Delegate-Guidebook-Compressed

Total Page:16

File Type:pdf, Size:1020Kb

Delegate-Guidebook-Compressed WELCOME To the London Screenwriters’ Festival 2017 My name is Chris Jones, get the most from your LSF founder and creative director of experience. the festival. And, just like you, I love storytelling and writing My hope and belief is that the screenplays. festival will change the way you look at your writing, your career and The LSF has fast become the most hopefully your life too. exciting, prestigious and largest event of its kind. So - open your mind and heart and get ready for one hell of an Over the three days of the festival adventure. It’s going to be you can expect to gain a massive awesome! Promise. amount of screenwriting knowledge, make powerful new industry contacts and connect with a whole new group of like-minded creatives. Chris Jones This pack will help you get the most Creative Director from the festival. I urge you to read www.LondonSWF.com it as soon as you can if you want to Follow me on Twitter @LivingSpiritPix We have an official Twitter hashtag for the festival which is #LondonSWF. You can follow us on Twitter @londonswf Join us on Facebook at https://www.facebook.com/londonswf - do drop by and like the page, we use it for many announcements of upcoming stuff. We have a blog too – check it out at www.londonscreenwritersfestival.com/blog 3 SHAPE OF THE FESTIVAL The festival runs for three days from late for our parties (on Thursday, September 15th to 17th (Friday to Friday and Saturday nights). Sunday). We recommend planning for both. The days start at 9.00am and end Plan to be present as much as around 7.30pm (with networking drinks possible as you won’t want to be running later). dragged away from the festival to other events over the three days. The venue is Regent’s University (which used to be called Regent’s College, but it’s the same building). On the first day of the festival there will be a bottleneck as the 1,000 delegates turn up to collect their passes, so arrive early. We suggest no later than 8.30am on Friday 15th September. Each day you can arrive early for breakfast (in the refectory) and stay WiFi Access The good news is that we SHOULD have free WiFi. In past years this has been an issue but we have new contractors at the venue, so fingers crossed! Your WiFi code will be on the back of your pass when you collect it at registration. 4 GETTING THERE The London Screenwriters’ Festival Exit Baker Street tube station, take the is hosted by Regent’s University, in Marylebone Road exit and turn left. the heart of London and within the Walk past Madame Tussauds, before beautiful grounds of Regent’s Park. taking the next left onto York Gate, which continues onto York Bridge. Regent’s University, Inner Circle, Regent’s Park, London, NW1 4NS. Follow the road into Regent’s Park and the main entrance to Regent’s Baker Street is the closest Tube stop, University will be on your left-hand around ten minutes walk to the side. Please note that Baker Street university. Underground Station is not wheelchair accessible. It’s not advised to travel to the venue by car as parking is expensive and limited. Allow time to get lost on your way on the first day! Do not lose your pass. Replacements will cost £20. Schedule updates and venue maps are available on-site and festival updates will be shown on info screens throughout the venue. 5 MAP OF THE VENUE Don’t panic! The Venue is smaller than it looks and you will quickly get your bearings. It’s essentially a large quad with rooms on all four sides. 