Talking Movies

September 9, 2018

You get Hoynes/Trump!

It’s been a nostalgic blast watching The West Wing from the start on TG4 this past week. Coming at the exact moment that Bob Woodward’s new book of nasty quotes and the New York Times’ anonymous op-ed painted a picture of the workings of a very different Oval Office it led to disquieting thoughts about Presidents Bartlet, Obama and Trump.

The Ringer recently produced a list of the 100 best TV episodes since 2000. I got the impression reading that one contributor would almost rather say ‘not anti-hero’ than ‘hero’ because if they said hero that would bespeak not being the kind of world-weary sophisticate who writes for The Ringer. This excerpt is fairly characteristic of them:

I don’t disagree about the Bartlet hagiography, but to me that’s almost a charm of the show; in the world of Walter Whites and Hannah Horvaths and the sociopaths of Succession, the idea of the “good guy we’re rooting for” is almost quaint.

But… if the media, especially the unlimited digital ink allowed by the internet, spends its time praising only anti-heroes, difficult men… and the Emmys and Golden Globes go only to shows on cable about anti-heroes, difficult men… and both the media and industry generally deride when they don’t ignore shows  (usually on network, like, say NCIS) that feature principled heroes, can both media and industry (as seen at every awards show) really get up on such a moral high horse when an anti-hero, difficult man becomes the President? If Obama now says Trump is a symptom not the cause, is the media and industry not partially culpable? Did they not prepare the culture to bring forth just that?

Years ago I wrote but never posted a lengthy piece based around a reading of a segment of Obama’s Dreams From My Father and the complaints on BBC of a Hillary Clinton staffer that Obama had had an unfair advantage because pop culture had prepared the way for a black President via Morgan Freeman and Denis Haysbert but there was nobody similarly making straight a path in the wilderness for Hillary. But if Deep Impact and 24 were literally held to have given Obama an advantage then surely The West Wing must have contributed mightily too. During the dark days of Bush Jr’s inarticulate incompetence there was a President who was charming, articulate, intelligent, a university lecturer; he was fictional, but you can’t have everything; and Bush Jr was replaced by a President who was charming, articulate, intelligent, and a university lecturer.

But then after a decade of anti-heroes, difficult men, what do you know but the American public went and elected one of those cultural icons as President – the anti-hero-in-chief. Where could they have got such a weird idea?

Oh, for one of those crassly commercial network notes now! “Can you make President Trump more likeable?”

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April 10, 2018

What becomes a Christie most?

Can the melancholic approach taken in Murder on the Orient Express work for a proposed Death on the Nile sequel?

I was quite surprised by the melancholic tone of Branagh’s first Poirot outing, but that, more than anything else, even his energetic performance as an exacting, physical Poirot, was what made the film work. And with a 350 million return on a 55 million budget it is inevitable that the sequel set up in its final scene will happen – Death on the Nile. Discussing this prospect with occasional co-writer Friedrich Bagel (which I still strongly suspect of being an assumed name) he opined that it would be better to go for a Christie mystery that has not been filmed, like The Mysterious Affair at Styles or The Murder of Roger Ackroyd. Sadly, I opined right back, two things stand in the way of that – people would riot in their cinemas at the finale of Ackroyd, and marketers would riot in their boardrooms at the prospect of actually having to do their job rather than utilise the name recognition of already beloved properties. Alors, Nile

One hopes that someone in Burbank isn’t thus scrolling through Peter Ustinov’s IMDb profile. Ticking off Evil Under the Sun and Appointment with Death as the final entries in the Branagh Poirot quadrilogy, sneakily noting Thirteen at Dinner, Dead Man’s Folly, and Murder in Three Acts as potential TV specials to cross the street with to HBO if the Branagh Poirots hit a wall at the box office, or God help us looking about for young Branaghs for a potential prequel Mysterious Affair at Styles. We know that Michael Green will again be adapting Christie’s novel for Branagh to star and direct. Reviewing Murder on the Orient Express back in November I noted that Green redeemed himself from the double whammy disasters of Alien: Covenant and Blade Runner 2049 with his melancholic interpretation, which saw Branagh and composer Patrick Doyle render the murder almost as a mourning ritual. But that card can only be played once, leaving an obvious possibility that will annoy the purists.

That card is the trump that left the London Times spitting blood this Easter weekend when the BBC changed the identity of the killer in Ordeal by Innocence. It’s impossible to change the killer in Murder on the Orient Express, and one would think the same applies to Death on the Nile, but a severe rewrite (in the order of the tortures visited upon Stoker for Laurence Olivier’s Dracula) could yield anything. It is disconcerting when screenwriters assume they know better than the Queen of Crime who done it, but then there is a general tendency to sniff at Christie’s writing as being mere three-card-trick-plotting, overlooking some wonderful sly comedy as well as much darker effects of suspense, paranoia, and cynicism in The Hollow and And Then There Were None. No, if Green were to change the identity of the killer in Death on the Nile it wouldn’t be totally inadmissible, but it would be a hefty task of rewriting to keep Christie’s logic intact.

It is a matter of opinion that the melancholic card can only be played once. Green’s invented character arc for Poirot, where he admits shades of grey into a Manichean worldview is similar to the moral agony endured by Suchet’s Poirot on the same case. But Suchet’s crisis was explicitly Catholic while Branagh’s was, predictably for Hollywood, a crisis in the secular Markwellian ethics of consistency; allied to the writing of Poirot’s OCD as the scrupulosity of consistency in all things. (Although I vigorously object to the tendency to dub any and all devotion to precision as OCD, rather than, say, a devotion to precision.) I hold that the senseless murder of a kidnapped child naturally occasions a melancholic atmosphere in a way that a twisted love triangle climaxing in slaughter does not, but as Green threw out large chunks of plotting and minutiae to focus on a mood, it would not be outrageous to think he could do much the same thing for Nile.

