Will you ever work in This Town again? – SCRIPTWRITING AND A.I.

The protagonists of ‘This Town’

This week saw the release of writer Stephen Knight’s (Peaky Blinders, SAS Rogue Heroes) latest drama, ‘This Town‘ on BBC1/iPlayer. The title I assume is derived from The Specials’ ‘Ghost Town’  (1981, the year the story is set – it opens with the Handsworth riots). It may be a touch of nostalgia for that era of music that made me so receptive to the drama but I thoroughly enjoyed it, felt it had substance, and found it moving and energising.

Also this week a UK-based scriptwriter called Guy Ducker posted a thoughtful item on LinkedIn about the potential impact of AI on screenwriting. After testing ChatGPT 4.0 for various aspects of scriptwriting – from generating ideas to writing scenes – he shared his broader thoughts. His conclusion from the testing was “right now, the best it’s going to give you without a lot of help is a third-rate script for a Ron Howard movie” (which prompted a chuckle). Beyond the product test he felt that not only does it have no soul so far, it has no personality either. He punctuated his piece with a caustically amusing scene from Michael Tolkin & Robert Altman’s ‘The Player’ which spotlights the algorithmic nature of old school movie development by demonstrating the formulaic conversion of true/news stories to movie pitches. His conclusion: “AI-generated stories feel so empty because they are: no experience or emotion is being communicated, because the storyteller has none to offer.”

‘This Town’ would be extremely hard, if not impossible, for AI to write because it is driven by an intense personal sense of nostalgia for coming of age in a specific place at a particular time. It has scenes which are visually (rather than verbally) driven, especially the scenes of the Two Tone-like band (Fuck the Factory) coming together. If Stephen Knight was writing the prompts, perhaps AI could be his machine co-writer – but what would be the point? It would be easier for a writer of his calibre just to write it.

The important perspective to keep in mind is that AI applications like ChatGPT are simply tools. They help you fill the white of the blank sheet. They get the ball rolling. They can help prompt better and more original ideas – from your human brain and spirit. Looking for such tools to write ‘Citizen Kane’ or ‘Manchester by the Sea’ or ‘The Banshees of Inisherin’ is missing the point. It’s a matter of thinking Pen not Manuscript.   

The 44th London Critics’ Circle Film Awards

The ‘For people in trouble’ team :: Adam Gee, Giannina Rodriguez Rico, Sam Brain, Alex Lawther

 

The 44^th London Critics’ Circle Film Awards last night was a refreshing event, friendly and unpretentious, but also distinguished by the wise decisions its voters made. Not least by voting ‘The Zone of Interest’ Film of the Year and Jonathan Glazer Director of the Year, ahead of the likes of Martin Scorsese, Christopher Nolan and Yorgos Lanthimos. I mentioned in a recent post that the movie is “by a country mile the best movie of the year”, in a really vintage year which saw people coming back to the cinema in big numbers for films of substance. It is released in the UK this week.

I had the pleasure of having a conversation with Jonathan Glazer in the bar after the ceremony and wishing him all the best at the BAFTAs and Oscars (as well as discussing the Auschwitz-related documentary I am currently working on). I also had a chat with Mica Levi who composed the extraordinary music in the film. Mica and Johnnie Burn (Sound) won the award for Technical Achievement, a category which puts everything from Visual FX to Casting in one pot. Their achievement was the subject of my recent post ‘Let’s Hear It for Audio’.

Whether the timing of the LCC Film Awards, the week the final round of BAFTA voting closes and in the run-up to the Oscars on 10^th March, means they will predict the winners or even influence them is difficult to say, but hopefully they will as the winners were spot on – from Emma Stone as Actress of the Year for her brilliant portrayal in ‘Poor Things’ to the important ‘20 Days in Mariupol’ as Documentary of the Year. I was lucky enough to meet its modest director Mstyslav Chernov in the drinks before the ceremony and said I was certain his brave film would triumph.

It was enjoyable to meet with critics known to me and not. I was telling Mark Kermode, the entertaining MC for the evening (who I have known since we were teenagers and who shares my deep love of music), about the documentary I currently have in the edit about protest songs and mentioned that we had used a Nina Simone song to explore issues around Black Lives Matter – he started fishing around under his dress shirt and pulled out a small silver pendant. “Funny you should mention her because this is her chewing gum, taken from the bottom of her piano by Warren Ellis and cast in silver by him – there are only 25 of these in existence.”