6 SCHEDULE OF EVENTS During the festival there are five sessions which can last between an separate strands of events – this hour and a half and two and a half means that at any one time five hours, depending on session and sessions are running concurrently. speaker(s). Friday will be our busiest day. We film many sessions to help you choose. Some speakers decline to be NO AUDIO OR VIDEO RECORDING filmed, however. Some sessions will be IS ALLOWED – WE FILM much more popular than others. Where EVERYTHING PERMITTED BY possible, we will flag this up so that SPEAKERS. you can make your choices with the most information. Between sessions there is always a half an hour break minimum, with a longer one for lunch (around 90 minutes). All sessions are one hour, with the exception of mid-morning double Enhanced Security To ensure all our safety, we now operate bag checks when entering the site. You should factor in a slight delay when entering the venue, in order to carry out this important check. And it goes without saying, even though they are cute, no pets. 7 FRIDAY Herringham Herringham Tuke Hall Tuke Cinema Hall H243 Darwin D05 8:00am 8.30am PitchFest Bootcamp with Bob With BOB SCHULTZ Not filmed 9:00am Festival Opening With CHRIS JONES 9.30am Not filmed 10:00am BREAK BREAK BREAK BREAK BREAK 10.30am The BIG Guns of TV Writing a Thriller that Brainstorming Through the Coen Brothers: Unlocking Write, Camera, Action! With JOHN YORKE producers want to make Block the Mystery of These Get Your Short Made 11:00am ALISON OWEN and audiences want to With PILAR ALESSANDRA Master Storytellers Immediately BELINDA CAMPBELL Not filmed watch With SCOTT MYERS With CHRIS JONES & JED MERCURIO With EMMANUEL OBERG Not filmed BOB SCHULTZ Moderated by GUB NEAL 11.30am Not filmed 12:00 NOON 12.30pm 1:00pm 1.30pm LUNCH LUNCH LUNCH LUNCH LUNCH 2:00pm How to write familiar yet Ripping into Ripper Street Motion without Pictures: fresh and compelling Meet Stephen Woolley, Sitcoms and other with creator, writer and Writing for Radio Celebrated UK Producer nonsense 2.30pm characters producer Richard Warlow With JULIA MCKENZIE, JEREMY With CHRISTOPHER VOGLER With RICHARD WARLOW, With STEPHEN WOOLLEY With PAUL KERENSA HOWE, NEIL MCKAY & JACK WILL GOULD & moderated by BERNHARDT & Moderated by JEFF NORTON JONATHAN RUFFLE 3:00pm BREAK BREAK BREAK BREAK BREAK 3.30pm The BIG Vision: How to 'Filthily Funny': In Somewhere in time: Script to Screen - Planet of Attract Prolific Producers Conversation with Paul Writing Period Drama the Apes: The Last Frontier 4:00pm to YOUR Screenplay Abbott With MICHAEL HIRST & With MARTIN ALLTIMES, With RUTH CALEB & With PAUL ABBOTT & moderated moderated by SARAH WILLIAMS MATTHEW COSTELLO, NEIL RICHARDS, TONY GARNETT by JOHN YORKE NEIL NEWBON & FRASER AYRES 4.30pm BREAK BREAK BREAK BREAK BREAK 5:00pm How to write for the BBC Sensitive Handling of 'Withnail and I' Script Meet the Producers: Producing your Passion with Anne Edyvean | BBC Sensitive Materials: to Screen with Bruce Impressing the Power With KIM ZUBICK & moderated by PILAR ALESSANDRA 5.30pm Writersroom Writing True Crime Robinson Players With ANNE EDYVEAN With NEIL MCKAY & moderated by With BRUCE ROBINSON & With RORY AITKEN, STEVE JACKIE MALTON moderated by CHRIS HEWITT CLARK-HALL & ROBYN SLOVO 6:00pm BREAK BREAK BREAK BREAK BREAK 6.30pm Killer Scene Descriptions: Manifesting Success The Pitch Factor Networking drinks in the Make your documentary: With With Using Screenplay Style to CHRIS JONES & JONATHAN PILAR ALESSANDRA refectory till late Writing, producing and 7:00pm Express YOUR Writer's NEWMAN NED DOWD Not filmed CHRISTOPHER VOGLER & changing the world Voice With CRAIG MCCALL moderated by BOB SCHULTZ With SCOTT MYERS Not filmed 7.30pm Not filmed 8:00pm Writing Action with Jeb Stuart With JEB STUART & moderated by EDDIE HAMILTON A.C.E 8.30pm 9:00pm SATURDAY Herringham Herringham Tuke Hall Tuke Cinema Hall H243 Darwin D05 8:00am PitchFest Bootcamp with Bob 8.30am With BOB SCHULTZ Not filmed 9:00am How to Find the Right Final Draft 10: Getting Writing the Icon: How one Producer for Your