Alan Bleasdale

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Alan Bleasdale Television A TALE OF TWO CITIES (Mammoth Screen/Lookout Point) Current 10 part adaptation of the classic Dickens’ novel, to be directed by Mike Newell THE SINKING OF THE LACONIA (Talkback Thames) 2010 2 parter telling the true story of the sinking of the Laconia liner by a German U-boat through the eyes of six survivors Nominated for a BAFTA for Best Drama Serial Starring Lindsay Duncan and Brian Cox OLIVER TWIST (Diplomat Films) 1999 4 part adaptation Starring Robert Lindsay, Julie Walters, Keira Knightley, Michael Kitchen SOFT SAND, BLUE SEA (Diplomat Films/Channel 4 Films) 1998 A poignant tale of childhood in modern society Produced by Alan Bleasdale and Keith Thomson Written by Keith Thompson Directed by Pip Broughton MELISSA (Diplomat Films/Channel 4) 1997 5 parter starring Hugh Quarshie, Jennifer Ehle, Tim Dutton and Julie Walters JAKE'S PROGRESS (Diplomat Films) 1995 4 part family drama Starring Robert Lindsay and Julie Walters GBH (Channel 4) 1991 Nominated for a BAFTA for Best Drama Serial 7 parter starring Robert Lindsay, Lindsay Duncan, Julie Walters and Michael Palin THE MONOCLED MUTINEER (BBC) 1986 4 parter based on the 1978 book of the same name by William Allison and John Fairley about the life of Percy Toplis, deserter in WW1 Starring Paul McGann, Cherie Lunghi, Jerome Flynn, Timothy West SCULLY (Granada Television) 1984 7 part drama series set in a Liverpool school based on a BBC Play for Today episode Starring Andrew Schofield BOYS FROM THE BLACK STUFF (BBC) 1982 Seminal 5 part serial created by Alan Bleasdale about a group of Liverpudlian tarmac layers Starring Bernard Hill, Michael Angelis, Alan Igbon, Tom Georgeson Film NO SURRENDER (Channel Four Films) 1985 Black comedy set in Liverpool on New Year’s Eve Starring Michael Angelia, Bernard Hill, Joanne Whalley Theatre ON THE LEDGE (National Theatre and Tour) 1993 ARE YOU LONESOME TONIGHT (West End) 1985 HAVING A BALL (West End and Tour) 1981 .

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Instructor: Course: Date: My Favorite Book-To-Movie Adaptation Among
Last Name 1 Name: Instructor: Course: Date: My Favorite Book-To-Movie Adaptation Among many books converted into screen adaptations, the trilogy Lord of the Rings has always been my literary passion. From the days of their releases, all parts of the movie trilogy directed by Peter Jackson confidently remain the highest-grossing films of all time. Considering the voluminous world created by J.R.R. Tolkien, it is difficult to convey the sequence of events in them; nonetheless, the director managed to portray the plot as accurately as possible. The third book, The Return of the King, is my favorite part of the trilogy, and the extended edition of the movie would be a topic of discussion; however, since it is unwise to try to cover all the events within the trilogy, I will focus on the most significant parts below. Beacon-hills (01:04:30-01:07:51) The fascinating view from the height of Minas Tirith accurately conveys the understanding of how much effort it requires from the little hobbit Pippin to climb on the tower with a signal fire and ask for help, which had been forbidden by the Steward of Gondor. There is a marvelous musical accompaniment to make the viewer wonder how the hobbit could perform his task. From the first lit fire, the movie invites us to trace how a call for help passes through lonely outposts hidden in snowy mountains and how the news finally reaches Edoras. Here, it is also important to mention the acting skills of Viggo Mortensen (Aragorn) and Bernard Hill (Theoden).
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Shakespeare on Film, Video & Stage
William Shakespeare on Film, Video and Stage Titles in bold red font with an asterisk (*) represent the crème de la crème – first choice titles in each category. These are the titles you’ll probably want to explore first. Titles in bold black font are the second- tier – outstanding films that are the next level of artistry and craftsmanship. Once you have experienced the top tier, these are where you should go next. They may not represent the highest achievement in each genre, but they are definitely a cut above the rest. Finally, the titles which are in a regular black font constitute the rest of the films within the genre. I would be the first to admit that some of these may actually be worthy of being “ranked” more highly, but it is a ridiculously subjective matter. Bibliography Shakespeare on Silent Film Robert Hamilton Ball, Theatre Arts Books, 1968. (Reissued by Routledge, 2016.) Shakespeare and the Film Roger Manvell, Praeger, 1971. Shakespeare on Film Jack J. Jorgens, Indiana University Press, 1977. Shakespeare on Television: An Anthology of Essays and Reviews J.C. Bulman, H.R. Coursen, eds., UPNE, 1988. The BBC Shakespeare Plays: Making the Televised Canon Susan Willis, The University of North Carolina Press, 1991. Shakespeare on Screen: An International Filmography and Videography Kenneth S. Rothwell, Neil Schuman Pub., 1991. Still in Movement: Shakespeare on Screen Lorne M. Buchman, Oxford University Press, 1991. Shakespeare Observed: Studies in Performance on Stage and Screen Samuel Crowl, Ohio University Press, 1992. Shakespeare and the Moving Image: The Plays on Film and Television Anthony Davies & Stanley Wells, eds., Cambridge University Press, 1994.
