as Iggy realises there are some secrets he'd rather not know.
It's from here that the novel starts revealing its onion-skin layers, as Iggy sets out to uncover the truth about the night his girlfriend Merrin was raped and murdered. Hill throws us a bunch of time-shifts, mixes Twilight Zone with a healthy dose of John Irving, and ups the ante with a truly terrifying psychopathic villain.
Throughout, Hill's real skill is in keeping our emotions firmly with Iggy, despite his gradual (is it real or not?) transformation into a full-blown demon. He even lets us into the psychopath's head and darn it if we don't get to understand him a little bit too.
Add in Hill's perceptive, confident prose and an explosive climax and you get a package that's really rather special. It's a week or so since I finished reading Horns, and it's still bubbling away in my head - always a sign of a class act. Despite the horns, Iggy Perrish is someone I'm not going to forget in a hurry.
Sympathy for the devil indeed.
Thursday, 11 November 2010
I blame Frank Darabont
I blame Frank Darabont and the walking dead.
It’s like this: I’ve become resistant to new TV shows. I think it’s partly because of the arc. Not Noah’s, nor that of the Covenant, but the one that means there’s no such thing as a series any more – everything’s a serial. I’m old enough to get nostalgic about all the old episodic cop shows and cowboy shows and yes, even SF or fantasy shows (not that there were so many around in the old days – all hail the wondrous infiltration of the genre into the mainstream, at least on the big and small screens). Back then, you got a story a week and if you missed one it didn’t matter, because there was no arc.
Now it’s different. Every series has a continuing story, complete with mid-season climax and end-of-season finale, which usually delivers the kind of twist or cliffhanger that leaves you climbing up the wall. Now don’t get me wrong. I love the epic storytelling that’s made possible by this format. The screen in my house is smaller than the one in the movie theatre, but the canvas is actually bigger. And spreading the budget means the writers have to focus on storytelling and character, which are the things that are really going to bring me back week after week.
The down side, of course, is when the writers lose focus. Or the show gets cancelled. I loved the first series of Lost. That bastard actually got my attention; it was the best thing I’d seen on the telly for years. Series two ... pretty good, but the finale left me literally screaming. Then it switched networks and I just couldn’t stay committed. I stuck with FlashForward, which began well, drooped in the middle and ended strong ... but then it was taken off the air. Sorry you invested, old chap, but you’ll never know how the story turns out. Thank you and good night.
I’m old-fashioned, you see. I like a story – however long it may be – to have a beginning, middle and end. And if the end is a cliffhanger, I want it to be because that was the writer’s intention, not because some network chief forgot where he keeps his testicles.
Also, the week after week thing can be a slog. I don’t know about you, but I’m a busy beaver. Sometimes it’s hard to find time to eat, let alone watch the boob tube. Committing to a regular time slot – 10pm Fridays, or 9pm Tuesdays or whatever – is a big ask. Yes, I can record the shows, but then they start stacking up. I have to make time to watch them. Suddenly I’m three episodes behind, and I can’t discuss the show with anyone for fear of spoilers. Oh the pressure!
The other solution is to resign yourself to being behind everyone else, wait for the DVD box set to come out (better still, to get cheap) and treat yourself to a concentrated blast. This worked a treat for me with Battlestar Galactica (which I only just finished watching this summer). By the way, I have to say Galactica is the single best thing to come out of US television for a very long time. Fabulous writing, awesome performances and at the end of it all a stunning and beautifully played-out conclusion. Beginning, middle and end, you see, with quality running through it like words through a stick of rock.
All of which brings me round to The Walking Dead. When I heard about the show, I waxed and waned. Did I really need another zombie story? But wait – the guy behind it is Frank Darabont. You know, The Shawshank Redemption, The Green Mile, The Mist ... in short, all the really good Stephen King adaptations (although let’s not forget Rob Reiner here, who also understands what King is all about. Will Ron Howard be up to the task of bringing The Dark Tower to the screen? Screens plural, actually, since I hear it’s going to be hitting both the cinema and a TV set near you. God, I hope so!).