Film the Most from the Most woman conquered the 9.30am With FARAH ABUSHWESHA Popular Software Churchill Story With SHELLY MELLOTT & With ALEX VON TUNZELMANN CHRISTOPHER VOGLER Moderated by SARAH WILLIAMS SCRIPT CHAT 10:00am BREAK BREAK BREAK BREAK BREAK 10.30am How to create binge Pixar: The Secrets of Their Just Kidding: Writing The Infinite Character Arc: 'Whiplash' Script to Screen TVwatchers: Constructing Storytelling Craft Cracking Comedy Writing Continuing Drama Deconstruction with With 11:00am and Interweaving multiple With SCOTT MYERS Features and TV LORETTA PREECE Christopher Vogler Not filmed BILL ARMSTRONG protagonist stories With EMMANUEL OBERG With CHRISTOPHER VOGLER ANDY BAYLISS With LINDA ARONSON Not filmed JOHN YORKE 11.30am Not filmed LUCY RAFFETY SCRIPT CHAT KATE HALL JON SEN 12:00 NOON & JUSTIN YOUNG Moderated by BARBARA MACHIN 12.30pm 1:00pm 1.30pm LUNCH LUNCH LUNCH LUNCH LUNCH 2:00pm Gatekeepers: Building Strike: Writing JK Rowling's Fantastical Worlds and Raising Your Profile: Creating Paranormal Drama relationships with key New TV Crime Drama Universal Themes: Game Mastering Social Media for Film and TV 2.30pm influencers With TOM EDGE With STEPHEN VOLK With ZINA WEGRZYNSKI of Thrones like the Pros With With & moderated by JULIAN BOB SCHULTZ JO BOOTH 3:00pm FRIEDMANN BREAK BREAK BREAK BREAK BREAK 3.30pm Producer's Notes: A 2B or not 2B! Make your Writing for Young The Female Gaze II Deconstructing 'Memento' scripts water tight (even Necessary Evil Audiences With ANGUS LAMONT, With CHARLOTTE JOSEPHINE with Linda Aronson 4:00pm the tricky bit in the middle) With EMMA REEVES, TOBI ASHLEY PHAROAH, DANNY & moderated by MAUREEN With LINDA ARONSON With PILAR ALESSANDRA WILSON, JUSTIN TREFGARNE & BROCKLEHURST & ROLAND HASCOET SCRIPT CHAT Not filmed moderated by MARK PALLIS MOORE & moderated by KAROL 4.30pm SCRIPT CHAT GRIFFITHS BREAK BREAK BREAK BREAK 5:00pm Adaptations: How to write New Frontiers: Writing for The Girl With All The Gifts: My Big Break With VINAY
Recommended publications
  • “One of These Days I'm Going to Get Organiz-Ized”: Insomnia
    “ONE OF THESE DAYS I’M GOING TO GET ORGANIZ-IZED”: INSOMNIA AS THE ARRHYTHMIC EXPERIENCE OF MODERNITY CRAIG MEADOWS A DISSERTATION SUBMITTED TO THE FACULTY OF GRADUATE STUDIES IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY GRADUATE PROGRAM IN SOCIAL AND POLITICAL THOUGHT YORK UNIVERSITY TORONTO, ONTARIO October 2019 © Craig Meadows, 2019 Abstract The proliferation of insomnia and related discourses since the 1970s has produced an expanding moral economy of sleep. The discursive field of sleep has been defined by the production of biological assumptions of the nature of sleep in the sleep sciences, their distribution through clinical modes of hygienic and pharmacological intervention into disturbed sleep, and their popularization in media discourses of risk, suffering and management. My research begins by identifying the situation of sleep as a discursive object in the sleep sciences, which I contrast with experiential representations of insomnia in the film Withnail and I (1987). The purpose is to dislodge insomnia pathology and instead to understand it as an arrhythmic modality. What emerges in this discourse, however, is a romanticized notion of the discordant body unable to integrate to the rhythms of capital. I then examine the role of sleeplessness in the production of white masculine suffering in neoliberal capitalism through Taxi Driver (1976) and Fight Club (1999). In contrast to this privileged form of androcentric insomnia, I then turn to biographical accounts of insomnia by Gayle Greene and Patricia Morrisoe, who narrate the effects of sleeplessness and their gendered movements through consumer culture and clinical spaces in their attempts to restore what they understand to be natural sleep.