Bagel took me to task for harping on Branagh as a physical Poirot, declaiming that Poirot was a policeman so he should be able to chase people, and that Christie herself admitted she’d blundered with his age, being retired in 1920 he would be 105 when solving crimes in 1960s Chelsea; a mistake akin to PG Wodehouse initially locating Blandings Castle damnably far from London for later plotting purposes. I retorted that Branagh’s physicality distinguishes his interpretation. Peter Ustinov naturally brought a raconteurish quality, and his bumbling was a play on how Christie made Poirot exaggerate his foreignness to trick villains into complacency. Suchet, lacking that flaneuring spirit, emphasised Poirot’s prim and proper sedentary use of the little grey cells; more true to the retired from active duty to pure consultation of Christie’s first forays with the detective. Branagh takes some of the fire from Suchet’s Poirot, indignant at evildoers expecting to get away scot-free, and makes his Belgian less retiree, more Fury at large.

To end where we began Herr Bagel wrung his hands that there is no decent actor who can play Hastings, the Watson to Poirot’s Sherlock, without being ‘annoying’. Hugh Fraser was perfect in the part for ITV, and, by indirect associations; he had previously played a villain in Edge of Darkness, he was tall where Suchet was small; I led myself to the only candidate (sic) for the part – Toby Jones. Who, by good fortune, was recently in Witness for the Prosecution for the BBC, and previously played opposite the great David Suchet on ITV’s Murder on the Orient Express. Branagh is Poirot, Jones is Hastings, the sun is high, the Nile water deceptively calm…

February 21, 2018

ADIFF 2018: Nikolaj Coster-Waldau

Game of Thrones and Headhunters star Nikolaj Coster-Waldau is a late addition to the Audi Dublin International Film Festival 2018, presenting his new Nordic thriller 3 THINGS.

Danish star Nikolaj Coster-Waldau, best-known as Jaime Lannister in HBO’s Game of Thrones, will no doubt be raising an army of fans for the Gala screening of suspenseful Scandinavian thriller 3 THINGS at ADIFF 2018 in Cineworld at 6.30pm on Tuesday 27th February. Tickets for 3 THINGS  have just gone on sale so snap them up fast at www.diff.ie!

ADIFF Festival Director Gráinne Humphreys said ‘With the start of the festival just hours away, I’m really excited to announce Game of Thrones stalwart Nikolaj Coster-Waldau, also known for his roles in Mama, Shotcaller, and A Second Chance, will be joining us for ADIFF 2018. Coster-Waldau’s new film, which he both stars in and of which he is an Executive Producer, 3 THINGS is a tense and claustrophobic thriller, packed with twists and turns and he shines as the master criminal who believes that he can charm his way out of any situation.’

3 THINGS takes place in a hotel where the police are negotiating the terms of a witness protection deal with the prime suspect of a robbery and an expert on explosives, Mikael (Nikolaj Coster-Waldau). In order to agree to the deal, Mikael demands three things from the police: that his former girlfriend is brought to him, that the police bring him the contents of a box he has stored, and that he is served butter chicken from his favourite restaurant. The police, under heavy time pressure to get him to testify the following day, agree.

3 Things joins ADIFF’s line-up of the world’s best films coming to Dublin 21st Feb -4th March, featuring special guests including Paul Schrader (First Reformed, Paul Schrader Public Talk), Vanessa Redgrave (Sea Sorrow, Public Talk & Volta Award Presentation); Joaquin Phoenix and Rooney Mara at a Gala Screening ofMary Magdalene.

ADIFF also includes the Immersive Stories Virtual Reality Conference & Exhibition bringing top names in VR to Dublin for a two-day exploration of the future of filmed entertainment.

Tickets for the Gala screening of 3 THINGS (with Nikolaj Coster-Waldau) at 6.30pm on Tuesday 27th Feb at Cineworld are on sale now at the Box Office at 12 East Essex Street Temple Bar, by phone on 01 687 7974 or online at www.diff.ie.

October 16, 2017

King Lear

The Mill Theatre returns to the Shakespearean well in autumn once again with a spirited production of Shakespeare’s bleakest tragedy.

Lear (Philip Judge) has decided to divide his kingdom between his three daughters. But, while sycophantic siblings Goneril (Sharon McCoy) and Regan (Maureen O’Connell) flatter him to get their rightful shares, his truth-telling daughter Cordelia (Clodagh Mooney Duggan) refuses to lie or exaggerate, enraging the vain Lear; and her share is thus split between her sisters’ husbands Cornwall (Fiach Kunz) and Albany (Damien Devaney). Cordelia leaves England sans dowry to become the Queen of France, and the steadfast courtier Kent (Matthew O’Brien) is banished for taking her part in the quarrel. He ‘disguises’ himself to serve Lear, while the scheming bastard Edmund (Michael David McKernan) uses the fraught situation to eliminate his legitimate brother Edgar (Tom Moran) from the line of succession to Gloucester (Damien Devaney again); exploiting the political chaos that Lear’s wise Fool (Clodagh Mooney Duggan again) foresaw…

There is a certain Game of Thrones vibe to this production, from Kent’s ‘disguise’ being a Yorkshire swagger, through the furry ruff of Lear’s greatcoat, to the stylised throne amidst three massive complicated spikes making a crown that dominates Gerard Bourke’s set design. This delivers an unexpected visual payoff when near the finale the villainous Edmund sits on the throne to lean on his sword; so close to possessing absolute power… Comparisons to Selina Cartmell’s 2013 Abbey production are inevitable as that trafficked in medieval visuals, but this production is considerably less expansive; no galleries and wolfhounds here. Director Geoff O’Keefe, however, avoids the muddled paganism Cartmell attempted. But, in a play already replete with disguises, he has doubled a number of parts; most startlingly Cordelia and the Fool being the same actress. That bold choice pays off, as do most of the doublings, though there is one silly wig.