Anyway, last Friday I tuned in to the opening episode of The Walking Dead, which has finally reached UK network TV. I enjoyed the first ten minutes in a routine way. It was smooth, with a patient, lengthy dialogue scene between the two cops right near the start. Then we reached the scene where our hero wakes up from a coma after the Big Zombie Event and starts exploring Wrecked Small Town America and I thought haven’t I seen all this before?
Then it all just kicked in. Smart pacing. The first proper zombie scenes. Some graphic violence – very graphic, actually, but beautifully controlled, and a milion miles from Danny Boyle’s epileptic undead in 28 Days Later (which I love, by the way). A slightly dodgy fake beard. A neat subplot about the father and son ... and the mother. A cop on a horse. Unexpected action in Atlanta. And, yes, a twist in the tail. And, what struck me most of all, particularly in the scene where the father’s got his undead wife in the sights of his rifle, and the cop tracks down the pathetic legless zombie he saw in the park to put it out of its misery, unexpected beauty and lyricism. In short, I loved it.
Will I be tuning in again next week? You bet. Am I glad to hear the show’s earned a second season? I’d have to be crazy not to. Am I twitchy about committing myself to a story that may never actually end? Yep. But this time I’m prepared to go out on a limb. Damn you, Frank Darabont!
It’s like this: I’ve become resistant to new TV shows. I think it’s partly because of the arc. Not Noah’s, nor that of the Covenant, but the one that means there’s no such thing as a series any more – everything’s a serial. I’m old enough to get nostalgic about all the old episodic cop shows and cowboy shows and yes, even SF or fantasy shows (not that there were so many around in the old days – all hail the wondrous infiltration of the genre into the mainstream, at least on the big and small screens). Back then, you got a story a week and if you missed one it didn’t matter, because there was no arc.
Now it’s different. Every series has a continuing story, complete with mid-season climax and end-of-season finale, which usually delivers the kind of twist or cliffhanger that leaves you climbing up the wall. Now don’t get me wrong. I love the epic storytelling that’s made possible by this format. The screen in my house is smaller than the one in the movie theatre, but the canvas is actually bigger. And spreading the budget means the writers have to focus on storytelling and character, which are the things that are really going to bring me back week after week.
The down side, of course, is when the writers lose focus. Or the show gets cancelled. I loved the first series of Lost. That bastard actually got my attention; it was the best thing I’d seen on the telly for years. Series two ... pretty good, but the finale left me literally screaming. Then it switched networks and I just couldn’t stay committed. I stuck with FlashForward, which began well, drooped in the middle and ended strong ... but then it was taken off the air. Sorry you invested, old chap, but you’ll never know how the story turns out. Thank you and good night.
I’m old-fashioned, you see. I like a story – however long it may be – to have a beginning, middle and end. And if the end is a cliffhanger, I want it to be because that was the writer’s intention, not because some network chief forgot where he keeps his testicles.
Also, the week after week thing can be a slog. I don’t know about you, but I’m a busy beaver. Sometimes it’s hard to find time to eat, let alone watch the boob tube. Committing to a regular time slot – 10pm Fridays, or 9pm Tuesdays or whatever – is a big ask. Yes, I can record the shows, but then they start stacking up. I have to make time to watch them. Suddenly I’m three episodes behind, and I can’t discuss the show with anyone for fear of spoilers. Oh the pressure!
The other solution is to resign yourself to being behind everyone else, wait for the DVD box set to come out (better still, to get cheap) and treat yourself to a concentrated blast. This worked a treat for me with Battlestar Galactica (which I only just finished watching this summer). By the way, I have to say Galactica is the single best thing to come out of US television for a very long time. Fabulous writing, awesome performances and at the end of it all a stunning and beautifully played-out conclusion. Beginning, middle and end, you see, with quality running through it like words through a stick of rock.
All of which brings me round to The Walking Dead. When I heard about the show, I waxed and waned. Did I really need another zombie story? But wait – the guy behind it is Frank Darabont. You know, The Shawshank Redemption, The Green Mile, The Mist ... in short, all the really good Stephen King adaptations (although let’s not forget Rob Reiner here, who also understands what King is all about. Will Ron Howard be up to the task of bringing The Dark Tower to the screen? Screens plural, actually, since I hear it’s going to be hitting both the cinema and a TV set near you. God, I hope so!).