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Mckinney Macartney Management Ltd
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Smiles Better West of Minsk
REVIEW Frank Cottrell Boyce is on the scene of the third Merseyside Festival Of Comedy Smiles Better west of Minsk. And a queue is the best audience in the world. Everyone in a queue is bored, you need only tell the slightest knock-knock joke to be treated like a pro- phet of better days. But the people of this city have an even longer tradi- tion and culture of waiting around: wives waiting for their seafaring husbands to return; dockers waiting for their ship to come in; mer- chant seamen waiting to go home. And in the meantime, a few jokes and a few songs. Then of course there's the Irish connection. Now I'm not saying that Sterne, Swift and Wilde are in the same league as Chegwin, Tarbuck and As- key, but the prestige of verbal performance is a feature of Irish culture. All dominated cultures have their ways of reasserting pride. For the Irish in Britain it was the smart reply and this has stuck in Liverpool. Then there's Catholicism. Catholics are still not in the majority in Liverpool but all of Liverpool's key cultural figures have Catholic roots with the exception of Mrs Hemans (author of 'The Boy Stood On The Burning Deck') and Gladstone. Where the personal columns of left-wing magazines are filled with sensitive guys looking for mountain bikes or lesbian couples looking for sperm, the personal column of the Liverpool Echo is filled with thank-you letters to the Sacred Heart and to St Jude (one in today's is signed, 'Grateful Protestant').
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The One-Line Review Roxy
Share Report Abuse Next Blog» Create Blog Sign In The One-Line Review A concise guide to the cinematic and televisual arts Search Roxy (2010) powered by Iain Stott USA Short Film Writer/Director/Cinematographer: Shirley Petchprapa A...B..C...D...E...F...G..H...I J...K...L..M...N...O...P..Q..R Cast: Damien Puckler, Roxy Puckler S...T...U..V...W..X...Y...Z There are echoes of J.D. Salinger’s A Perfect Day for Bananafish (1948) in Shirley Petchprapa’s intensely sensual and ethereally The Year in Film beautiful self-financed short film, which wallows in the poetry of the Play for Today (1970-1984) every day, finding the beauty in acts as simple as a man watching Obscure, Forgotten, Unloved television, running a bath, and even just cleaning his teeth, whilst his Beyond the Canon dog, Roxy – the film’s real star – lolls around with effortless elegance. The 50 Greatest Films Iain.Stott 1000 Essential Films Hidden Gems Films of the Decade Lists, Collections, Top Tens, Home Older Post etc The Large Association of Movie Blogs LABELS Adam Elliot (5) Alan Bennett (7) Alan Bleasdale (2) Alan Clarke (5) Alastair Sim (4) Alec Guinness (3) Alexander Mackendrick (1) Alfred Hitchcock (7) Algeria (1) Alison Steadman (5) Amy Adams (3) Andrew Dickson (3) Angus MacPhail (3) Animated Feature Documentary (1) Animated Feature Film (20) Animated Short Film (21) Animated Short Televsion Film (1) Anthony Dod Mantle (6) Apichatpong Weerasethakul (2) Argentina (10) Arthur Askey (3) Astaire and Rogers (2) Atom Egoyan (4) Audrey Hepburn (1) Australia (18) Austria (14)
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The Quality of Mersey
September 1985 Marxism Today 43 ly in abeyance. One gets the feel of that in some of the accounts of designing paper THE QUALITY OF MERSEY backs in America in the 1940s when a lot of progressive writers and artists and pub lishers combined to get the best of the new Ian Williams fiction to a working class readership at the cheapest possible prices and with the best Is there a school of 'Liverpool Writers'? time, and employment in such conditions of innovative design. Do the Bleasdale's, Bainbridges, and Bea breeds a casual attitude both to propriety Of course there is no longer, if there ever tles have anything in common? Is it just and to property, in which Samuel Smiles' was, a unified 'reading public', and today accident of birth that connects Brookside 'Self Help' transmutes to 'Help Yourself. publishing is more constituency based - and Eddy Braben, Morecambe and Wise's Similarly, while the dominance of docks feminist, black, locally based - or commer scriptwriter, with Carla Lane or Willy and shipping produced a centralised and cially targetted: airport bookstall interna Russell. Do Alexei Sayle, Craig Charles, dangerously dependent economy, port tional espionage, railway bookstall ro Adrian Henri, Brian Patten and Roger work itself, with its myriad of occupational mance. Penguin's, now part of Pearson McGough share anything but the sound of divisions, produced a complex multi- pic, a multi-national publishing con an adenoidal cold? layered caste system complicated by divi glomerate, have become completely mar There are characteristics which disting sions between the various ethnic and reli ket-orientated.