O’Keefe doesn’t quite achieve anything as revelatory as Neill Fleming’s Claudius in last year’s Hamlet, but he adds interesting notes to multiple characters. The Fool is the apex of an uncommon commitment to the bawdiness of the play, and when CMD returns as Cordelia she holds a sword almost as a signal that she has been hardened by her exile; which makes her reunion with the mad Lear, when he finally recognises her, all the more tear-jerking. McCoy’s Goneril is more nuanced than the pantomime villain oft presented, her glances at Regan and Cordelia in the opening scene suggest a panicked resort to flattery and encouragement to her sisters to do likewise to humour a mad old man. O’Keefe perhaps overeggs her late asides to the audience being spot-lit, but McCoy grows into villainy impressively; aided by O’Connell’s novel rendering of Regan as daffy malice, and McKernan bringing out the black comedy of their love triangle as an Edmund cut from Richard III’s gloating cloth.

Judge is a notably conversational Lear in his ‘fast intent’ speech; his decision already made there is no need for pomp or majesty. This is a king in flight from majesty. Whereas previous Lears that I have seen, Owen Roe and Gerard Adlum, favoured camp notes for their madness, Judge’s Lear is childish; running, hiding behind benches, playing games with imaginary friends. His retreat from responsibility while wishing to still enjoy kingship is after all a retreat to childishness, and his shocking spit on Goneril is of a part with the spite of children. The madness on the heath is wonderfully achieved with Kris Mooney’s blue lights raking the audience while Declan Brennan’s sound effects swirl queasily. Judge’s descent into second childhood is expressed through sudden rage that almost outstrips language, perhaps the impulse for the sound design of screeching animals between scenes. In support Tom Ronayne is wonderful comic relief as a put upon servant, fussing over benches and defending himself with a cloth.

This is a fine production that has a number of interesting interpretations, and succeeds in pulling off the extreme ending which still remains the ultimate kick in the guts.

3.5/5

King Lear continues its run at the Mill Theatre until the 28th of October.

February 11, 2016

ADIFF: Behind the Scenes

Audi Dublin International Film Festival’s “Behind The Scenes” strand will consist of Industry Panels, Seminars and Master Classes. Thi­­s strand enjoys a broad focus, whether you are a filmmaker, film student or film enthusiast, touching on subjects from film programming, screenwriting and cinematography to history on film, emerging technologies, classification and music composition. Notable guests are Oscar-nominated screenwriter and celebrated playwright David Hare, Oscar-winning composer Jan A.P. Kaczmarek and double Oscar-winning cinematographer Chris Menges.

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History on Film is a key theme throughout the programme and will be the subject of a panel discussion hosted by Pearse St. Library. Seen, but Unnoticed is a reunion event for those who took part in the production of Michael Collins, reuniting 20 years on to share memories and anecdotes from their time on set. 1916 At The Pictures will see City Hall turned into a cinema for a triple bill of Charlie Chaplin films that were screening in one of the many cinemas on O’Connell St at the outbreak of the Rising.

This year ADIFF is presenting not one, but two exhibitions of photography. Patrick Redmond, 25 Years will celebrate the work of the Festival Photographer and his extensive catalogue of wonderful guest portraits dating back to the early 1990s. The second photography exhibition #Setlife aims to highlight and celebrate skilled and hardworking crews working on location and on set for very long hours through key moments snapped to allow audiences a view of life in production.

 

MASTER CLASSES in association with Screen Training Ireland

David Hare: “Telling Details” – A Writer’s Master Class

Saturday 20th February at 11:00am

The Teachers’ Club, Parnell Square West, Dublin 1

Tickets: €25 apply via Industry@diff.ie

Host: Malcolm Campbell

A unique opportunity to hear directly from one of Britain’s most prolific writers for both stage and screen. This is a fantastic opportunity for writers both of original screenplays and anyone seeking to adapt works for the screen. As part of this Master Class the components of plot, character and structure will be dissected and explored. This Master Class will focus on approaches to screenwriting and delve deeply into the various elements that are integral to the delivery of a quality screenplay.

 

Chris Menges: “Scenes Being Believed” – A Cinematographer’s Master Class

Sunday 21st February at 12:00pm

The Lir Academy, Pearse St, Dublin 2

Tickets: €25 apply via Industry@diff.ie

Host: Irish Society of Cinematographers

This Master Class will draw on Chris Menge’s vast experience working across different genres, formats, locations and environments (including The Mission and The Killing Fields). The aim is to bring this knowledge to bear in a context that will teach the participants about collaborative dynamics between a director and their cinematographer. It will also aspire to touch on a cinematographer’s tools of the trade, traditional methodologies and how story and character should influence the look of the piece as opposed to format or the latest technological toys.