Anyway, last Friday I tuned in to the opening episode of The Walking Dead, which has finally reached UK network TV. I enjoyed the first ten minutes in a routine way. It was smooth, with a patient, lengthy dialogue scene between the two cops right near the start. Then we reached the scene where our hero wakes up from a coma after the Big Zombie Event and starts exploring Wrecked Small Town America and I thought haven’t I seen all this before?
Then it all just kicked in. Smart pacing. The first proper zombie scenes. Some graphic violence – very graphic, actually, but beautifully controlled, and a milion miles from Danny Boyle’s epileptic undead in 28 Days Later (which I love, by the way). A slightly dodgy fake beard. A neat subplot about the father and son ... and the mother. A cop on a horse. Unexpected action in Atlanta. And, yes, a twist in the tail. And, what struck me most of all, particularly in the scene where the father’s got his undead wife in the sights of his rifle, and the cop tracks down the pathetic legless zombie he saw in the park to put it out of its misery, unexpected beauty and lyricism. In short, I loved it.
Will I be tuning in again next week? You bet. Am I glad to hear the show’s earned a second season? I’d have to be crazy not to. Am I twitchy about committing myself to a story that may never actually end? Yep. But this time I’m prepared to go out on a limb. Damn you, Frank Darabont!
Wednesday, 25 August 2010
Ash by Mary Gentle
I just finished re-reading Mary Gentle's Ash, having devoured it joyously when I first got the paperback in 2001. It's an alternative history of the 15th century, told through the eyes of warrior-mercenary Ash, who's kind of a cross between Joan of Arc and Ellen Ripley.
The period detail is compelling, but the novel's real hook is the interweaving of Ash's exploits with a set of present-day correspondence between the translator of Ash's chronicles and his publisher. As the translation progresses, he - and we as readers - gradually learn that Ash's world is not entirely like our own. Something is up with history.
No spoilers here. Suffice it to say this long novel swiftly evolves from historical adventure to mysterious fantasy. It's full of battles and armour and medieval siege strategy ... but there's also stone golems and a healthy dollop of quantum physics. Towards the end there's a battle scene that positively drips blood, yet is so charged with both emotion and narrative drive I could hardly breathe. And Ash herself - powerful, confident, geautiful, scarred, vulnerable, and ever mindful of "the picture she makes" when she strikes a heroic pose - is undoubtedly one of the great characters of modern fantasy literature.
The period detail is compelling, but the novel's real hook is the interweaving of Ash's exploits with a set of present-day correspondence between the translator of Ash's chronicles and his publisher. As the translation progresses, he - and we as readers - gradually learn that Ash's world is not entirely like our own. Something is up with history.
No spoilers here. Suffice it to say this long novel swiftly evolves from historical adventure to mysterious fantasy. It's full of battles and armour and medieval siege strategy ... but there's also stone golems and a healthy dollop of quantum physics. Towards the end there's a battle scene that positively drips blood, yet is so charged with both emotion and narrative drive I could hardly breathe. And Ash herself - powerful, confident, geautiful, scarred, vulnerable, and ever mindful of "the picture she makes" when she strikes a heroic pose - is undoubtedly one of the great characters of modern fantasy literature.
Tuesday, 24 August 2010
Ark by Stephen Baxter
I first read Stephen Baxter when I picked up Voyage, his first 'alternative NASA' novel. It posits a history in which Kennedy shrugs off Oswald's bullet and the Space Shuttle gets rejected in favour of a manned Mars mission. Voyage tracks that mission in obsessive detail and, along with The Time Ships, remains one of my favourite Baxter books.
Now Ark may have to join them. Baxter's new novel chronicles the aftermath of a catastrophic flood and humanity's attempts to survive it by building a spacegoing ark. What's extraordinary about Baxter is his ability to make his epic ingredients (global annihilation, interstellar travel to a new world) utterly plausible. He doesn't fudge the physics (well, maybe a little) - somehow he makes you believe we could actually travel to the stars. Right now.
Most important of all, he keeps it human. Everything's presented from the point of view of his key characters (many of them typical Baxter Strong Women). No godlike authorial voice here, everything's down and frequently dirty.