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TRACEY LARCOMBE Contact: +44 7590430301 [email protected]
TRACEY LARCOMBE Contact: +44 7590430301 [email protected] Profile Director and writer Tracey Larcombe is a TV Drama, short film, series and documentary maker who comes from a strong background in programme production for SKY & the BBC. With a track record for directing intelligent, eye-catching projects in a variety of genres, Tracey is a natural storyteller who enjoys communicating with an audience in an engaging, entertaining & cinematic way. Tracey has directed two stand-alone episodes of BBC 1 drama ‘Casualty’ and has directed over 30 episodes of BBC series ‘Doctors’. She has just finished post production on 5 episodes of ‘Hollyoaks’ for Lime Pictures/Channel 4. As well as her regular TV drama directing, Tracey has a number of writing & directing projects in development. Including feature screenplay ‘Mother in the Cupboard’ written with David Baddiel, ‘Season To Taste – or How to Eat Your Husband’ a TV series, developed along with author Natalie Young, and ‘Time for Bed’ a low budget feature adaptation of David Baddiel’s best selling novel of the same name. Her short film, ‘Being Lionel’ starring Lionel Blair, received excellent reviews within the industry, and was selected for the IFS Festival in LA and for a ‘Women in Film & Television’ special screening event in September 2014. Directing Work • ‘Hollyoaks’ – 5 episode block as part of ‘6 weeks of Summer’ season – TX August 2017 • ‘Casualty’ – ‘When the Whistle Blows’ – BBC, TX April 2017, producer Erika Hossington • ‘Casualty’ - ‘Shock to the System’ - BBC, TX October 2016, producer Gail Evans • ‘Doctors’ – 33 episodes 2014 - 2016, various producers • ‘Being Lionel’ - Wrote, produced and directed a short film starring Lionel Blair (2013) • ‘Capturing the Gains’ – short film series - Produced, wrote and directed 4 short films for charity highlighting the social and environmental issues facing workers in various industries in China and Africa, narrated by Bernard Hill.
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John Byrne's Scotland Paul Elliott, University of Worcester
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Linda A. Morton Film & Television Crew | Make up & Hair Designer
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Channel 4'S 25 Year Anniversary
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Film Stars Don't Die in Liverpool
Presents FILM STARS DON’T DIE IN LIVERPOOL Directed by Paul McGuigan / Based on the memoir by Peter Turner Starring ANNETTE BENING, JAMIE BELL and JULIE WALTERS PUBLICITY REQUESTS: Transmission Films / Amy Burgess / +61 2 8333 9000 / [email protected] IMAGES High res images and poster available to download soon via the DOWNLOAD MEDIA tab at: http://www.transmissionfilms.com.au/films/film-stars-dont-die-in-liverpool Film Stars Don’t Die In Liverpool releases in cinemas 1 March 2018 DistriButed in Australia By Transmission Films 1 ABOUT THE PRODUCTION In late September 1981 Peter Turner received a phone call that would change his life forever. His former lover, Hollywood actress Gloria Grahame, had collapsed in a Lancaster hotel. She refused medical attention and instead reached out to Turner, who at Grahame’s request took her to his warm if chaotic family home in Liverpool. The pair had met a few years previously, their paths crossing in a Primrose Hill guesthouse in which they were lodging. Turner was an aspiring actor, Grahame a fading star. She had made her name in the Hollywood studio system, often playing the moll, the floozy or as Turner notes in his memoir ‘the tart with the heart,’ appearing in a string of film noirs, including the likes of the sad and hauntingly romantic In a Lonely Place with Humphrey Bogart (shot by her husband at the time, Nicholas Ray) and the Fritz Lang classic The Big Heat opposite Lee Marvin. Gloria shone in the likes of Crossfire, for which she was Oscar nominated, Naked Alibi and Sudden Fear, while her turn in The Bad and The Beautiful scooped her an Oscar win for Best Supporting Actress.
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Sculptors and Plumbers: the Writer and Television1 Jonathan Powell. (Royal Holloway: University of London) 1 I Would Like to Be
1 Sculptors and plumbers: The writer and television1 Jonathan Powell. (Royal Holloway: University of London) 1 I would like to begin by thanking the organizing committee for inviting me to deliver this keynote speech and I am delighted that the opportunity has led to its subsequent publication in this special edition of the Journal of Screenwriting. I am acutely aware that I face you as a practitioner, albeit one who has transferred from industry to academia. In preparation, I have done my best to at least acquaint myself with some of the arguments and frameworks within which this group operates. To this end, I have elected the work of Messrs. Caughie, Maras, Price and MacDonald as my primary gurus and guides. Nevertheless, as a practitioner, it is inevitable that I will speak from a partial, personal point of view. I will centre the framework of my thoughts around the position of the writer within television, as well as on my experiences in a particular period of the mid-1980s. This period saw the rise of what was known, at the time, as the television novel or authored serial, occurring before the contemporary incarnation of the ‘ongoing series’ that has achieved the position of global dominance that we observe today. However, I began by wondering why my immediate response, when offered the opportunity to speak at the 2015 Screenwriting Research Network Conference in London, was to jump in and join the debate. The answer was simple. I felt at home within the SRN group, with its emphasis on unearthing the processes that contribute to the formation of a script and with teasing out an understanding of the place of the script in the process of production.
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