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SCREENTEST in association with the Broadcasting Authority of Ireland (BAI)

Rebellion: From Script to Screen

Monday 22nd February at 13:30

The Teachers’ Club, 36 Parnell Street West, Dublin 1

Tickets: €7 / Book Online at diff.ie

The divisive television production Rebellion marked the beginning of RTE’s 1916 centenary programming. Boasting a starry cast led by Charlie Murphy and Sarah Greene it focused on various female protagonists from different backgrounds, loyalties and ideals, in the days surrounding the Rising, occasionally weaving in the actual heroes of 1916 amidst locations such as Dublin Castle, the G.P.O. and Collins Barracks. Writer Colin Teevan, Producer Catherine Magee, Costume Designer Alison Byrne, as well as some of the key crew, look back on the shoot and discuss the various production stages beginning with script, casting and scheduling right through to principal photography and post-delivery, including location shooting during the summer in Dublin’s city centre.

 

BYOD: BRING YOUR OWN DEVICE

Wednesday 24th February at 13:30

The Teachers’ Club, 36 Parnell Street West, Dublin 1

Tickets: €7 / Book Online at diff.ie

It has been said that constant mobile device usage is isolating and restricts human contact. But, like it or not, mobile devices are now an integral part of daily life. While some people simply long for a time when phones simply made and received calls, the reality is fast moving toward the virtual, or even the augmented. Google Cardboard, vlogging, 360° video, mojo journalism, even the film industry itself with films like Tangerine, are all now extending the use of mobile devices and pushing boundaries daily. Hell, you can even buy a camera drone for £50 and give your short film aerial photography now. A panel of experts will discuss how new cutting edge apps will rapidly become the thing you cannot live without.

 

Explicit Content

Friday 26th February at 13:30

The Teachers’ Club, 36 Parnell Street West, Dublin 1

Tickets: €7 / Book Online at diff.ie

With the landscape of broadcast and cinema constantly changing, approaches to classification and content regulation require constant appraisal. This panel discussion aims to take an in-depth look at the various factors that must be applied to both film classification and content regulation for broadcast. Issues like classifications on youth targeted films, depictions of violence on television, or codes of fairness will be explored in a unique opportunity to see how and why decisions are reached. Experts from the Broadcasting Authority of Ireland, the Irish Film Classification Office and the media will discuss the various aspects of managing complaints, adhering to regulations for youth audiences and freedom of expression. Just don’t expect a serious discussion of why Rebellion opted for a hard R-rating thus invalidating its use as an educational tool unlike either HBO’s John Adams or BBC’s 37 Days.

 

SPECIAL EVENTS

Cinema Snapshots / With Sunday Miscellany & Dublin City Libraries

Sunday 7th February at 09:10, radio broadcast and online podcast on RTE.ie

Going to the cinema is a unique and sometimes magical experience. It can transport you out of your seat; at Q&As your mind can be opened up to the worlds of the director, the actor, the screenwriter. Writers and poets involved with Dublin City Libraries writing groups shared their experiences of cinema in Dublin. Sunday Miscellany on Sunday the 7th February at 9.10am is a special edition that will hear the winning submission from those Library groups and also feature well-known Irish filmmakers, lecturers, presenters and writers (including John Connolly, Ciaran Carton and Ruth Barton) providing their own perspectives on what the cinema and film in Dublin means to them.

 

#SetLife / Photography Exhibition

Thursday 18th – Sunday 28th February

Lighthouse Cinema

#SetLife is an exhibition of photography from behind the scenes of various Irish film and television productions. Presented in association with Lovemovies.ie on behalf of the Industry Trust for IP Awareness, this exhibition will run in the Lighthouse and will display a selection of photographs taken on Irish sets by various cast and crew members of day-to-day life on set. #SetLife aims to capture the scale of work that goes into bringing something from script to screen, and the army of people across various departments who work tirelessly to make it all happen.

 

Dublin Here, Dublin There

Saturday 20th February in Dublin Public Library, Dublin Texas

Friday 26th February in Dublin Arts Centre, Dublin Ohio & Pulaski County Library System, Dublin Virginia

ADIFF has a strong history of successful outreach programmes and has a fantastic reputation of working with festivals around the world. In 2016 ADIFF has allied with the communities of Dublin in Ohio, Texas and Virginia – who have each offered their knowledge, resources and venues to help share a programme of the best Irish shorts with audiences in the US. The project aims to strengthen Dublin’s connection with these communities to bring awareness, as well as Ireland’s love of cinema, to the greater worldwide diaspora.

 

Programming for Programmers

Friday 19th February at 14:00

The Teachers’ Club, 36 Parnell Street West, Dublin 1

Tickets: €7 / Book online at diff.ie

Chaired by Hugh Murray (Pavilion Theatre).

Mark Adams (Artistic Director, Edinburgh Film Festival), Nashen Moodley (Festival Director, Sydney Film Festival), Gregg M. Schwenk (CEO and Executive Director Newport Beach Film Festival) and Ania Trzebiatowska (Artistic Director PKO Off Camera & Manager of Acquisitions for Visit Films) will provide insight into the world of programming as an international Artistic Directors. From the moving puzzle of international distribution to inviting guests and the challenges of the red carpet, these experts will discuss the subtlety of programming. This event is a networking opportunity for new and advanced programmers to meet each other and to gain perspective from top festival professionals.

 

Pat Redmond, 25 Years / A Celebration

Tuesday 16th February – Wednesday 16th March

The Georgian Society, 58 South William Street, Dublin 2 and The Powerscourt Centre, 59 South William Street, Dublin 2

In a world increasingly dominated by the snap, selfie and speed shot, this exhibition will celebrate the work of a true master of the art of film portrait photography, who has provided Dublin’s film festival, in its numerous guises over the past quarter century, with an indelible photographic record of the eclectic array of filmmakers who have graced the festival.