In many respects, Ark is the culmination of everything Baxter's done to date. It has the epic scope of his early Xeelee novels, combined with the ultra-realism of the later ones. He skips along a narrative line spanning many decades with a light touch and an eye for critical detail and emotional pinch-points. And if the story was a little slow to start, I forgave him because, by the end, he'd pretty much taken my breath away.
Now Ark may have to join them. Baxter's new novel chronicles the aftermath of a catastrophic flood and humanity's attempts to survive it by building a spacegoing ark. What's extraordinary about Baxter is his ability to make his epic ingredients (global annihilation, interstellar travel to a new world) utterly plausible. He doesn't fudge the physics (well, maybe a little) - somehow he makes you believe we could actually travel to the stars. Right now.
Most important of all, he keeps it human. Everything's presented from the point of view of his key characters (many of them typical Baxter Strong Women). No godlike authorial voice here, everything's down and frequently dirty.
In many respects, Ark is the culmination of everything Baxter's done to date. It has the epic scope of his early Xeelee novels, combined with the ultra-realism of the later ones. He skips along a narrative line spanning many decades with a light touch and an eye for critical detail and emotional pinch-points. And if the story was a little slow to start, I forgave him because, by the end, he'd pretty much taken my breath away.
Monday, 26 July 2010
60,000 plus 221B
I'm nudging 60,000 words on the manuscript and just had a ball writing a big battle scene. You can't beat a big battle scene. They're, well, big. And full of battling. This one was a doozie.
I must also mention what a treat last night's Sherlock was. Great script from Stephen Moffat, and bags of charm from and chemistry between Benedict Cumberbatch and Martin Freeman. Oh, and cute tie-in websites to boot, namely Sherlock's The Science of Deduction and Dr Watson's Blog. Sunday nights are suddenly awesome.
I must also mention what a treat last night's Sherlock was. Great script from Stephen Moffat, and bags of charm from and chemistry between Benedict Cumberbatch and Martin Freeman. Oh, and cute tie-in websites to boot, namely Sherlock's The Science of Deduction and Dr Watson's Blog. Sunday nights are suddenly awesome.
Monday, 28 June 2010
Need more Who
Big grin on my face after The Big Bang, the season finale of Doctor Who. What a delight to have a Who episode where time travel's an intrinsic part of the story, not just a means of getting our heroes to the planet-of-the-week. Especially gratifying to see it relying on character and emotion rather than spectacle and effects (though we had our share of those).
All in all Steven Moffat's done a fabulous job in hs first series as showrunner, steering it away from Russell Davies's over-the-top campery (which was great in the early days but wore thin) and towards his 'fairy tale' ideal. There were a few shaky episodes, especially during those early moments of over-plotted rebooting, necessary though that process was. But the series displayed a growing maturity throughout. And some breathtaking standouts, especially the Vincent episode. And this finale of course. What's obvious is Moffat's deep love of and confidence in the material - that really does seem to inform everything he does. Clever writer. Smart writer. And Matt Smith is just a great doctor. Can't wait for the next series.
All in all Steven Moffat's done a fabulous job in hs first series as showrunner, steering it away from Russell Davies's over-the-top campery (which was great in the early days but wore thin) and towards his 'fairy tale' ideal. There were a few shaky episodes, especially during those early moments of over-plotted rebooting, necessary though that process was. But the series displayed a growing maturity throughout. And some breathtaking standouts, especially the Vincent episode. And this finale of course. What's obvious is Moffat's deep love of and confidence in the material - that really does seem to inform everything he does. Clever writer. Smart writer. And Matt Smith is just a great doctor. Can't wait for the next series.
Monday, 21 June 2010
One third of a draft
I've written the first third of a novel. It's a satisfying milestone, although nothing compared to the much-anticipated pleasure of reaching the halfway point, the rising excitement of watering the horse at that fabled three-quarters way station and, of course, the delirious bliss of cracking open the champagne after finally laying down those immortal words: THE END.
But I get ahead of myself. Ten chapters down. Twenty to go. The hill remains steep, and the path, Zen-like, remains the only reason for my existence.
