Archive for the ‘writing’ Category
Tomorrow sees the UK release of Woody Allen’s latest movie, Café Society, starring Jesse Eisenberg (The Social Network, Holy Rollers, Batman v Superman), Kristen Stewart (Twilight, On The Road) and Steve Carell (The Big Short, Foxcatcher). Here are 4 reasons why it is not to be missed…
1. Vittorio Storaro’s coffee-coloured cinematography
Now into his late 70s, Storaro is the man who photographed Apocalypse Now, The Last Emperor and Bulworth (the first and last of these being among my very favourite films). In this movie he paints 30s Hollywood and New York in a palette of yellows and browns which is as delicious as a cup of Jamaican Blue Mountain with a dash of cream, making it the most beautiful looking film you’re likely to see this year. He is already working on Woody Allen’s next.
Rose: Too bad Jews don’t have an after-life – they’d get a lot more customers.
2. Woody Allen’s masterful writing
Phil: Two time Academy Award winner.
Bobby: Wow, congratulations.
Hollywood Writer: Thank you. You’ve never heard of me, I’m a writer.
Having written nearly 80 films, Woody has gotten pretty darn good at it. Café Society has absolute economy – you see what you need to see, you hear what you need to hear, you linger when you’d like to linger, you catch fleeting words and moments that delight. You get the laughs, you get the philosophy, your heart-strings get tugged, all leading to a bitter-sweet moment that doesn’t even need any words.
3. Santo Loquasto’s Production Design
Woody’s Production Designer since 1987’s Radio Days, Loquasto delivers again – a golden LA at the height of the studio years contrasts with a darkened NYC of clubs, cramped apartments and alleyways. The film opens on a luxurious poolside party beside a bright white Deco mansion – Hockney meets Gatsby – and sets the tone: this is a world to which we’re going to enjoy every minute of our visit.
Party Guest: [to Bobby] Unrequited love kills more people a year than tuberculosis.
4. Unique Story-telling
No-one in the movies tells a story quite like Woody Allen in his elder statesman years. It’s thoroughly American. Profoundly Jewish. Shot through with European. Café Society has the voice-over of the early faux-documentary films (e.g. Take the Money and Run), performed by the ageing voice of the writer-director, rich and literary but still restrained and judicious. It has that distinctive Allen thing of having a young Woody avatar – there’s an aspect of Eisenberg’s performance which is reproducing Woody’s screen persona – much like Owen Wilson’s excellent performance in that other fabulous late bloom that was Midnight in Paris – yet he transcends it to produce a poignant and memorable lead character living a poignant and terrible love.
Narrator: Life is a comedy written by a sadistic comedy writer.
In the last part of 2013 I take a sabbatical to mark my 10th anniversary at Channel 4 and write five eighths of a factual book entitled ‘When Sparks Fly: the creative rewards of openness and generosity’. I write 9 to 5 every working day during the sabbatical and get five chapters more or less completed.
I document the process from Day 1 to Day 94.
The plan is to try to write the last three when I’m back at work in evenings and weekends. The thing is I value my marriage and I’m keen on my kids. And also I commission 26 series of short form video and 9 pilots in the following 12 months. The best part of 250 episodes. that’s a fuckofalot of work.
A couple of weeks ago I have 7 days holiday left for the year which I have to use or lose so I go over to my favourite place, Donegal. I find empty beaches, the sun splits the sky from the moment I walk off the plane in Belfast till the day I return. I chill and I’m in the mood to write. At the prompting of my venerable & wise mentor, a veteran and very committed documentary maker, I set aside Book 1 for now and move to Book 2. Book 2 is not massively research and interview heavy like Book 1. It is about my day job. I’d had it in mind as a way of clearing the writing pipes.
So I write the opening on an isolated and very difficult to access beach on Fanad Head, my favourite place in my favourite place. What a beautiful moment suspended in time.
I write the outline by the lake in the garden of artist Derek Hill’s house in Churchill. Intense, fast, no mucking about – in the zone.
I start the main text on a secret beach up the coast from Port Salon. I have to leg it to escape from charging cows to get to the beach – but it’s worth it. Got it completely to myself.
What’s a rush is that I can just write (unlike Book 1). No notes. No looking up anything. Just tap away at the speed of thought.