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HISTORY ON FILM

 

Seen But Unnoticed / A Reunion of the Background Artists and Extras of Michael Collins

Saturday 20th February at 12:00

The Teachers’ Club, 36 Parnell Street West, Dublin 1

Tickets: Free event / Please email industry@diff.ie to register your interest

They came by the busload, graciously offering time for free (in a move that saw Hugh Leonard award Neil Jordan his ‘Cute Hoor of the Year’ Award) and supplementing the period costumes with clothes they brought themselves in order to participate in one of the most ambitious undertakings of Irish Cinema history, Neil Jordan’s Michael Collins. To celebrate the 20th anniversary of this remarkable production ADIFF invites those who took part in the production to join a special reunion and retrospective of the amazing shoot.

 

History on Film / Film on History

Tuesday 23rd February at 17:00

Pearse Street Library, 144 Pearse Street, Dublin 2

Tickets: Free event, book online at diff.ie

In this year of anniversary and commemoration a panel of filmmakers, academics and journalists will discuss the relationship between cinema and history. A full list of films included in the ‘History on Film’ strand will be accompanied by talks and discussions. The nettle that might not be grasped is the baneful effect of films like Zero Dark Thirty on popular understanding of historical events even as they attempt to win Oscars by virtue of their historical cachet.

 

1916 At The Pictures

Wednesday 24th February at 14:00 (81 minutes)

City Hall, Dame Street, Dublin 2

Tickets: Email info@diff.ie for ticketing information

ADIFF will recreate the cinema of 1916 as it was, by representing the films which would have been shown in the cinemas of Dublin on that fateful Easter week. Archive research has uncovered cinema listings from April 1916, including screenings at old venues on O’Connell Street such as the Picture Pillar House. From within the list of archive titles a restoration of some classic Charlie Chaplin films from his early career shows the beginnings of some of his most beloved and remembered characters including the Tramp.

The Bank: Charlie the janitor loves Edna, the pretty bank secretary, but her sweetheart is another Charles, the cashier.

The Champion: This comedy has Charlie finding employment as a sparring partner who fights in the prize ring and wins the championship match, with the help of his pet bulldog.

The Tramp: Charlie saves a farmer’s daughter from some thieving toughs and subsequently stops their attempt to rob the farm.

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PUBLIC INTERVIEWS

 

Interview with David Hare and ‘The Hours’ screening

Saturday 20th February

15:00 Interview (60 minutes)

16:30 The Hours (114 minutes)

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Tickets: €9 each or €15 for both events. Tickets also available from IFI Box Office, www.ifi.ie

Host: Sean Rocks

David Hare is well known for his work in theatre, having written more than thirty plays including PlentyPravdaSkylight, The Judas Kiss, snd a version of Ibsen’s The Master Builder currently running in the Old Vic. He has also been widely honoured for his long list of credits for the screen. He has written more than twenty screenplays for film and television including PlentyParis by NightWeatherby and Damage. As a screenwriter he has twice been nominated for Oscars for his adapted screenplays on The Hours and The Reader, each of which also earned him nominations for a Golden Globe.  His haunting drama Weatherby won him a Golden Berlin Bear in 1985 and he has directed many actors to win awards for their work across his formidable back catalogue. ADIFF will present a screening of his adaptation of Michael Cunningham’s novel The Hours, where he will participate in a pre-screening interview with Sean Rocks of RTE Radio 1’s Arena.

 

Jan A.P. Kaczmarek / Composing For Film Seminar

Saturday 27th February

Royal Irish Academy of Music

Tickets: €15 Book Online at diff.ie

Host: Bill Whelan

Jan A. P. Kaczmarek is a composer with a tremendous international reputation that continues to grow. His first success in the United States came in theatre. After composing striking scores for productions at Chicago’s Goodman Theatre and Los Angeles’s Mark Taper Forum, he won an Obie and a Drama Desk Award for his music for the New York Shakespeare Festival’s 1992 production of John Ford’s ’Tis Pity She’s A Whore, starring Val Kilmer and Jeanne Tripplehorn. Having composed music for films in Poland, he achieved recognition with scores to Total EclipseBlissWashington SquareAimée & JaguarThe Third MiracleLost SoulsEdges of the LordQuo Vadis and Unfaithful. In 2005 he won a Best Original Score Oscar for Finding Neverland.

 

 

June 23, 2015

Orson Welles: Posing as Polymath, Playing the Fool

Orson Welles is being feted anew for the centenary of his birth, and he even projected his personality from beyond the grave with the 2013 publication of My Lunches with Orson. Peter Biskind edited long-neglected tapes of Welles’ weekly LA lunches with fellow director Henry Jaglom to produce a book of rip-roaring table talk. But having Welles captured on tape gives rise to an unsettling thought about his late career… Here’s a teaser for my HeadStuff piece on Welles.

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Some academics are now stressing the performative aspect of interviews. When writers give interviews, what they say in them can’t be neatly filed with what they write in letters or diaries, because an interview is a public dialogue not a private monologue, and two self-conscious performances are colliding for the sake of publicity. Indeed Welles requested that Jaglom tape their conversations for posterity, so there is undoubtedly an added dimension of self-conscious showing off on his part. There is also the further understanding that a good raconteur is not hobbled unnecessarily by facts or consistency. So Humphrey Bogart is a coward who only starts fights in places where he knows the waiters will intervene in one story, and a man of true courage and admirable integrity in another story – for the sake of the story.

Click here to read the full article on how Welles’ areas of expertise multiply, how he indisputably talks nonsense about Verdi, and how this need to be feted as a renaissance man may have scuppered his chances of a HBO show.

January 7, 2015

Digital Biscuit 2015

The Screen Directors Guild of Ireland today announced the full line-up for the third annual Digital Biscuit, which will feature a talk by writer/producer David Chase: creator of The Sopranos.

