Archive for the ‘dr who’ Tag
Had a good role in the Hay this week, doing a speaking session chaired by Sky News’ Political Editor Adam Boulton with the likes of Dr Who director Euros Lyn and ITV Wales news and sports presenter Frances Donovan.
As I was driving towards the Hay Festival from Hereford train station in my chaffeur-driven Jag (could easily get used to that) I leafed through the programme. I kept seeing the name Peter Florence which seemed very familiar for reasons I couldn’t figure. It turned out Peter, the founder of the Festival, was at university with me and a fellow linguist. We had a nice chat when I arrived at the Festival site and I recognised him easily enough after all these years, an affable fella. It’s quite an event he’s built up over the years (with his dad originally I think) and well worth his MBE.
I nabbed a delightful hour trolling around the second-hand bookshop in the former cinema – I came away with a perfect crop: a novel about Manet, a Pierre et Gilles picture book, a Phillip Kerr thriller and a signed Martin Gilbert history book.
My one evening there I spent delightfully with an author friend of mine met thanks to Wikipedia (but that’s another story).
I got the chance to take in a couple of events (on the look out for arts presenting talent) – a session on the forthcoming British Art Show 7 featuring three of the selected artists and the two curators. BAS 4 in 1995 (it’s a 5-yearly review show) was the one that showcased the YBAs. 2009 Turner Prize nominee Roger Hiorns, famed for his copper sulphate council flat (Seizure) and pulverised jet engine, cut an intriguing Hockneyesque boyish figure. I also caught a lecture on Henry Moore by the curator of the current Tate Britain show, Chris Stephens, which was fascinating, prompting us to refresh how we see Moore and to appreciate his radical edge and dark side more. The comparisons he made by juxtaposing Moore sculptures with Robert Capa photographs was convincingly illuminating.
I spent a good part of the afternoon hanging out in the Green Room, tapping away beside Adam Hart-Davis in dubious shorts/boots/socks combo. Highlights of the passing faces ranged from Ian McEwan (I’m a big fan of Atonement) to Andrew Marr (I mainly catch him on Start the Week). I also enjoyed chatting with Adam Boulton’s wife, Anji Hunter, formerly Tony Blair’s aide. Likewise it was great to get an insight from Adam on his recent, already legendary clash with Alastair Campbell. It didn’t feel like the time&place to raise the issue of that sneaky non-viewer question to Nick Clegg during the Sky leaders debate.
Headed home in the company of the Derek Browne, former British triple jumper and investment banker, now focused on encouraging entrepreneurial initiative in the country’s young people through his outfit Entrepreneurs in Action.
Bookishness is what I’ve always loved about Cambridge (where I first met Peter Florence) and Hay has the same vibe in its own way – a particular kind of tranquility and a top Simple Pleasure. It’s a real battery-charger to immerse yourself for 48 hours in art and books.
Coming soon on Simple Pleasures 4: My latest project about to enter private beta – a literary one.
Here’s a nice little piece from the new issue of the cracking 4Talent magazine. It’s come along way over the 9 issues to date, evolving out of Ten4 magazine based in the West Midlands to become the nationwide contender it is now. This issue’s gorgeous cover in Burne-Jones colours is designed by London-based Slovakian designer Petra Stefankova, one of the winners of last year’s 4Talent Awards (for which I had the honour of presenting the New Media award).
“I have an upcoming project, codename Sam I Am. I’m busting to tell you about it but I can’t yet [Update SP4 readers: it soft launched today, hence the link]; it’s necessarily under wraps. It’s a very entertaining concept and interactive experience which still manages to convey a substantial meaning – in this case about the diversity of Islamic culture, and the narrowness of most of our experience and understanding of it.
The commission I’m most proud of: The Big Art Mob. It applies new technology and media behaviours to a worthwhile public task: mapping the best of Public Art (from bronze geezers on horses to Banksys) across the UK. Interested people from all around the country and beyond (we’re big in Brazil) are photographing artworks on their mobiles and uploading them to the map, having a good online natter about arty stuff along the way. You can interact wherever you are – I’m particularly proud of the WAP (mobile) site at bigartmob.com/mobile. It’s been nominated for 3 Baftas alongside the likes of the iPlayer and Dr Who, so it’s punching above its weight in true C4 stylee.