Warren, Nick Cave’s genius musical partner, wrote an excellent book about it, ‘Nina Simone’s Gum’, which highlights how seemingly insignificant objects can form beautiful connections between people. There were many warm connections made at the event, very well put together by Chair Rich Cline and his bijou team. The Guardian’s Pete Bradshaw introduced me to Paul Mescal. I was delighted to have chats with the likes of the lovely Andrew Scott (who won Actor of the Year – bizarrely overlooked by BAFTA’s Best Actor category as ‘The Zone of Interest’ was in Best Film), Molly Manning Walker (winner of The Philip French Award for Breakthrough British/Irish Filmmaker for her film ‘How To Have Sex’, which is just opening in the USA) and photographer/filmmaker Misan Harriman (Chair of London’s South Bank Centre) who collected the inaugural Derek Malcolm Award for Innovation on behalf of the brilliant Colman Domingo and with whom I will be working this year on a great documentary film project.

 

Paul Mescal & Andrew Scott

Jonathan Glazer & his wife Rachel Penfold

Misan Harriman & Andrew Haigh (All of Us Strangers)

The row in front of Barbie and behind The Zone of Interest

Mark Kermode and Pete Bradshaw

Let’s Hear It for Audio

With the announcement of the BAFTA Best Film nominations last Thursday as always there was a notable omission. Jonathan Glazer’s ‘The Zone of Interest‘ is by a country mile the best movie of the year, in what is a pretty strong year. It carries a credit to my late Film4 colleague Sue Bruce-Smith, who sadly passed away way too young early in 2020, indicating how long it’s been in the making (Glazer optioned the not-yet-published, eponymous Martin Amis source novel in 2014). That decade of development resulted in a highly original, brilliantly crafted, important film.

I’m currently working on an Auschwitz documentary with journalist Martin Bright with a not dissimilar story so was intrigued to see how Glazer dealt with the two spaces – the Commandant’s house and the concentration camp next door. What is most striking about the film is how it puts so much emphasis on the audio of this premium audio-visual medium and portrays the death camp primarily through sound, enabling the director to convey both spaces simultaneously.

From the moment at the start of the film when Commandant Höss returns from a bucolic picnic to his family home adjacent to the camp a low rumbling subtly enters the soundtrack, the sound of the furnaces on the other side of the wall efficiently burning up bodies round the clock. As the film goes on, life on the domestic side of the wall with its pretty flower garden and idyllic countryside is punctuated by gun shots, ferocious barking, occasional screams and every so often a steam train pulling in (loaded with we know what). Gradually these hellish sounds render the inhabitants of the domestic space soul-sick, from the young son to the Commandant himself, who pukes on the stairs he eventually descends into the blackness of eternal damnation.

Before any pictures, the movie opens with a (long) couple of minutes of music over a dark grey screen – or rather ‘music’ as it is more like composed noises, deeply disturbing. The film ends in similar style, with distorted choral voices cutting through diabolical noises. The music composition and sound design are defining and brilliant, indicating why the picture picked up both the Grand Prix at this year’s Cannes Film Festival and the Soundtrack Award.

Audio is often overlooked or underused in film, TV and audio-visual media. When we made ‘MindGym‘, winner of the first ever BAFTA for Interactive Entertainment, “brilliant sound” was one of the key principles we kept on a sticky note on the office wall throughout production. In ‘Screen International’ Glazer described the movie’s audio as “the other film” – “arguably, the film”.

Johnnie Burn and Audio Mixer Tarn Willers have been nominated for the Best Sound BAFTA. A remarkable Sound Designer, Burn compiled an extensive list of pertinent events at the death camp alongside witness testimonies, from which to draw realistic sounds for an authentic sound library deployed on the film. They used a detailed map of Auschwitz to calculate the distance and reverberation of the sounds.

‘The Zone of Interest’ is in some cinemas now but is officially released in the UK on 2nd February (and on 9th February in Poland where it was shot, primarily at Auschwitz). Not to be missed.