And so, as I embark fully on Book 2, the story continues…
[writing location: a train just outside Durham 7.1v.16]
Something happened on the day he died
Karma is keeping quiet for now
Beloved by luscious
Then I’m useless in the evening
Night owls might be more creative
Spiders May Live in Every Room of Your House
Three Scottish boys discovered a strange cache
A Blast from the Past
And Air & Space
Show off your genius
Because I can
When I Come Around
Millions of songs
We rise and shine driven
After mourning the passing
Black on white
With teachers at all levels
For the twenty-first century
Cushioned within the box
We are losing all our heroes
People that simply do not exist anymore
The dance sequence is my favourite part
Das war noch Musik
Where they trashtalk each other
Fame and offending people
And it was impossible to find
Compulsive ice cream consumption
You just broke the internet
And a bunch of Silicon Valley dudes
Either help them or get out of their way
A “blessing to one another” he noted, chomping at the bit
And an environment teeming with wildlife
That will help shape the island’s future
The worldwide association
And improve trajectories.
[This was written by taking a phrase from each web page (starting with the lyrics of Blackstar) and then clicking through to an adjoining page and taking something that caught my eye from that and so on… – the pages ranged from an advert for a job on the Falkland Islands to scientific analysis of the benefits of early rising.]
I haven’t written about my book When Sparks Fly since Train of Thought back in June. That’s around the time I begun commissioning what amounted by the close of the year to 17 series of short form video for Channel 4 Shorts, including Tattoo Twists and Futurgasm. So I was a busy boy and writing had to take a bit of a back seat for the tail-end of the year. My attitude was that I needed to be patient with myself and accept that space would re-emerge.
I managed to get odd snatches of time to work on the book. Another train of thought to the Edinburgh TV Festival afforded one such opportunity, six or so hours of chuff chuff. I spent a fair amount of time around Jamie Oliver’s various companies doing interviews for the Business chapter of which he is the protagonist, culminating in an interview with the man himself. I’d expected relatively short shrift but he was strikingly generous with his time. Most recently, when I was over in Northern Ireland for work, I did an interview with Aidan Murtagh of Belfast punk band Protex for the Terri Hooley section of the Music chapter. But it’s only this week, with the advent of 2015, that I managed to get back to writing in earnest – and it feels good.
I went back to the Business chapter and picked up from where I left off, enjoying the process of tuning back in, just slightly back-tracking to get back into the flow and dive in. It’s a different kind of chapter, the first I’ve written with a living central character so the research is more focused on the original interview material. I’ve set myself October as a deadline to finish the whole she-bang so let’s see how it pans out…
There’s something about trains that’s very conducive to thought.
But let me back track. The last time I wrote about the progress of When Sparks Fly was over a month ago when I was in Toronto. The way I’m working on it is not as I’d planned – a regular pattern, albeit less concentrated, like when I was on sabbatical. In practice what’s happening is that I get fits of inspiration, often after reading something stimulating, and I’m writing in intense bursts. So I’m switching now to monthly reports.
During Month 4 of the post-sabbatical phase (i.e. May) I went to meet a big publisher – the first I had approached. It was a good meeting, good chemistry and strong interest. What became evident from the meeting though is that I need to start the book slightly differently. I wanted to plunge in in media res of a striking story about murder, drugs, guns and writing. To suit this publisher I’d need a more conventional intro. I started work on the intro on the train up to Sheffield for DocFest last Sunday as referred to in History Boy.
Today I was headed in the other direction to Bournemouth to visit the university with Enfant Terrible No.1 who is interested in Advertising and in Digital Media. Despite it being an early start for the weekend I had the double delight of (a) finding that the first half of the intro I wrote last week (when a bit drunk on champagne from a party just before travelling), which I thought was a bit of a stream of consciousness blurt, was actually pretty coherent and (b) finding an elegant way through to the end of the piece which flowed well into Chapter 1. So by the time we got to Bournemouth (stopping occasionally to watch the England-New Zealand rugby test on ET1’s phone) the intro had been wrestled to the ground and I had a complete draft with which I was contented, even excited.
After the university visit I walked down to the sea with Enfant Terrible No.1 and came out by chance where my grandparents used to have a flat, at Elizabeth Court by the cliff lift. Quite a nostalgia trip. Took photos of the building and its view on my phone, conscious of the fact mobile phones were scarcely invented last time I was in that spot.
Off the back of the visit I got an invitation to come and talk about the book and its Advertising chapter on Paul Arden as a visiting lecturer. That will be fun to do pre-publication to road-test the material.
As part of the response to the publisher I also changed the sub-title. He advised that I broaden the scope from a tight focus on Creativity. I had no problem doing this as that was inherently in the text. So I altered it from “the creative rewards of openness and generosity” to “the creative & personal rewards of openness and generosity”.