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Inspired by William Wellman’s 1931 James Cagney classic The Public Enemy and his own early years in New Jersey (which he’d previously touched on in The Rockford Files), Chase created the HBO series The Sopranos, the most financially successful series in the history of cable television. Chase will join Digital Biscuit as headline speaker to discuss his career as a director, writer and producer par excellence. Speaking about his forthcoming visit, David Chase said: “I’m delighted to come to Ireland, a place of great storytelling tradition, and look forward to exploring the future of stories at Digital Biscuit.” Chase joins Michel Gondry; director, screenwriter and producer of Eternal Sunshine of the Spotless Mind; Bruno Delbonnel; cinematographer for Amelie, Harry Potter and the Half Blood Prince and Big Eyes; and Franklin Leonard; Film Executive and founder of screenwriting event The Black List; in this year’s line up of Digital Biscuit speakers.

James Gandolfini and David Chase

 

Digital Biscuit is an international film and technology forum that aims to foster innovation and collaboration in film and television production, and will take over Dublin’s Science Gallery from 28th–30th of January. Speaking about Digital Biscuit, SDGI director, Birch Hamilton said “Making a movie is one of the biggest creative collaborations between people that exists today. To truly be creative is to make connections with the people and world around us. With Digital Biscuit we are trying to enable the Irish film industry to improve its global position as a centre of creative and technological excellence. It is our hope that through Digital Biscuit groundbreaking new works will be made and new relationships formed between people in different disciplines. We are fortunate to have a global Brain Trust of leading experts in film, technology, finance, games, augmented reality, animation, software and hardware that have guided us in what I think is a really exciting line up for 2015.” That Brain Trust, entertainment industry leaders who act as ambassadors for Digital Biscuit, includes Damini Kumar (European Ambassador for Creativity & Innovation), Marie Schmidt Olesen (Commissioning Editor, New Danish Screen), and Nick Meaney (CEO at Epagogix).

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Guests at the Digital Biscuit launch today included Emmy and BAFTA award-winning director, Dearbhla Walsh (Roald Dahl’s Esio Trott), and Mads Damsbo and Lasse Andersen; who brought their innovative virtual reality experience The Doghouse from Denmark for a sneak preview ahead of its Irish Premiere at Digital Biscuit later this month. The launch also featured the latest Hexicam Aerials drone camera. Combining robots, remote control, and HD video, it is an extraordinary new piece of technology, which shoots in full HD whilst in flight. The three-day event will kick off with a special screening of Paul Thomas Anderson’s psychedelic surf noir Inherent Vice at the IFI (28 Jan, 8pm). Digital Biscuit is delighted to present the Irish Premiere of Is the Man who is Tall Happy?; an animated conversation with Noam Chomsky, directed by Michel Gondry (29 Jan, 6.30pm, IFI). Digital Biscuit will present a bigger than ever Kino Play programme of events and live demonstrations, including first-person virtual reality film for Oculus Rift –  The Doghouse, a self taping booth from Bow Street, and an Irish Film Board and Oxford University collaboration on a multi-sensory film and food experiment; led by Charles Spence,experimental psychology scientist at Oxford University.

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One of the most exciting events at Digital Biscuit will be 20 minute first-person virtual reality film installation for Oculus virtual reality headset, The Doghouse. The project uses this gaming technology to allow one story to be told from five different points of view at the same time. Sitting around a dinner table set for five people, you get a view inside the character, via a virtual reality headset, to see and hear what the actor experiences, sees and hears. The film was originally seen in 2014 at the Copenhagen Contemporary Art Centre as part of FOKUS video art festival. Digital Biscuit will be the first time that the film is shown in Ireland and its second European outing. Birch Hamilton said “We’re particularly thrilled to present this preview of The Doghouse, which until now has only been seen in Denmark and Switzerland. It’s like an advanced role playing game, and is an exciting development in the future of the moving image and technology.” The multi point-of-view film installation will be accessible at points over the three-day event. Producer Mads Damsbo and director Johan Knattrup will give talks about the project. The Science Gallery exhibition spaces will play host to many such demos of the latest must-have technology for the film and moving image industry.

For more information on the full programme and to book, visit www.digitalbiscuit.ie

Digital Biscuit | Speakers |

Writer, director and producer David Chase (The Sopranos); Writer, director and producer Michel Gondry (Eternal Sunshine of the Spotless Mind); Cinematographer Bruno Delbonnel (Amélie, Harry Potter and the Half-Blood Prince, Big Eyes); Writer, director and novelist Neil Jordan (The Crying Game, The Borgias); Genevieve Dexter (IP financing expert and founder of Serious Lunch); Lizzie Gillett (Producer of climate change blockbuster, The Age Of Stupid); Franklin Leonard (Film Executive and founder of The Black List); Triona Campbell (Director of beActive Entertainment); Bobby Boermans (Creative Director of 2C Films); Sophia Stuart (Digital strategist, director and writer); Mads Damsbo & Johan Knattrup Jenson (Producer and Director of The Dog House – 20min virtual reality multi point-of-view film installation for Oculus Rift); Harry McCann (Founder of the Digital Youth Council); Prof. Charles Spence (Head of Crossmodal Research Laboratory, Oxford University); Mike Cockayne (Director, Writer & Producer of The Hardy Bucks); Dr Brian Vaughan (Lecturer in Digital Media, DIT); Shimmy Marcus (Creative director, Bow Street); Eibhlin Curley (Assistant Head of Enterprise, Local Enterprise Office Dublin); Casting director Maureen Hughes (The Butcher Boy, Love / Hate); Director and animator Anitti Haikala (Niko & The Way To The Stars, Little Brother, Big Trouble); VFX artist Glen Southern (Penny Dreadful); Cinematographer Owen McPolin (Penny Dreadful, Da Vinci’s Demons); VFX supervisor and producer Thomas Horton (Da Vinci’s Demons, The King’s Speech); Supervising visual colourist Peter Doyle (Edge Of Tomorrow, Big Eyes, Inside Llewyn Davis); Vocal coach Gerry Grennell (Avengers: Age of Ultron, Heart of The Sea, Thor: The Dark World). John Maguire (Film Critic, Sunday Business Post); Gavin Burke (Film Critic, Entertainment.ie); Karlin Lillington (Technology Journalist, The Irish Times); Andrew Kavanagh (CEO & Founder, Kavaleer Productions); Damini Kumar, (European Ambassador for Creativity & Innovation); Production designer Tom Conroy (Legend, The Vikings, The Tudors); Previsualisation Vincent Aupetit (Gravity, Thor: The Dark World); Donald Clarke (Chief Film Correspondent, The Irish Times); Tara Brady (Film Critic, The Irish Times).