Sandra Hüller (Hedwig Höss) – Jonathan Glazer (Director) – Christian Friedel (Rudolf Höss) at Cannes

Best of 2020

The boldest film of the year – Lovers Rock

Film:

Lovers Rock

Babyteeth

Nomadland

The White Tiger

The Trial of the Chicago 7

Another Round

Queen & Slim

Le Corbeau, Vertigo

Last year: Joker, Mid90s

Foreign-Language Film:

The White Tiger

Another Round

Les Miserables (2019)

Last year: Parasite

Documentary:

Crip Camp

Dick Johnson is Dead

Last year: Rolling Thunder Review

Male Lead:

Anthony Hopkins – The Father

Adarsh Gourav – The White Tiger

Tom Hanks – News of the World

Ralph Fiennes – The Dig

Mads Mikkelsen – Another Round

Last year: Joaquin Phoenix (Joker)

Female Lead:

Frances McDormand – Nomadland

Michelle Pfeiffer – French Exit

Eliza Scanlen – Babyteeth

Kate Winslet – Ammonite

Jodie Turner-Smith – Queen & Slim

Last year: Elizabeth Debicki (Virginia, Vita & Virginia)

Male Support:

Benedict Cumberbatch – The Mauritanian
Mark Rylance – The Trial of the Chicago 7

Sacha Baron Cohen – The Trial of the Chicago 7

Last year: Robert De Niro as Murray Franklin in Joker

Female Support:

Helena Zengel – News of the World

Glenn Close – Hillbilly Elegy

Saoirse Ronan – Ammonite

Olivia Coleman – The Father

Last year: Kaitlyn Dever as Amy in Booksmart

Director:

Steve McQueen – Lovers Rock

Shannon Murphy – Babyteeth

Thomas Vinterberg – Another Round

Ramin Bahrani – The White Tiger

Last year: Todd Phillips (Joker), Jonah Hill (Mid 90s)

Writer:

Ramin Bahrani – The White Tiger

News of the World – Paul Greengrass & Luke Davies
The Trial of the Chicago 7 – Aaron Sorkin (though I don’t generally like him as a writer, too many words)

Rita Kalnejais – Babyteeth

Last year: Jonah Hill (Mid 90s)

Editing:

?

Last year: ?

Cinematography:

Andrew Commis – Babyteeth

Paolo Carnera – The White Tiger

Dariusz Wolski – News of the World

Hoyte van Hoytema – Tenet

Last year: Roger Deakins – 1917

Film Music:

Lovers Rock

Last year: Rolling Thunder Review

Single/Song:

Long Tailed Winter Bird – Paul McCartney

Reborn a Queen – Naughty Alice

Kunta Kinte Dub – The Revolutionaries

Last year: Lately – Celeste

Album:

McCartney III – Paul McCartney

Letter to You – Bruce Springsteen

Last year: Ghosteen – Nick Cave

Gig:

Sarah Jane Morris – Ronnie Scott’s

ROE – The Waiting Room

A Bowie Celebration – Empire, Shepherd’s Bush

Last year: Nick Mason’s Saucerful of Secrets (Roundhouse)

Play:

0

Last year: A Taste of Honey (Trafalgar Studios)

Art Exhibition:

London Calling (Museum of London) – the only one I got to this year 😦

A Surge of Power by Marc Quinn going up on the base of the deposed Colston statue, Bristol

Boy & Bear – Brandon Hill, Bristol (thanks to Dylan on my birthday)

Last year: Van Gogh in Britain (Tate B)

Book:

Now We Shall Be Entirely Free – Andrew Miller

The Plague – Albert Camus

Summer – Ali Smith

Last year: A Woman of No Importance – Sonia Purnell; The Quiet American

TV:

Lovers Rock (BBC)

The Queen’s Gambit (Netflix)

The Crown – S4 (Amazon)

The Romantics and Us (BBC2)

The Bridge S1

Last year: After Life (Netflix)

Podcast:

Heavyweight

Adam Buxton

The Happiness Lab

Last Year: 13 Minutes to the Moon

Sport:

Spurs 2 – Arsenal 1 (11.7.20)

Dance:

Mam (Sadlers Wells)