This week I’ll revise the Proposal document accordingly and send the intro and revised Proposal back to the publisher. And carry on writing the Film chapter on Danny Boyle. A couple of DVDs arrived in the post on Friday including, neatly enough, Film4’s Trainspotting.
Photographer Eve Arnold on the background to this photo…
We worked on a beach on Long Island. She was visiting Norman Rosten the poet…. I asked her what she was reading when I went to pick her up (I was trying to get an idea of how she spent her time). She said she kept Ulysses in her car and had been reading it for a long time. She said she loved the sound of it and would read it aloud to herself to try to make sense of it — but she found it hard going. She couldn’t read it consecutively. When we stopped at a local playground to photograph she got out the book and started to read while I loaded the film. So, of course, I photographed her. It was always a collaborative effort of photographer and subject where she was concerned — but almost more her input.
A couple of other Ulysses posts if this puts you in the mood:
Took a moment to look back over the chapter titles I’ve fixed so far and enjoyed seeing them arranged together:
- With a Little Help from My Friend
- Take A Chance And Say You Tried
- The Rock of Change
- Give Away Everything You Know
- (Everyone you meet is) Fighting a Hard Battle
All but the first are quotes from the chapter protagonist. I was taking stock in a comfy hotel room in Toronto where I headed for a few days peace&quiet. The crappy English-type weather helped focus the mind, and together with the jetlag that had my brain pin-sharp at 2am, meant it was a productive trip. I alternated between processing Joan Littlewood-related interviews (interesting to listen back with a few months separation) and starting my next chapter, the one on Film which focuses on Danny Boyle. He represents a different kind of openness and generosity from what I’ve covered so far – his centres on bringing out talent in others and sharing the praise, very much leadership qualities which is the essence of being a film director.
While I was away I had the pleasure of meeting various directors at Hot Docs, the annual international documentary film festival (billed as the biggest in North America). I particularly enjoyed chatting with Charlie Lyne whose film Beyond Clueless was playing and James Motluk who is working on a really interesting Dylan-related doc.
Lying on the couch in Brighton, balcony doors open, ‘Crescent’ (John Coltrane) playing, Enfant Terrible No. 1 doing his revision at the table, spirit of my dad floating around and seagulls making those seagull noises outside over the water – and I’m feeling pretty fine. Just finished the first full draft of the Littlewood/Theatre chapter. The two of us drove down last night to get a couple of days’ quiet and get some hours in.
We had our lunch break just before down in Rottingdean – a Ploughman’s lunch each in the sun (god knows what the ploughmen ate) and then a walk down to the beach for some chat and stone throwing.
The last three weeks have been bitty but at least progress is still being made.
I hooked up with a couple of writers this week to glean some know-how and advice both around the practice and motivation of writing and the business of publishing. The first of them has a string of factual books to his name, including one really big hit. We did beer and chat, sharing our mutual Hibernophilia, and he gave me a copy of one of his books about Ireland. The second is about to have his first novel published and is just completing his second. He used to work as a TV journalist/presenter and is revelling in his new-found life as a full-time writer. We did blood-orange juice in the sunlit bar of Soho House, welcoming in the Easter holidays. Both encounters were very encouraging and inspiring.
Meanwhile ‘When Sparks Fly’ went in to a Penguin group publisher on Monday and the wait begins…
Last week I got to write some of it in the pleasant surroundings of Juan Les Pins. I was there for the TV market MIP and came home after work to a gueridon (round metal table – that Modern Languages degree comes into useful occasionally, not least for the title of the book which comes from Breton’s first Surrealist Manifesto), a spacious balcony, palm trees framed in the view – a pretty nice place to write.
As is this…
I’m firing on all cylinders again. A really productive week’s writing. Was on a real roll tonight writing about Joan Littlewood and improvisation – her openness to the moment and to others’ ideas, from the renowned actors to the fella that swept the stage.
Yesterday had an illuminating chat with the Chief Exec of Channel4, David Abraham, about the nature of collaboration, in connection with When Sparks Fly. He was talking at one point about artists and creatives who are so gifted that they need not collaborate and who can afford to be difficult, rude or whatever. It drew my attention to the fact that I need to be very clear about what I mean by the collaboration which stems from openness and generosity. I’m not really focusing on collaboration in the narrow sense of A and B make a thing together. It’s more about circles of creatives who inspire, support and catalyse one another’s work. Allen Ginsberg, William Burroughs and Jack Kerouac – all responsible for at least one work of genius, all arguably good enough to be contrary fuckers, two out of three largely were – but this didn’t prevent a highly productive collaboration giving rise to a movement with influence across the decades. Tony Wilson, Joy Division/Ian Curtis, Peter Saville et al. What I’m mainly exploring is how peers nurture and champion one another to the advantage of all. As Ginsberg recognised, better a movement than a few disparate successes.
