One Tardis Please

Time. There isn't enough of it. Or perhaps there is, and I just have an unreasonable number of things to do. Not that I'm complaining - I do enjoy a busy period every now and then - but I'm afraid that it has left my blogging at a less-than-satisfactory level. I'll try to rectify this, but even now I can think of numerous things that my time might be better spent on. Like finishing the music video, preparing script outlines for Richard, working on Adam's online-content idea, working on Andy's 1970's film assignment, or working on Little Clown's numerous production challenges, to name but a few. With all this going on, I'm sure you can't blame me for not thinking straight. Not that I ever really think straight...

So, with my moaning out the road, I'm going to take a stroll through some of my more interesting thoughts over the past while. No point in trying to go back several weeks and remember everything from classes. Right now I can't even remember what I had for dinner... 20 minutes ago!

I like structure. Not just in my day-to-day life (though sometimes a change is welcome), but in screenwriting. The lesson with John Yorke was of particular use to me. Not only did it articulate really well with work we have covered with Richard, but it also clarified areas which I have struggled to grasp (particularly creating a compelling 2nd-act). The use of archetypal examples and the supplementary information on the history of the theories just cemented to me the importance of understanding and learning the structure. Right now I'm still weary of "painting by numbers" when writing, but it's always good to remember that creativity comes first, and the structure is there to support it!

Another issue I'm finding is my annoyingly producer-minded brain. Okay, it's great for producing, but I'm finding it a hindrance when it comes to writing. For instance, if I decide to set a scene in a new location, or introduce something perhaps a little complicated, I'll always ask first if it would be too much hassle for the production-team and decide based on that. I really need to force myself to ignore that and write what's best for the story. For instance, I would never have been able to write Little Clown. It's a brilliant script, but the producer-side of me would have had a heat-attack, with juggling children and what-not. (And, in fairness, that same side is having a heart-attack now that it's being made! But challenges are always good.) I need to fully separate my creative-side from my producing-side when writing, but have them both work together when producing. Electrolysis, anyone?

Something else... let's see... Oh yes, a while back Andy asked us to mention what we are currently reading on our blogs. Well, in truth, I'm not a very well-read person. It's perhaps one of my own tragic-flaws. I've never read a novel through my own choice; only when it has been compulsory for school. I do read, just not fiction. I read Russell T Davies' The Writer's Tale (a book about writing Doctor Who) near the end of last year, which I really enjoyed. Along the exact same lines, I'm still working my way through Graeme Harper's Calling the Shots (a book about directing Doctor Who). And, with regards to publications, I'm also a fond reader of the Doctor Who Magazine. Hmm, I think I've just uncovered a slightly larger tragic-flaw. And the worst thing? I'm 5 issues behind on reading the magazine because I've just been so busy! However, I am planning on getting a copy of Save The Cat by Blake Snyder, following John Yorke's recommendation. I'm also going to force myself to getting into the habit of reading fiction during the summer. Any suggestions? (Maybe I should start from a kids book, and work my way up?) I did actually go through a massive stage of listening to fiction audio books, which I really did enjoy. I could go down that route again, perhaps. Y'know, to kick-start me!

I am, however, also really interested in getting some books by Derren Brown (the well-known psychological illusionist). Not only am I interested in his work, but I'm also interested in seeing if there's any way to use similar techniques in film to - for example - make the audience know the next line of dialogue before it's spoken, or make them really emotionally invest in the story. I imagine there could be a question of legality, particularly with regards to subliminal messaging. Not that I think flash-frames would be wise. Really using psychology to make the audience go on a journey, not just the characters. I suppose all film-making is about that, really. But I'm talking about going beyond using certain colours to play with emotion. I do need to read about it to learn what these other techniques could be, but it's certainly something I want to explore. I would just hope I'm not burnt at the stake for witchcraft.

Anyway, that's enough rubbish. Here's some important news: I like Nutri-Grain Elevenses. Tell your friends.