    [Show full text]
  • Ordinary Lies
    Ordinary Lies TX: Tuesday 17 March 2015 (TBC) BBC One 6 x 60min For further information: Katy Ardagh: 020 7292 7358 / [email protected] Ruth Bray: 020 7292 8348 / [email protected] Amy Shacklady: 020 7292 7373 / [email protected] 1 Contents Press Release 3 Cast List 4 Cast Interviews Danny Brocklehurst Series creator and writer 5 Jason Manford Plays Marty McLean 7 Jo Joyner Plays Beth Corbin 9 Sally Lindsay Plays Kathy Kavanagh 11 Episode 1 Synopsis 13 2 Ordinary Lies How well do you really know the people who work around you? From RED Production Company, creators of hit series Happy Valley and Last Tango In Halifax, comes highly-anticipated new primetime drama, Ordinary Lies, penned by BAFTA and International Emmy award-winning writer, Danny Brocklehurst (Accused, Shameless). We all tell little white lies everyday be it for self-protection, success or for love. But what happens when a spur-of-the-moment mistruth snowballs and begins to take over? Is it possible get away with it, or will the lie inevitably come undone to devastating effect? Set in a car showroom, Ordinary Lies is a compelling drama about how a simple lie can spiral out of control. With drama, tragedy, warmth and humour, each episode focuses on one of the colleagues and friends of JS Motors. From party-loving receptionists, Tracy (Michelle Keegan) and Viv (Cherelle Skeet) and ambitious company boss, Mike (Max Beesley) to enigmatic salesman, Pete (Mackenzie Crook) and mothering PA, Kathy (Sally Lindsay), each new and individual story questions just how well we know the people we work with.
    [Show full text]
  • Michelle Heaney Editor
    AMANDA MCALLISTER PERSONAL MANAGEMENT LTD 74 Claxton Grove, London W6 8HE • Telephone: +44 (0) 207 244 1159 www.ampmgt.com • e-mail: [email protected] MICHELLE HEANEY EDITOR CREDITS INCLUDE: THE REUNION Director Bill Eagles Thriller Drama Series Producer Sydney Gallonde Episodes 2, 4 & 6 (Remote editing) Production Co. MGM International TV Prods / Make It Happen Studio / France Télévisions STAY CLOSE Director Lindy Heymann 8 x 1hr Contemporary Drama Producer Juliet Charlesworth Episodes 5 & 6 Exec. Producers Nicola Shindler, Harlan Coben, Richard Fee, Danny Brocklehurst Production Co. Red Production Company / Netflix TRACES Director Rebecca Gatward 2 x 1hr Crime Mystery Thriller Drama Producer Juliet Charlesworth (Additional Editor) Exec. Producers Nicola Shindler, Michaela Fereday, Liam Keelan Philippa Collie Cousins, Val McDermid Production Co. Red Production Company / ALIBI BAFTA Nomination Best Drama Series THE WORST WITCH Director Dermot Boyd 4 x ½hr Children’s Drama Series Producer Kim Crowther Exec. Producer Sue Knott Production Co. CBBC / Netflix / ZDF Enterprises THE STRANGER Director Daniel O’Hara 3 x 1hr Mystery Crime Drama Producer Madonna Baptiste (1st Assistant Editor) Exec. Producers Nicola Shindler, Harlan Coben, Danny Brocklehurst, Richard Fee Editor Steve Singleton Production Co. Red Production Company / Netflix BRASSIC Directors Daniel O'Hara, Jon Wright 6 x 1hr Comedy Series Producer Juliet Charlesworth (1st Assistant Editor/ Assembly Editor) Exec. Producers David Livingston, Joe Gilgun, Danny Brocklehurst, Jon Montague Editors Annie Kocur, Rachel Hoult Production Co. SKY / Calamity Films THE ROOK Director Kari Skogland 3 x 1hr Fantasy Thriller Drama Series Producer Steve Clark-Hall (1st Assistant Editor) Exec. Producer Stephen Garrett Editor Oral Ottey Production Co.
