Tuesday, 19 February 2019
On top of this, I wrote quite a lot while I was at Surrey and after. Some of it was published in Barefacts. Most of it never saw the light of day beyond my personal website. Poetry, short stories, a musical (really), at least one full-length screenplay. All of it has aged exactly as well as you would expect. All of it is earnest, well-meaning, mopey, romantic trash. Some of it is also wrapped up in sixth form levels of humour, or tortured narrative structures that I probably thought were very clever.
If I'd read William Goldman's seminal Adventures In The Screen Trade first, then I'd probably never have bothered.
But in fact, I wouldn't have willingly recognised how important Goldman's book is to an aspiring screen writer. We were largely interested in the science of film making - so Chris Jones's The Guerilla Filmmakers' Handbook represented the most important reference for me, dealing with practical matters such as choosing locations, recording sound, and editing: how to do every job to a certain level of competence, in order to achieve a reasonable film on a very low budget.
Adventures is a text book on screen writing within the Hollywood system. Forty years on, it remains sharp and relevant. (I'm baffled that one Amazon reviewer found it irrelevant because of its failure to mention Netflix. Yes, it's of its time - arguably written before Goldman's arguably own best work - but it's full of insight and interesting anecdotes on the whole process of making and marketing films.)
It paints the writing process as being a technical discipline on a par with the other key roles in film-making. The last section of the book is effectively a worked example, showing how an idea converts into a short story, and from there into a screenplay, and from there into the other key creative disciplines associated with making a film (including production design, music, cinematography and direction). Despite all this content, it's an easy and invigorating read. It's honestly not over-stating the importance of this book to describe it as utterly indispensable to anyone aspiring to enter the trade.
This means that my style of hammering out a cleverly-structured story in a single "take", proof-reading it once, and then publishing it straight onto my personal website, was always, always destined to produce poor-quality and un-filmable results. A single idea stretched wafer-thin. The entire plot in service to the structure or to a series of mediocre jokes. No critical review of the essence of the story - its emotional resonance or impact on the reader. No quality control. No professionalism at all.
There are plenty of places where you can learn about conventions of narrative structure - the hero's arc - but Goldman's analysis offers so much more. He shows what works and what doesn't in practice. In discussing his adaptations of certain true events (All The President's Men and A Bridge Too Far), he is able to demonstrate how stories of incredible resonance and intrigue would not have worked on film. Above all, he is honest about mistakes and mis-steps.
I happened to watch The Railway Children just after finishing Adventures In The Screen Trade. I think we can all agree that The Railway Children is a beloved classic, made even more so for me because it must be a good twenty-five years since I saw it last.
Goldman ruined it.
Throughout, I was noticing ways in which it is deficient as a screenplay. Its episodic structure lays bare its origin as a much longer, more nuanced novel. Character details that I remember vividly from reading the novel as a child appear as a single jokey line, out of any context. Worse, the vignettes stand so far apart that any sense of time passing is lost; an effect that serves to distance the viewer.
Goldman would probably say that the adaptation has been too literal. It has prioritised the inclusion of certain plot points from the novel over a coherent single narrative that preserves the emotional core of the novel. Just as Goldman had to discard the most extraordinary stories of bravery in A Bridge Too Far in service of the wider narrative, so The Railway Children could and should have developed more of a singular connection to time and place, even if that meant ditching some of the isolated stories.
The Railway Children still manages to have an emotional impact, despite these deficiencies. It's still very funny in places and moving in others. Near the end, there's a famous bit in which the viewer inevitably suddenly finds something in the eye and a little lump in the throat. But then there's that weird little coda that (probably) quotes directly from the book, and it's straight back to feeling frustrated at the literalism of the adaptation.
Tuesday, 4 December 2018
Ouch. It's an iconic building and has recently been refurbished, but still ... is watching a film really comparable to a theatre show or sports event?
Sunday, 30 September 2018
We know about apps like Instagram and PhotoFunia that can make pictures and film look like they were shot in a different time. But, there's now a huge resurgence in popularity of the original format that inspired that retro look - Super 8 film.I'm increasingly sceptical about this type of attention-seeking authenticity. It may feel tangible and romantic, but working with film is incredibly difficult and inconvenient. In most cases, this inconvenience only works against the creative vision.
Tuesday, 5 September 2017
Every year the Channel 4 Amazing Spaces Shed of the Year throws up cinema designs that are ingenious or just plain wacky. They leave me slightly jealous (as well as wondering how people ever find the time and energy).
But this cinema shed is easily the most impressive I've seen for its attention to historical detail. It's not a cinema-themed entertainment room with a DVD player; it is a real, functioning facsimile of a 1930s-era supercinema. (The builder describes it as 1970s or 1980s era, but it hasn't been subdivided into lots of substandard smaller screens.) Not only does it look like a vintage ABC Cinema, but it is equipped with authentic fixtures and fittings such as genuine ABC carpets and signage.
The cinema has its own Facebook page.
Wednesday, 30 August 2017
In the Independent, the debate rumbles on. Or, rather, is endlessly repeated.
"No-one denies the magic of holding film or of feeding it through a projector."
Where this article differs from other recent efforts is in its focus on 35mm / 70mm / IMAX film as projection media, rather than shooting media.
"Prints for the films aren’t all in pristine condition but audiences don’t mind. In the same way that a new generation of music lovers are re-discovering vinyl, cinema enthusiasts are discovering, or re-discovering celluloid."
Tuesday, 11 July 2017
According to this Guardian article:
"Nolan’s second world war epic the most widely released 70mm film in 25 years. They are piggybacking, to some degree, on the Weinstein Company’s work convincing theater [sic] owners to procure functioning 70mm projectors in advance of Quentin Tarantino’s The Hateful Eight."
The article goes on to applaud the "automatic prestige" of shooting on this format - an echo of my own sentiments comparing 16mm to camcorder shoots.
Friday, 9 December 2016
Just uploaded: three "new" OFU films from the archives. If you liked seeing the early shots of Stag Hill in the Rag '69 and Under Construction films, why not take a look at Peter The Cow, in which a panto cow tours campus? Then, head over to our most mysterious film, Kidnap!, a short thriller.
Finally, for a more modern look at student life, check out our coverage of River Sports Day 2000.
Thursday, 7 July 2016
"The ritual of 35mm is gorgeous. But it's only a ritual. It's not the movie."
Article in The Guardian by Danny Leigh.
It's an argument we've heard before, and with which I largely agree: it is more satisfying to make a film (or a photograph) without artificially constraining yourself by the technology. Unfortunately, one of the article's specific examples backfires: comparing David Lynch's gorgeous, thoughtful analogue Mulholland Drive with his interminable and impenetrable digital Inland Empire. Had Lynch shot the latter on film, the constraints of the medium would have put an automatic check on the director's over-indulgence.