Paradise Now

Here's my post for today's assignment on representation in Paradise Now.

Going into the film I was under the impression that suicide-bombing attacks were often directly a result of religious beliefs. Whilst this was a part of the reason in Paradise Now, the attacks were more clearly a form of retaliation (or, I suppose, revenge). That by no means makes these attacks more justified, but it certainly opened up the oppression that they feel - including the pressure from their own side to make a sacrifice for their cause.

I couldn't say if the two main characters, Said and Khaled, were fairly representative in the film. They were, however, very human characters and very believable, which is an important step in accurately portraying any group. The film did a good job of making their oppression and circumstances become apparent, and you whilst you might not have agreed with the actions eventually taken by Said, you could understand why he thought he had to do it. The film gave a perspective on suicide-bombers which I hadn't seen before. It gave them a conscience, including questioning if their actions were for the greater-good. In that sense, I felt sympathetic for them, which I suppose has changed my opinion somewhat: I now recognise that there are greater motivations for these attacks. Not ones that I agree warrant these extreme responses, but ones I can understand better.

It Died...

Okay, I've learned my lesson. Whilst video-blogging was fun, I'm finding it impossible to find the time to sit down and do it. Given that I've not posted in far too long, and that I'm rather busy at the moment, I'm returning to the good old written blog.

Monday started with a tutorial with Richard. I wasn't too surprised by the premises Richard was less fond of, but I'll admit that Richard's favourite was one I was less keen on. However, we discussed it, and I'm now more confident in the idea, and I'll certainly try developing it. Richard also had a lot of helpful comments for the others that he liked, or thought had potential. It did become apparent that often the core idea, normally my starting-point, was stronger than the premise that went with it. So I'm rethinking several from that initial point. I've also been thinking of a few new ones, but so far I don't think there's anything spectacular.

Following this, we reviewed the rushes with Gav in the DTU. It was a shame that we had already seen an edit of Love, Mugs & Stickmen, as it would have been nice to see the footage out of context first. Then we moved onto the tapes for Melissa's Mail. I kept feeling the need to speak out and justify each shot, or at least acknowledge the imperfections so that people knew I was aware of them. But I tried not to, if I could resist.

Gav continued with us on Tuesday with a simple Logging and Capturing assessment. John and I had already logged all of the footage for Melissa's Mail, so I was confident I knew what to do. Then Paul and I, along with Graeme who we found in a booth, went to see In The Loop. Following a pause for food, we went to see an advanced screening of Coraline, courtesy of Paul and his free tickets.

On Wednesday morning, Paul and I continued on our quest to sit in every seat in Cineworld by going to see Wolverine. Following this we had a screening with Andy, in which we watched In the Heat of the Night. Both of these will appear when I finally return to writing my reviews, I promise.

The themes raised in In the Heat of the Night continued in Andy's first class on Thursday, which was on representation. I couldn't help but feel that it was a little ironic that after we had discussed the objectification of women the slides were rolled back to show Megan Fox again - but it proves it's a more common issue than some would care to admit. We then discussed the representation of race in films, which proved rather interesting. I find the change in attitudes over the past few decades to be very inspiring, and I hope that these attitudes continue growing into other areas of acceptance, as there is still a ridiculous amount of discrimination out there. I'm looking forward to see who will be represented in our next class on representation.

On Friday morning, Adam explained what many familiar acronyms actually stood for, as we discussed Mobile and Web content. I'm really interested in web-content, particularly the different attempts at creating a working business-model, which doesn't seem to be going too well. I'm currently working on a web-series which I'm planning to make with my friends in Edinburgh over the Summer, and so I'm hoping to pick-up useful information from the remaining mobile-content classes!

On Friday afternoon, Andy and Adam kindly agreed to let me attend a meeting in Edinburgh for a new film-making organisation, and so I missed Abigail's class. I'll be getting the notes and finding out what is to be done soon, so that I can catch up and get it done for Friday.