    [Show full text]
  • Oxford Lecture 1 - Final Master
    OXFORD LECTURE 1 - FINAL MASTER HOW TO GROW A CREATIVE BUSINESS BY ACCIDENT The legendarily bullish film director Alan Parker once adapted Shaw's famous dictum about the academic profession - "those who can, do. Those who can't teach." So far so familiar. And to many in this room, no doubt, so annoying. But he went on: "those who can't teach, teach gym. And those who can't teach gym, teach at film school." I appreciate that Oxford is not a film school, though it has a more distinguished record than any film school for supplying the talent that has fuelled the British film and TV industries for almost a century - on and off camera. Writers like Richard Curtis, who brought us 4 Weddings and a Funeral, Love Actually, The Vicar of Dibley and Blackadder; or The Full Monty and Slumdog Millionaire scribe Simon Beaufoy; directors of the diversity of Looking for Eric's Ken Loach and 24 Hour Party People's Michael Winterbottom; writer/directors like Monty Python's Terry Jones and the Thick of It's Armando Iannucci; actors and performers ranging from Hugh Grant to Rowan Atkinson; and broadcasting luminaries like the BBC's Director General Mark Thompson and News International's very own Rupert Murdoch. So, Oxford has been a pretty efficient film and TV school, without even trying. And perhaps that is Parker's point. Can what passes for creativity in film and TV ever really be taught? But here in my capacity as News International Visiting Professor of Broadcast Media (or if you prefer an acronym, NIVPOB - the final M is silent) I may be even further down Parker's food chain.
    [Show full text]
  • Budds Barns DVD List 2020
    Budds Barns DVD list 2020 Listed will be the name of the dvd, the age rating and the length of the film/series. If you would like a dvd please ask. Name of film Age rating Length of film/series A christmas carol PG 92 minutes Airplane 15 84 minutes Aliens in the attic PG 82 minutes Alvin and the chipmunks U,G 1 hour and 15 minutes meet frankenstein “Am i bovvered?” The 15 6 hours and 40 minutes Catherine Tate show (series one and series two.) Ancient Egyptians n/a 52 minutes Tutankhamun. Angus, thongs and 12 96 minutes perfect snogging Animal Farm PG 90 minutes Annie U 86 minutes A private function 15 92 minutes A simple wish U 1 hour and 26 minutes Avatar 12 155 minutes Batman begins 12 134 minutes Brave PG 93 minutes Bride wars 12 85 minutes Casino 18 1 hour 57 minutes Casino Royale 12 2 hours 18 minutes (James Bond) Charade PG n/a Chariots of fire U 118 minutes Cinderella 2 dreams U 70 minutes come true Dark shadows 12 108 minutes Days that shook the world PG 59 minutes Days that shook the world 12 59 minutes Despicable me U/G 1 hour and 31 minutes Die Another Day 12 2 hours 7 minutes (James Bond) Dorian Gray 15 107 minutes Downton Abbey 12 6 hours 4 minutes (series 1) Dumbo U/G 61 minutes Fantasia U/G 119 minutes Fawlty Towers 12 370 minutes The complete collection remastered Ferris Bueller’s day off 15 99 minutes Finding Nemo U 96 minutes Football’s Greatest ever n/a 50 minutes matches.