On other matters, had an inspiring evening at Google HQ in St Giles’s last night. It was a National Film & Television School event showcasing their Film Clinic initiative with Google. Producer Simon Chinn, of Man on Wire and Searching for Sugar Man fame, who I last chatted with on a roof top in Tel Aviv at the CoPro documentary festival, explained the genesis of Sugar Man and how he helped get it to happen on a grand scale. Between him and me was sitting former NFTS head honcho Dick Fontaine who was great fun. I was introduced to the founder of the Film School, Colin Young, by John Newbigin – Colin had great anecdotes about its early days. Alcohol seems to have played a key part. And to complete the set of NFTS grand fromages, enjoyed chatting again with Nik Powell, the current head. Seemingly he turned down Billy Elliot twice. The same can’t be said for my esteemed colleague Tessa Ross who execed it, and who yesterday announced her departure from Film4 after 11 years at the helm, culminating in this year’s Best picture Oscar with 12 Years a Slave. She has been very encouraging about When Sparks Fly and was tickled by the premise.
I’m due to go out to NFTS in Beaconsfield in a couple of weeks to do my annual lecture there to the TV students about Multiplatform.
Just hanging in at the moment. Been working on the Joan Littlewood/Theatre chapter tonight but really fallen out of any kind of regular routine and slowed way down. The day job is pretty demanding and I get home knackered most days. Chuck in some child stuff and that just about does you in. Occupational hazard of the part-time writer of course.
That said I feel another burst of activity coming on. Maybe I needed a bit of a break. My plan is just to work steadily through Stuff I Have to Do til I get back into my flow. Carry on with the Theatre chapter until I get some real momentum going. And, as a motivational treat, I’ll watch the interview with Joan Littlewood on the BFI DVD of Bronco Bullfrog, a 1969 black & white film featuring some of the teenagers who hung around the Theatre Royal in Stratford East with Joan. I need to immerse myself back into this world.
I took Enfant Terrible No. 2 to see Oh What a Lovely War at the Theatre Royal early last month – he liked in almost as much as the pizza marguerita before the show, and was particularly struck by the scene where the countries tumbling into conflict are personified in representative men and women and their fatal manoeuvrings played out like pieces on a chessboard. I’m going to see A Taste of Honey at the National Theatre (which Joan was pretty down on for its lack of accessibility and authenticity and its narrowness) in a month’s time. And I’ll probably go to see Gary Kemp in Fings Ain’t What They Used t’Be at TRSE in May.
A Taste of Honey was written by a teenage factory worker from oop Narth (Shelagh Delaney) who, after seeing her first theatre, reckoned she could do better and banged out a play in a couple of weeks. That Joan took it on and helped build on its youthful energy and naive confidence is testimony to her openness – to new talent, to non-metropolitan perspectives, to alternative voices (a link to Channel 4 I should try to bring out). Fings is similar in that it was written by an ex-con, Frank Norman, who Jeffrey Barnard described in an obituary as “a ‘natural’ writer of considerable wit, powers of sardonic observation and with a razor sharp ear for dialogue particularly as spoken in the underworld.” Joan loved the energy and particularity of that outsider, street voice. She took his play and fused it with music and songs from echt East Ender Lionel Bart to create an unlikely but bang on mix.
In the forthcoming 20,000 Days on Earth – the best music film since Stop Making Sense – a Film4 production (directed by Iain Forsyth & Jane Pollard) centred on Nick Cave which I saw at C4 HQ a couple of weeks ago, Nick Cave gives ‘the secret of great songwriting’ – “counterpoint” and the kind of unlikely combination typified by Joan’s bringing together of Norman’s words and Bart’s songs. As Cave says not 5 minutes into the film:
Songwriting is about counterpoint. Counterpoint is the key. Putting two disparate images beside each other and seeing which way the sparks fly.
The title of this book of mine, When Sparks Fly, does not derive from Nick Cave (it actually comes from Andre Breton, which may well be where Cave’s words have their roots) but it was a lovely C4-F4/book coincidence which illustrates well this kind of thinking (from American scribbler Jonathan Ames) which really speaks to me:
I live for coincidences. They briefly give to me the illusion or the hope that there’s a pattern to my life, and if there’s a pattern, then maybe I’m moving toward some kind of destiny where it’s all explained.
I’m not too bothered about destiny or even explanation but I do like the notion that there’s pattern and purpose.