On another note, I finally got round to watching Cloverfield last night. Despite its slow start - and a level of motion sickness I've only ever experienced in a theme park - I enjoyed it a whole heap. Clever concept, neatly played out, amazing 'you're really there' FX, lots of shocks and, surprisingly, some rather moving moments. And is that a weird-looking beastie or what?
But I get ahead of myself. Ten chapters down. Twenty to go. The hill remains steep, and the path, Zen-like, remains the only reason for my existence.
On another note, I finally got round to watching Cloverfield last night. Despite its slow start - and a level of motion sickness I've only ever experienced in a theme park - I enjoyed it a whole heap. Clever concept, neatly played out, amazing 'you're really there' FX, lots of shocks and, surprisingly, some rather moving moments. And is that a weird-looking beastie or what?
Thursday, 17 June 2010
Huge f#!king nerd
I just completed my Dr Horrible experience by listening to the whole of Commentary! The Musical. According to Joss, Jed, Zack, Neil, Nathan, Felicia and all the rest of them, that makes me a huge f#!king nerd. I'm OK with that.
Monday, 14 June 2010
Smorgasbord
Much to enjoy this weekend, and many different flavours consumed. First, I read the magnificent How To Make Friends With Demons by the national treasure that is Graham Joyce. Joyce writes stories that defy categorisation. Just because they win fantasy awards doesn't necessarily make them fantasy. Nor are they necessarily magic realism. They're just Joyce. What I do know is that Demons is full of real and rounded characters, prose that's witty and rich and full of passion, and that I was sorry to put it down.
Next I experienced the unutterable joy of watching the current UK tour of Spamalot. Yes, the Monty Python musical was in Nottingham, and I was there. A complete hoot from beginning to end. The show manages to incorporate all your favourite bits from Holy Grail, while morphing the plot into something fresh and lively. A great lead performance from Marcus Brigstocke and a heap of witty songs including the hilarious This Is The Song That Goes Like This. Miss it and weep.
Finally, I watched Avatar on the telly. I was concerned going in that I'd miss the bigness and 3D-ness of the theatrical release ... and for the first ten minutes I did. After that I didn't. This is simply a beautiful movie. As well as the eye-candy - which is delicious even on the small screen - this time round I was struck by Cameron's script. He gets a lot of stick for his writing, but check out the aforementioned first ten minutes, in which he delivers exposition for the entire movie with fast and effortless ease and without you even realising he's doing it. Go Jim!
Next I experienced the unutterable joy of watching the current UK tour of Spamalot. Yes, the Monty Python musical was in Nottingham, and I was there. A complete hoot from beginning to end. The show manages to incorporate all your favourite bits from Holy Grail, while morphing the plot into something fresh and lively. A great lead performance from Marcus Brigstocke and a heap of witty songs including the hilarious This Is The Song That Goes Like This. Miss it and weep.
Finally, I watched Avatar on the telly. I was concerned going in that I'd miss the bigness and 3D-ness of the theatrical release ... and for the first ten minutes I did. After that I didn't. This is simply a beautiful movie. As well as the eye-candy - which is delicious even on the small screen - this time round I was struck by Cameron's script. He gets a lot of stick for his writing, but check out the aforementioned first ten minutes, in which he delivers exposition for the entire movie with fast and effortless ease and without you even realising he's doing it. Go Jim!
Wednesday, 26 May 2010
Robin Hood and Bosworth Field
Yesterday I spent the evening with Robin Hood, courtesy of Mr Scott and Mr Crowe. A largely enjoyable affair, with a refreshing amount of meat to the story. The script plays intelligently with both the folklore and the history, working hard to weave a prequel story for Robin in with a variety of threads including a returning Richard, ambitious John and rapacious King Philip of France. Not to mention the working-class Northern barons hungry to create a human rights charter.
Comparisons to Gladiator are inevitable, I guess, and Robin Hood falls a little short. It lacks heart, somehow, and Ridley makes a few clunky gear changes, missing golden opportunities to please the crowd with a decent bout of air-punching.
All that said, I loved the complex story and the pace at which it's told. Too-cool Crowe aside, the cast is great, especially William Hurt. He's not got a lot of screen time but makes every second count. Also Max von Sydow as the blind and aged William Locksley. A bigger heart would have scored this an eight or nine but as it is I'll give it a seven.