    [Show full text]
  • Radio 4 Extra Listings for 14 – 20 March 2015
    Radio 4 Extra Listings for 14 – 20 March 2015 Page 1 of 9 SATURDAY 14 MARCH 2015 Marie Antoinette, Alexandrine Zola, Adolf Hitler and Charles Although it's the Poldarks that brought Winston Graham the de Gaulle who lighten and darken the city's streets most fame, he also wrote more than 30 other novels, six of SAT 00:00 The Seventh Test by Vikas Swarup (b044jh6l) in five episodes for BOOK OF THE WEEK. The series which have been filmed including the thriller, Marnie directed The Noose narrator is Stephen Boxer. by Alfred Hitchcock in 1964. Sapna Sinha works as a sales assistant in a TV showroom in In this final episode, we witness gunshots at Notre Dame, which This selection celebrates the range of his work and offers a New Delhi. Being the only bread-winner in the family she heralds decades of danger for glimpse into the enduring appeal of his most famous characters, works long hours to provide for her widowed mother and a new French leader... Reader Stephen Boxer. Ross and Demelza who are set to return to BBC screens in a younger sister. But then a man walks into her life with an SAT 01:00 The Museum of Curiosity (b0167zkv) new adaptation. extraordinary proposition: pass seven "life" tests of his choosing Series 4 Made for BBC Radio 4 Extra by The Waters Partnership. and she will have wealth and power. At first the tests seem easy, Haynes, McCandless, Crystal SAT 04:15 Neil Brand - Joanna (b00r9xm6) but things are not quite as they seem.
    [Show full text]
  • The Beatles on Film
    Roland Reiter The Beatles on Film 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 1 ) T00_01 schmutztitel - 885.p 170758668456 Roland Reiter (Dr. phil.) works at the Center for the Study of the Americas at the University of Graz, Austria. His research interests include various social and aesthetic aspects of popular culture. 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 2 ) T00_02 seite 2 - 885.p 170758668496 Roland Reiter The Beatles on Film. Analysis of Movies, Documentaries, Spoofs and Cartoons 2008-02-12 07-53-56 --- Projekt: transcript.titeleien / Dokument: FAX ID 02e7170758668448|(S. 3 ) T00_03 titel - 885.p 170758668560 Gedruckt mit Unterstützung der Universität Graz, des Landes Steiermark und des Zentrums für Amerikastudien. Bibliographic information published by Die Deutsche Bibliothek Die Deutsche Bibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.ddb.de © 2008 transcript Verlag, Bielefeld This work is licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License. Layout by: Kordula Röckenhaus, Bielefeld Edited by: Roland Reiter Typeset by: Roland Reiter Printed by: Majuskel Medienproduktion GmbH, Wetzlar ISBN 978-3-89942-885-8 2008-12-11 13-18-49 --- Projekt: transcript.titeleien / Dokument: FAX ID 02a2196899938240|(S. 4 ) T00_04 impressum - 885.p 196899938248 CONTENTS Introduction 7 Beatles History – Part One: 1956-1964
    [Show full text]
  • Amongst Friends: the Australian Cult Film Experience Renee Michelle Middlemost University of Wollongong
    University of Wollongong Research Online University of Wollongong Thesis Collection University of Wollongong Thesis Collections 2013 Amongst friends: the Australian cult film experience Renee Michelle Middlemost University of Wollongong Recommended Citation Middlemost, Renee Michelle, Amongst friends: the Australian cult film experience, Doctor of Philosophy thesis, School of Social Sciences, Media and Communication, University of Wollongong, 2013. http://ro.uow.edu.au/theses/4063 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Amongst Friends: The Australian Cult Film Experience A thesis submitted in fulfillment of the requirements for the award of the degree DOCTOR OF PHILOSOPHY From UNIVERSITY OF WOLLONGONG By Renee Michelle MIDDLEMOST (B Arts (Honours) School of Social Sciences, Media and Communications Faculty of Law, Humanities and The Arts 2013 1 Certification I, Renee Michelle Middlemost, declare that this thesis, submitted in fulfillment of the requirements for the award of Doctor of Philosophy, in the Department of Social Sciences, Media and Communications, University of Wollongong, is wholly my own work unless otherwise referenced or acknowledged. The document has not been submitted for qualifications at any other academic institution. Renee Middlemost December 2013 2 Table of Contents Title 1 Certification 2 Table of Contents 3 List of Special Names or Abbreviations 6 Abstract 7 Acknowledgements 8 Introduction