Find out more at http://www.digitalbiscuit.ie/#!speakers/cee5

May 31, 2013

Any Other Business: Part VIII

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into an eight portmanteau post on television of course!

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Hannibal

So, some weeks ago I previewed Hannibal; the blood-spattered new procedural in which Morpheus Laurence Fishburne’s FBI supremo Jack Crawford teams his unstable but gifted profiler Will Graham (Hugh Dancy) with brilliant psychiatrist Dr Hannibal Lecter (Mads Mikkelsen) to fight crime. It seemed that the show would be a tale of friendship between future deadly nemeses before they come into celebrated and chronicled conflict, so, Smallville, basically… No, no, it’s not… Lecter is very much already a supervillain, killing and eating people for fun. Not that the fun is obvious. Hannibal is an incredibly gory network show. If this was on HBO or Showtime it would probably be unbearable, but Hard Candy director David Slade has established a visual template for the show that makes it bearable by distancing the viewer with a cold colour palette and a chilly emotionless feel. At times it’s like watching a very precisely directed Criminal Minds, with exceptionally gory crime scenes and dream sequences interspersed with exceedingly crisp dialogue between two of the BAU team. But we don’t need another Criminal Minds, just look at the fate of its spin-off. So what does this show do with Dr Lecter that’s different? Well, he’s very hard to read, apart from an obvious fastidiousness and a psychotic approach to etiquette. But Mads Mikkelsen’s impassive Lecter is definitely having fun underneath. The look of pride as he sees how good Will’s profile of him is (based on just the copycat murder he carried out to help Will refine his profile of the Minnesota Shrike), the restrained glee he takes in making Jack and Will unwitting accessories in his anthropophagic activities; both indicate this, and a perverse desire to render assistance. With respect to Dominik Moll, perhaps they should rename the show Hannibal, he here’s to help.

 

The ‘Freedom’ of HBO – Case Study: Bored to Death

Many years ago I wrote a piece for the University Observer about the unwonted veneration given to HBO, especially the idea that its writers were totally free because they did not have network TV taste and decency guidelines to work within. I pointed out that Carnivale, which I’d previously trumpeted in the newspaper, had been a rare HBO show with restraint. It had HBO’s brilliant production values, and featured a wonderful use of music, a superb period feel, and – crucially, allowable only because it was on HBO – the patience to tell its story in an elliptical way. But halfway through it felt like some executive saw Carnivale and sent its writers a memo telling them they weren’t using their total freedom in the mandatory manner. The freedom from having to conform to taste and decency becomes the obligation to flout those limits of taste and decency. Carnivale transformed from a superior network show into episodes that merely strung together full frontal stripteases and sex with dramatic dialogue scenes. Taking Jonathan Ames’ abruptly cancelled detective comedy Bored to Death as a case study it seems to belatedly bear out this old reading of HBO’s ‘freedom’. Ames’ insistence on writing or co-writing all 8 episodes a season, which drip bad language from its endlessly stoned central trio of Jonathan, Ray and George, mean that Bored to Death was never likely to survive as a 24 episode a season network comedy. But Ames didn’t indulge in ultra-violence or explicit nudity either so it felt quite different to most of HBO’s output. And then you find a deleted scene from season 1 episode ‘The Case of the Missing Screenplay’ and you realise that a scene was reshot, with the same dramatic purpose and dialogue, but with a shift of location and some added dialogue, purely to add a topless woman; the only female nudity in that season. Was Ames explicitly told that he’d not used his total freedom in the mandatory manner and needed to flout taste and decency in that trademark manner to demonstrate that he was on HBO? Probably not, as that’s not how power works. More likely he realised that there was no female nudity in his show, and, wanting to fit in with accepted corporate culture, went back and added some. However that reshoot came about Ames certainly seemed to learn his lesson, as in season 2 he showcased a women’s locker-room in ‘Escape from the Castle!’ as the central trio rampaged thru it, seeing everything as Patrick Stewart would put it. The deleted scenes from season 2 don’t reveal the existence of any scenes reshot for extra gratuitousness. Odd that…

April 5, 2013

Any Other Business: Part VI

What is one to do with thoughts that are far too long for Twitter but not nearly long enough for a proper blog post? Why round them up and turn them into a sixth portmanteau post on television of course!