Best part of the evening was hearing how my good friend Pete Riley, who I saw the film with, was part of the team who discovered the real site of the Battle of Bosworth Field earlier this year. Now that's a real historical story!
Comparisons to Gladiator are inevitable, I guess, and Robin Hood falls a little short. It lacks heart, somehow, and Ridley makes a few clunky gear changes, missing golden opportunities to please the crowd with a decent bout of air-punching.
All that said, I loved the complex story and the pace at which it's told. Too-cool Crowe aside, the cast is great, especially William Hurt. He's not got a lot of screen time but makes every second count. Also Max von Sydow as the blind and aged William Locksley. A bigger heart would have scored this an eight or nine but as it is I'll give it a seven.
Best part of the evening was hearing how my good friend Pete Riley, who I saw the film with, was part of the team who discovered the real site of the Battle of Bosworth Field earlier this year. Now that's a real historical story!
Saturday, 22 May 2010
Sun ... Ashes ... Robin
The sun's baking Nottingham today, I'm still tingling from last night's stunning final episode of Ashes to Ashes, and I'm looking forward to seeing the new Robin Hood movie next week.
Robin's at the front of my mind at the moment. I'm reading Angus Donald's superb Outlaw. I'm also pondering a couple of outlines of my own for novels about England's greatest folk hero.
The first of these I wrote a couple of years ago. It's a fantasy, playing fast and loose with the legend (archery fans will appreciate the aptness of that metaphor). As whole it doesn't really hang together, but I like the way it brings the mythology to the fore. Totally different to Mr Donald's take, which is all about rooting the legend in reality. It needs a lot of work if it's ever to see the light of day, but as a back-burner project it still has my interest.
The second outline's totally different - still pretty broad but more naturalistic. It's told from the point of view of one of the Sheriff's men (I've a particular angle on this but for now I'll keep that to myself). I'll let you know if it develops into anything worth blogging about seriously.
Suffice it to say I feel I have to write about Robin sooner or later. I'm not a native of Nottingham, but I've made camp here for enough years to feel some serious affinity for the legend. But it's a tricky business. Robin really does have a life of his own, you see, and if you write him wrong he soon lets you know about it. I've tried, and not yet succeeded, so I know what I'm talking about.
But if you do get it right, you get to play bows-and-arrows for a while with someone who is, arguably, the only true English hero. And that's too tempting for words.
Robin's at the front of my mind at the moment. I'm reading Angus Donald's superb Outlaw. I'm also pondering a couple of outlines of my own for novels about England's greatest folk hero.
The first of these I wrote a couple of years ago. It's a fantasy, playing fast and loose with the legend (archery fans will appreciate the aptness of that metaphor). As whole it doesn't really hang together, but I like the way it brings the mythology to the fore. Totally different to Mr Donald's take, which is all about rooting the legend in reality. It needs a lot of work if it's ever to see the light of day, but as a back-burner project it still has my interest.
The second outline's totally different - still pretty broad but more naturalistic. It's told from the point of view of one of the Sheriff's men (I've a particular angle on this but for now I'll keep that to myself). I'll let you know if it develops into anything worth blogging about seriously.
Suffice it to say I feel I have to write about Robin sooner or later. I'm not a native of Nottingham, but I've made camp here for enough years to feel some serious affinity for the legend. But it's a tricky business. Robin really does have a life of his own, you see, and if you write him wrong he soon lets you know about it. I've tried, and not yet succeeded, so I know what I'm talking about.
But if you do get it right, you get to play bows-and-arrows for a while with someone who is, arguably, the only true English hero. And that's too tempting for words.
Wednesday, 19 May 2010
An evening's Ironing
Saw Iron Man 2 last night. Great fun, especially the rapid-fire banter between Robert Downey Jr and his various co-stars. Sam Rockwell and Mickey Rourke great as always. Could have done with shifting the balance towards the end - less time on the drone army and more on the final confrontation with Whiplash. Best line (from RDJr, referring to Scarlett Johansson): "I want one."