    [Show full text]
  • Fantastika Journal
    FANTASTIKAJOURNAL After Bowie: Apocalypse, Television and Worlds to Come Andrew Tate Volume 4 Issue 1 - After Fantastika Stable URL: https:/ /fantastikajournal.com/volume-4-issue-1 ISSN: 2514-8915 This issue is published by Fantastika Journal. Website registered in Edmonton, AB, Canada. All our articles are Open Access and free to access immediately from the date of publication. We do not charge our authors any fees for publication or processing, nor do we charge readers to download articles. Fantastika Journal operates under the Creative Commons Licence CC-BY-NC. This allows for the reproduction of articles for non-commercial uses, free of charge, only with the appropriate citation information. All rights belong to the author. Please direct any publication queries to [email protected] www.fantastikajournal.com Fantastika Journal • Volume 4 • Issue 1 • July 2020 AFTER BOWIE: APOCALYPSE, TELEVISION AND WORLDS TO COME Andrew Tate Let’s start with an image or, more accurately, an image of images from a 1976 film. A character called Thomas Jerome Newton is surrounded by the dazzle and blaze of a bank of television screens. He looks vulnerable, overwhelmed and enigmatic. The moment is an oddly perfect metonym of its age, one that speaks uncannily of commercial confusion, artistic innovation and political inertia. The film is Nic Roeg’s The Man Who Fell to Earth – an adaptation of Walter Tevis’ 1963 novel – and the actor on screen is David Bowie, already celebrated for his multiple, mutable pop star identities in his first leading role in a motion picture. In an echo of what Nicholas Pegg has called “the ongoing sci-fi shtick that infuses his most celebrated characters” – including by this time, for example, Major Tom of “Space Oddity” (1969), rock star messiah Ziggy Stardust and the post-apocalyptic protagonists of “Drive-In Saturday” (1972) – he performs the role of an alien (Kindle edition, location 155).
    [Show full text]
  • THE STRANGER Dock10 Has Completed Post Production of the Stranger, an 8 X 60 Minute 4K HDR Drama Series for RED Production Company Commissioned by Netflix Originals
    DOCK10 COMPLETES POST PRODUCTION OF RED PRODUCTION COMPANY’S 4K NETFLIX THRILLER THE STRANGER dock10 has completed post production of The Stranger, an 8 x 60 minute 4K HDR drama series for RED Production Company commissioned by Netflix Originals. dock10 provided Manchester’s first end-to-end post production for a Netflix Original scripted series for The Stranger being made by Red Production Company. Post Production, from initial planning stages and ingest of dailies to delivery of the final, finished episodes to Netflix, for this 8 x 60-minute 4K HDR drama, based on Harlan Coben’s novel and written by Danny Brocklehurst, and starring Richard Armitage, Siobhan Finneran, Jennifer Saunders, Anthony Head and Hannah John-Kamen, was completed over the course of almost a year at dock10’s facilities in MediaCityUK – the first Netflix Original scripted project to be wholly post produced in Manchester. Alongside the series post production, dock10’s VFX team created over 350 individual VFX shots spanning green screen, digital matte painting, CG set extensions, destruction effects, digital stunt work, digital art direction and digital make up. Several key scenes for this series relied on our VFX team for the recreation and destruction of an existing Liverpool street location. To achieve this, the VFX team used extensive photographic references to accurately recreate the street, with principle photography taking place on the studio back lot using a section of replica housing against a green screen. Working closely with the director, director of photography and production designer, these scenes were previsualised in CG, at full scale, both to help in creating the sequences and also to provide the dimensions and distances of the green screen needed by the construction department.