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CSI: NY’s Pure Cinema

Some timing is so uncanny that it’s best regarded as semi-magical. I’d just seen Rear Window in the IFI’s magnificent Hitchcock retrospective when an hour later CSI: NY’s ‘silent’ season 9 episode ‘Unspoken’ popped up on RTE 2. I had somehow never heard that top writer/producer Pam Veasey had celebrated her return to the show after trying to salvage Ringer from its own absurdities with a high concept episode. So it was a slow penny dropping as I realised that the cold open had been entirely dialogue free, and that the subsequent scenes instead of using dialogue were going to lean on Green Day songs to carry the emotions. And what was startling was how well this worked. The CSI franchise has always showcased montages of forensic science scored by pop music, in which the audience sees the clues processed and turned into leads, but this episode realised that, in addition to such basic visual narrative, Lindsay searching a crowd for her lost toddler or an assassin visiting a hospital ward to kill Lindsay could work equally well as wordless sequences. Hitchcock believed in constructing purely visual narrative in which sound and vision worked together to convey character moments and suspenseful action without needing dialogue; and watching this episode just after Rear Window, such Hitchcockian skill in using sound but not dialogue stood out. It’s odd this episode got such a critical cold shoulder, and you can’t help but feel that a HBO show tossing aside dialogue and doing half an episode with only music by Yo La Tengo would have been hailed to the skies; and such nonsense by critics should enrage anyone who doesn’t subscribe to the idea that the true mark of a quality TV show is that it carries an R rating.

 

48: Part II

Yes, it’s time for the second instalment of what is in grave danger of now becoming an almost annual ritualised bashing of 02’s MVNO yoof spin-off 48 and its omnipresent and evermore infuriating promotion. Last May I wrote of my annoyance at ever-present TV ads, endless promo voiceovers on Phantom FM, and posters at every bus stop based around the 48 TV spot of a burlesque-costumed orgy in a massive warehouse space. 18 to 22 year olds, you see, have access to vast party spaces that exist only somewhere between 1970s New York and the copywriter’s imagination, where they conduct ‘oh so daring’ bisexual experimentation; but only between girls because that’s titillating whereas say James Van Der Beek and Ian Somerhalder making out a la The Rules of Attraction wouldn’t be. And then there was the voiceover, in which Irish names like Emer were dropped into the middle of a monologue delivered in the neutral tones of the American Mid-West. But then 48 went one better, their next advertisement was of the type which Charlie Brooker rightly labels a Japanese advert for an incomprehensible product. As I was listening to Gwen Stefani’s Love Angel Music Baby at the time this bothered me less than it should have, as one of the featured actresses was a pretty decent Harajuku Girl approximation of Stefani’s 2004 look. But now 48 return with another campaign featuring debauched Westerners – this time apparently in some Tijuana locale. It’s not bad enough that Meteor wrote the book on value, and are apparently determined to read it to us a page at a time in an English accent, 02 can’t seem to decide what bloody continent they’re advertising 48 in, America or Asia. Can you imagine an equivalent American firm pushing Irish-centric advertising in America…?

August 24, 2012

Film Noir @ the Lighthouse

The Lighthouse presents your favourite monochrome cops, gangsters and femmes fatale in a season of classic film noirs showcasing deadly dames Gloria Grahame, Lauren Bacall, Joan Crawford, and Gene Tierney; smouldering 20 foot tall on the silver screen!

The Big Heat

Sunday 26th
“A hard cop and soft dame”
Fritz Lang made a number of hard-boiled movies in the 1950s, including the diabolical Beyond a Reasonable Doubt, but this is the pick of the bunch; a vicious and unrelenting film noir stars Glenn Ford as a cop on the trail of a violent gang led by the terrifying Lee Marvin. The luminous Gloria Grahame plays the ultimate tragic gangster’s moll who learns the hard way about betraying Lee Marvin’s trust. Beautifully shot and full of surprises, and featuring a notorious use of hot coffee, this dark, sexy noir is a perfect example of the genre.

 

The Big Sleep

Wednesday 29th & Sunday 2nd
“The type of man she hated . . . was the type she wanted!”
Humphrey Bogart, Lauren Bacall, and a lot of sassy dialogue from the pen of Raymond Chandler under the direction of Howard Hawks – what more could you want in a classic noir? Private detective Philip Marlowe, the original shop-soiled Galahad, is hired by a rich family to investigate a case of blackmail. Before the complex case is over, he’s seen murder, blackmail, and what might be love; but not who killed the chauffeur, one of cinema’s enduring mysteries… Don’t miss Bogey and Bacall smouldering on the big screen in glorious 35mm!

 

Mildred Pierce

Wednesday 12th September & Sunday 16th September
“Please don’t tell anyone what Mildred Pierce did!”
You’ve seen Todd Haynes’ recent leisurely HBO adaptation with the extremely weird original ending so now remind yourself of how the 1940s writers got around novelist James M Cain’s un-filmable pay-off in this sophisticated film noir which forgoes gangsters and dirty cops in favour of a complex look at the relationship between a mother (Joan Crawford) and her spoiled daughter Veda. There is also, of course, a dead man in the kitchen and a smoking gun. Crawford won a well-deserved Oscar for her role as the intelligent, determined woman with one weakness…her daughter.

 

Laura

“A police detective falls in love with the woman whose murder he’s
investigating.”

Celebrated Austrian director Otto Preminger anticipated certain elements of Vertigo with this superbly crafted film noir about three men in love with the same woman…a dead woman. But who could blame them for their nascent necrophilia when the woman in question is the stunning Gene Tierney? Co-starring Clifton Webb and Vincent Price as her lovers, and future Fritz Lang regular Dana Andrews as the investigating detective, these three men trying to solve the mystery of who put a bullet in the beautiful face of Laura.

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Tickets for individual films in the season are €9.00 but a season pass for all five films will set you back a mere €30. The season pass, however, can only be booked by calling into the cinema or phoning 01-8728006.

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