Last Year: The Red Shoes (Sadlers Wells)

Event:

Statue of Edward Colston being chucked in Bristol harbour

The Winter Solstice at Newgrange, Ireland

Tim’s Twitter Listening Parties

Dearly departed:

• Andy Taylor (with whom I worked at Little Dot and Channel 4)
• Albert Uderzo
• Jimmy Cobb
• Alan Parker
• Terry Jones
• Carl Reiner
• Kirk Douglas
• Sean Connery
• John Hume
• Ruth Bader Ginsberg
• Terence Conran
• JJ Williams
• Nobby Stiles
• Nicholas Parsons
• Tim Brooke Taylor

The only film I saw in the cinema after Lockdown

Best of 2019 and links to earlier Bests Of

High Definition: what’s the point of Cinema?

One of the best definitions of Cinema:

A machine that generates Empathy

Roger Ebert, film critic

Machine with great significance (Dziga Vertov, Man with a Movie Camera)

Machine with great power (Woody Guthrie)

Here’s the full context of the quote: “We are all born with a certain package. We are who we are. Where we were born, who we were born as, how we were raised. We are kind of stuck inside that person, and the purpose of civilization and growth is to be able to reach out and empathize a little bit with other people, find out what makes them tick, what they care about. For me, the movies are like a machine that generates empathy. If it’s a great movie, it lets you understand a little bit more about what it’s like to be a different gender, a different race, a different age, a different economic class, a different nationality, a different profession, different hopes, aspirations, dreams and fears. It helps us to identify with the people who are sharing this journey with us. And that, to me, is the most noble thing that good movies can do and it’s a reason to encourage them and to support them and to go to them.”

The Casting Game: Reservoir Dogs

To celebrate the arrival of Once Upon a Time in… Hollywood (which has grown on me since watching it last week) I’ve recast where it all began for Quentin, Reservoir Dogs

Jonah Hill

as

Nice Guy Eddie (Chris Penn)

Joss Ackland

as

Joe Cabot (Lawrence Tierney)

Dominic West

as

Marvin (Kirk Baltz)

Chris Isaak

as

Mr Blonde (Michael Madsen)

Malcolm Allison

as

Mr White (Harvey Keitel)

Paul Weller

as

Mr Orange (Tim Roth)

Lost Postcards No.2

The second recently re-found old postcard from my small, random collection

This one cost me a massive 20p (pencilled on the back). I think I bought it because it reminded me of Aubrey Beardsley and Oscar Wilde.

Aubrey Beardsley (1872 – 1898) by Frederick H. Evans (c.1894)

The postcard was “Manufactured in Berlin”. Oddly it specifies “For Inland use only” – as it’s written in English I assume it means in Britain not Germany.

The sitter is quite androgynous as you can see.

Lord Alfred ‘Bosie’ Douglas (1870–1945) is best known as Oscar Wilde’s lover, and is often blamed for his downfall.

The name ‘Henry Ainley’ is printed at the bottom.

It turns out Henry Hinchliffe Ainley died the same year as Bosie. His dates are 21st August 1879 – 31st October 1945. He was an English actor of stage and screen, specialising in Shakespeare.

He was born in Leeds and brought up in Morley by father Richard, a cloth finisher, and mother Ada. He moved to London to pursue his career in acting. He made his professional stage debut as a messenger in Macbeth with F.R. Benson’s company.  Later he joined Herbert Beerbohm Tree’s company. He first came to prominence in 1902 as Paolo in Paolo and Francesca.

He played Gloucester in Henry V at the Lyceum in London. Ainley returned to Leeds to appear at the Grand Theatre. Later roles included Oliver Cromwell, Mark Antony in Julius Caesar and the lead in Macbeth. In 1912 he portrayed Malvolio and then Leontes under the direction of Harley Granville-Barker. He played Hamlet several times, including a 1930 production which was selected for a Royal Command Performance.

John Gielgud thought highly of Ainley and had a long-standing ambition to perform with him which he eventually fulfilled when he played Iago to Ainley’s Othello in a 1932 BBC Radio broadcast. Gielgud however described Ainley’s Prospero as “disastrous”, recalling it in 1996 (in The Sunday Times).