    [Show full text]
  • Withnail & I: Everything You Ever Wanted to Know but Were Too
    FREE WITHNAIL & I: EVERYTHING YOU EVER WANTED TO KNOW BUT WERE TOO DRUNK TO ASK PDF Thomas Hewitt-McManus | 124 pages | 20 Apr 2012 | Lulu.com | 9781411658219 | English | Morrisville, United States Withnail and I - Wikipedia Withnail and I is a British black comedy film written and directed by Bruce Robinson. Based on Robinson's life in London in the late s, the plot follows two unemployed young actors, Withnail and "I" portrayed by Richard E. Grant and Paul McGann who live in a squalid flat in Camden Town in while squandering their finances on alcohol. Needing a holiday, they obtain the key to a country cottage in the Lake District belonging to Withnail's lecherous gay uncle Monty and drive there. The weekend holiday proves less recuperative than they expected. Withnail and I was Grant's first film and launched him into a successful career. The film has tragic and comic elements particularly farce and is notable for its period music and many quotable lines. It has been described as "one of Britain's biggest cult films". The film depicts the lives and misadventures of two unemployed young actors in late London. They are the flamboyant alcoholic Withnail and "I" named "Marwood" in the published screenplay but not in the credits as his relatively more level- headed friend and the film's narrator. Withnail comes from a privileged background and sets the tone for the friendship. They live in a filthy Georgian flat in Camden Town. Their only company at the flat is the local drug dealer, Danny. The roommates squabble about housekeeping and leave to take a walk.
    [Show full text]
  • Above and Beyond Richard E Grant
    Above and beyond richard e grant Above and Beyond is a four-hour miniseries aired by the Canadian Broadcasting Corporation on October 29 and 30, It stars Richard E. Grant, ​Plot · ​Cast · ​Production · ​Awards. According to Sue W, the two part tv mini- series of Above and Beyond is now available as a pre-order item on and The DVD Release. Above And Beyond. April TV mini series (Don Bennett). REG plays a real life pilot who pioneered and organised the supply of bomber planes to fly from. : Above and Beyond: Joss Ackland, Richard E. Grant, Jason Priestley, Kenneth Welsh, Robert Wisden, Robert Latimer, Jonathan Scarfe, Liane. Drama · True Story about the Atlantic Ferry Operation during World War II. Above and Beyond Poster. True Story about . Richard E. Grant Don Bennett (2. The World War II set romantic drama Above and Beyond concerns a Richard E. Grant and Jason Priestley star in this tale of love in the RAF. Starring: Llane Balaban, Jonathan Scarfe, Allan Hawco, Jason Priestly, Joss Ackland, Kenneth Welsh, Richard E Grant. ABOVE AND BEYOND - Complete Mini. Featuring a talented cast including Richard E. Grant (Gosford Park), Golden Globe nominee Jason Priestley (Beverly Hills, ), Emmy nominee Ken Welsh. The World War II set romantic drama Above and Beyond concerns a young man and Richard E. Grant and Jason Priestley star in this tale of love in the RAF. DOM HEMINGWAY, BBC Films, Richard Shepard. ABOUT TIME LOVE HURTS, Pageant Prod, Barra Grant ABOVE AND BEYOND, CBC, Sturla Gunnarsson. 42 Episode: "Richard E. Grant and " Himself Michael Parkinson Sherlock: of Bohemian Rhapsody Home Twins Farm Above Beyond and Dalziel Pascoe and.
    [Show full text]