Interesting from a VFX point of view too. Not because it looks fabulous - which it does - but because of the huge number of providers, all under the direction of supervisor Janek Sirrs. It seems to be a real trend in VFX: rather than placing a movie with a single large effects house like ILM (although ILM is credited on IM2), supervisors are spreading the load among the huge number of smaller boutique outfits that are popping up. Given the right kit and a fast internet connection, it's become possible for one guy in his basement to contribute finished VFX shots to the latest Hollywood blockbuster.
Interesting from a VFX point of view too. Not because it looks fabulous - which it does - but because of the huge number of providers, all under the direction of supervisor Janek Sirrs. It seems to be a real trend in VFX: rather than placing a movie with a single large effects house like ILM (although ILM is credited on IM2), supervisors are spreading the load among the huge number of smaller boutique outfits that are popping up. Given the right kit and a fast internet connection, it's become possible for one guy in his basement to contribute finished VFX shots to the latest Hollywood blockbuster.
Thursday, 13 May 2010
Dig the morphing cityscape ...
... in Alex Proyas's SF-noir-mystery movie Dark City. If you haven't seen this late-90s gem, make up for it now. Jennifer Connelly, Richard O'Brien, dancing architecture achieved with some early and beautifully executed CGI, a Matrix-y plot (Dark City predates The Matrix by a year) - what's not to like?
Friday, 16 April 2010
Peter Straub interview
Great interview with Peter Straub over at the BookBanter Blog. Timely for me as I just finished reading his latest novel The Dark Matter. Possibly his best work. I like this man's attitude.
Tuesday, 13 April 2010
Doctor, dark, city
In the middle of writing this detective story that's taking far longer than it has any right too and fighting deadlines in the day job (hence the longer writing schedule), I'm also ...
... loving the new Doctor Who.
... savouring the joy that was The Dark Matter by Peter Straub. This is one of those books that gets right under your skin, makes you believe not only in an utterly strange otherworld but more importantly in the characters who brush against it.
... getting a real kick out of the first chapters of The City and The City by China Mieville. The last book of his I read was Perdido Street Station, which I enjoyed for the style, less for the substance. If the rest of City lives up to the start, Mr Mieville deserves all the awards this book's already picked up and as many more as folk are prepared to throw at him.
... loving the new Doctor Who.
... savouring the joy that was The Dark Matter by Peter Straub. This is one of those books that gets right under your skin, makes you believe not only in an utterly strange otherworld but more importantly in the characters who brush against it.
... getting a real kick out of the first chapters of The City and The City by China Mieville. The last book of his I read was Perdido Street Station, which I enjoyed for the style, less for the substance. If the rest of City lives up to the start, Mr Mieville deserves all the awards this book's already picked up and as many more as folk are prepared to throw at him.
Wednesday, 31 March 2010
Dr Horrible
I watched my recently downloaded copy of Dr Horrible's Sing-Along Blog last night. What a treat! The cast is delightful, and Whedon's wit is as evident as ever in both a tight and touching script and a whole bunch of fresh songs. It's as quirky and catchy as they come. This may very well be the future of short-form drama.
Tuesday, 16 March 2010
I'll name that suit in one
Hop over to the Guardian Books Blog for Imogen Russell Williams's thoughts on character names in SF and fantasy fiction. Seems like Imogen agrees with my thoughts here ie if you're going to invent names, don't get silly. And avoid apostrophes at all costs.
Particularly refreshing then to pick up Joe Haldeman's The Forever War (one of those SF classics I never got round to reading, but which has been thoughtfully reprinted in the UK by those nice people at Gollancz). As well as enjoying Joe's clear, descriptive prose, I was delighted to discover that the name he'd decided on for the motion-amplifying fighting suits worn by his future army was ... fighting suits. Nice.
Particularly refreshing then to pick up Joe Haldeman's The Forever War (one of those SF classics I never got round to reading, but which has been thoughtfully reprinted in the UK by those nice people at Gollancz). As well as enjoying Joe's clear, descriptive prose, I was delighted to discover that the name he'd decided on for the motion-amplifying fighting suits worn by his future army was ... fighting suits. Nice.
Subscribe to:
Posts (Atom)