Ainley played Shakespeare on screen in Henry VIII (1911) and As You Like It (1936), the latter alongside his son Richard and Laurence Olivier.

Among the other roles Ainley played were: Robert Waring in The Shulamite (The Savoy Theatre, London, 1906.); Joseph Quinney in Quinneys (on stage in 1915 and on film in 1919); in A. A. Milne’s The Dover Road opposite Athene Seyler (1922); the Bishop of Chelsea in Bernard Shaw’s Getting Married (The Haymarket Theatre);  James Fraser in St. John Ervine’s The First Mrs. Fraser (1929 on stage, 1932 on film); and he starred in James Elroy Flecker’s Hassan (on stage and on radio). He was an early example of stage-screen crossover.

His films include:
She Stoops to Conquer (1914)
Sweet Lavender (1915)
Sowing the Wind (1916)
The Marriage of William Ashe (1916)
The Manxman (1917) – not to be confused with the second silent adaptation, directed by Hitchcock twelve years alter (1929)
Build Thy House (1920)
The Prince and the Beggarmaid (1921)
The Royal Oak (1923)
The First Mrs. Fraser (1932)

In 1921 Ainley became a member of the council of RADA (the Royal Academy of Dramatic Arts) and was its president from 1931 to 1933.

Ainley led his own own theatre company. In 1932 he helped save the debt-laden Sadler’s Wells theatre. Ainley thought Sadler’s Wells regular Samuel Phelps the “greatest actor of all” and Sir Johnston Forbes-Robertson “the greatest of Hamlets”.

Ainley was married three times – to Susanne Sheldon, Elaine Fearon and novelist Bettina Riddle (aka Baroness von Hutten zum Stolzenberg). He had several children, including actors Henry T. Ainley, Richard Ainley and Anthony Ainley, as well as non-thesps Sam and Timothy Ainley. Another off-spring was Henrietta Riddle, who was briefly engaged to journalist Alistair Cooke in 1932.

15 letters in the possession of Olivier’s widow, Joan Plowright, suggest that Ainley may have had a sexual relationship with Dear, Dear Larry in the late 30s. The letters suggest that Ainley was infatuated with Olivier.

Ainley died in London and is buried in Kensal Green Cemetery. I’ll go visit next time I’m over that way.

As Romeo in ‘Romeo and Juliet’

The photo in my postcard seems to have been taken by Lizzie Caswall-Smith.

Lizzie Caswall-Smith (1870-1958) (possibly without hyphen) is pretty interesting in her own right. She was a British photographer who specialised in society and celebrity studio portraits. These were often used for postcards.

Caswall-Smith was associated with the women’s suffrage movement and photographed many suffragettes including Christabel Pankhurst, Flora Drummond and Millicent Fawcett. The other actors she photographed included Camille Clifford, Sydney Valentine, Billie Burke and Maude Fealy. She photographed Florence Nightingale in 1910 (which fetched £5,500 (Nov 2008)). On the back of that particular photograph she had jotted in pencil: “Florence Nightingale taken just before she died, House nr Park Lane (London). The only photograph I ever took out of studio – I shall never forget the experience.”

Caswall-Smith operated the Gainsborough Studio at 309 Oxford Street from 1907 until 1920 when she moved to 90 Great Russell Street. She stayed at that address until her retirement in 1930 (aged 60). She exhibited at the Royal Photographic Society in 1902 and 1913. Her portraits of Peter Llewelyn Davies and J. M. Barrie are in the collection of the National Portrait Gallery, London.

 

 

The Casting Game No. 367

Joe Pesci

AS

Eli Wallach

Pesci

Wallach

4 reasons to go see Grandma

Paul Weitz & Lily Tomlin at BAFTA screening of Grandma in Soho, London 29 Nov 2015

Spent this moist, sunless afternoon watching the brilliant ‘Grandma’, the best awards season movie I have seen to date, a welcome blast of old school American indie cinema. After the screening I had a quick chat with both the lead actress Lily Tomlin (Nashville, All of Me, Short Cuts) and the director/writer Paul Weitz (About a Boy, Antz, American Pie). During the Q&A I asked Paul about the source of the story – was it the issue (abortion)? the characters? or other? He said it started from the notion of a young woman without enough money to pay for the abortion she feels she urgently needs. Its treatment of the theme of abortion is refreshingly less conservative than the likes of the too mannered ‘Juno’.

Elle (with Sage)

1. Lily Tomlin – who gives a feisty performance as Elle, a lesbian grandma who is there when her grand-daughter really needs her. Tomlin (76) has been in a relationship with her female partner, Jane, for over 40 years. Elle’s relationship and grieving for her recently deceased partner, Violet, is a deeply moving absence at the heart of the movie. Tomlin’s face is compelling to watch, unique and very particular.

Sage

2. Julia Garner – plays Sage, the grand-daughter. She is absolutely captivating on screen, with something of the 40s/50s Hollywood studio star about her (a bit of Marilyn Monroe, perhaps a touch of Veronica Lake, that kind of vibe). She is known for The Perks of Being a Wallflower (a favourite of my young nephew Jake who has impeccable film taste) and Martha Marcy May Marlene. The chemistry between her and  Tomlin couldn’t be more perfect.

Paul Weitz – scriptwriter (and director)

3. Paul Weitz – who wrote the excellent screenplay, really nuanced and fresh. ‘Grandma’ makes an interesting contrast to ‘Carol’ – another ‘lesbian movie’ currently doing the rounds – where, despite exemplary acting, the story is unsurprising and strangely linear.

4. The Indie Spirit – Weitz made this outstanding movie for $600,000 and shot it in 19 days. As a result he was under little pressure and the movie has a real lightness of touch and creative economy. He got the cash from a Greek benefactor and then Sony Classics picked up the finished film in the wake of Sundance.

4 things I talked to Lily Tomlin about

1. The joy of being a grand-parent, what a lovely relationship the grand-parent/grand-child one is, how much I’m looking forward to being one (PG, as my grandma would have said)
2. Her grumpy grandpa and inspiring grandma in Kentucky
3. Being born in Detroit, the city-country mix; Detroit: Requiem for a City (which she hasn’t seen yet), Julien Temple, The Sex Pistols
4. That my grandpa, Ian Harris, would have been 100 last week; how special a man he was.

‘Moment by Moment’ (1978)

4 things I talked to Paul Weitz about

1. American indie films
2. Me & Earl & the Dying Girl
3. The abortion clinic shooting this week in the USA, how safe he is talking about Grandma in America, particularly the South
4. Treadmill desks (as featured in the film), the office he shares with his brother, Chris (screenwriter & producer: The Golden Compass, Nick & Norah’s Infinite Playlist, American Pie), Chris’s treadmill desk.

 

 

 

 

 

 

Dear Dear Dickie – 4 ways to remember Richard Attenborough

The Great Escape (1963)

This one (from the year I made my debut on earth) is for me his most memorable role as an actor – as Bartlett, who can forget that tragic end, machine-gunned in a field by the heartless Nazis alongside his stalwart Scottish buddy, MacDonald (played by the ever dependable Gordon Jackson)?

 

In Which We Serve (1942)

His fresh faced debut, already a screen presence to be reckoned with. Directed by David Lean and Noel Coward, a suitably English place to start.

 

Chaplin (1992)

My hero well captured by the talented young Robert Downey Jnr. under the assured direction of Dickie.

 

Cry Freedom (1987)

I remember this one opening my eyes to the outrages of apartheid South Africa back in my university days. Denzel Washington was powerful as Steve Biko and first came to international prominence under Dickie’s direction.

Richard Attenborough was instrumental in the establishment of Channel 4 – Deputy Chairman from 1980 to 1986 as it got on its feet and Chairman from 1986 to 1992 through its golden age.

He was also a key leader in BAFTA, associated with the Academy for 30 years and President for over a decade.

I interviewed Lord David Puttnam about him recently for my book, When Sparks Fly. I was thinking of including him in the Film chapter (Choose Life) which focuses on Danny Boyle. With its central theme of the creative rewards of openness and generosity, Attenborough struck me as the cinema embodiment of British public service values. Channel 4 and BAFTA are just two of many appointments which demonstrate his prodigious energy and unfailing commitment to public service media/arts, from the brilliant Chickenshed Theatre to the Mandela Statue Fund.

1964