In the way that Big Art Mob finds a worthwhile purpose for moblogging (mobile blogging) I want to find missions and purposes for other emerging interactive tools and technologies like, say, Twitter – in itself geek masturbation and possibly the end of civilisation as we know it, with a creatively conceived context perhaps something exceedingly good.
I’ve spent the last 5 years at Channel 4 exploring what public service means in a digital world – from Big Dig to Big Art Project, and one or two projects that don’t even have ‘Big’ in the title like Picture This and Empire’s Children. But Big is important: ambition, scale and impact are all vital.
Cross-platform and interactive media is what’s pumping the nads* of the telly industry right now, and it’s vital to its future. All the creative and entrepreneurial energy is welling up in these areas and Channel 4 is ready for action.”
* [John Bender is absently tearing up books]
Andrew Clark: That’s real intelligent.
John Bender: You’re right. It’s wrong to destroy literature. It’s such fun to read. And…
[examines title] …Moe-Lay really pumps my nads.
Claire Standish: Moliere!
Took my dear ol’ mum out for her birthday a couple of evenings ago to see David Lean’s film ‘Ryan’s Daughter’, screened in 70mm at BAFTA in Piccadilly. When I got to the ticket desk there was a good looking actress there whose birthday it also was. That was probably the first hint that my biorhythms were in fine fettle that day. The next clue was when we were handed two glasses of champagne as we walked in. It turned out that 25th March was also the birthday of David Lean – and this year is the centenary of his birth. So we walked in to a special reception with booze, nosh and some interesting faces dotted around the room. I should have made a better fist of pretending “I knew that” and having been so organised as to have arranged especially for fine champers, fancy fish cakes and famous faces. Among them were Peter Lean (David’s son) and Sarah Miles, Ryan’s Daughter herself.
Just before Sarah Miles arrived, I’d been unwittingly sitting beside one of her best friends and talking to my mum about how Ryan’s Daughter is my other half’s most loathed film. Why she gave me the middle name Diplomacy I’ll never know. I did a good one last year with Nicholas Hoult of Skins and About A Boy fame. I’d been reading the first scripts for Skins and was blown away by them. I was speaking at a 4Talent do for Raw Cuts at the Electric Cinema in Portobello Road and Nick was also talking, being a real supporter of the NSPCC. “You’re shooting Skins down in Bristol aren’t you? Awesome script. Let me guess who you’re playing… Is it the nerdy one? [Sid]” “No.” “Ah, right, so it must be the devastatingly handsome one. [Tony]” Note to self: Never ask: are you Australian? (ask Are you a Kiwi?). Never ask: are you an American? (ask Are you Canadian?). Ask: are you the devastatingly handsome one?
Any way, she really does loathe the film. So did much of the audience and the critics at the time from what I understand. Lean didn’t make another film for 14 years in the wake of Ryan, so stung was he by its poor reception. If you look at it from an Irish point of view, it is on the dodgy side. The Irish in the movie range from a dribbling retard, to a black leather clad gun runner, to a priest with Republican sympathies and a bottle of Jamesons tucked away in his dirty black soutane, to a treacherous father with verbal diarrhea to a silly adulterous girl. But I think it was always the drooling John Mills that really irked her.
So I went in ready to enjoy in widescreen the scenery of the West Coast I love so much (as captured by Freddie Young) but to scoff at the story and characterisation. Producer [Absolute Beginners, Mona Lisa, The Crying Game] and boss of the National Film School Nik Powell introduced the film, followed by a nice anecdote from the lead actress highlighting the contradictoriness of Lean’s character (he told her off for throwing away a sliver of soap from his hotel room which had “a good three days left in it” and then bought her a Lamborghini a few weeks later). It must have been the weirdest experience for Sarah Miles watching her 29 year old self up in 70mm widescreen – she told me she’d never seen the film before except on video, she doesn’t like watching herself – at the age of 67. It was enough of a momento mori for the rest of us. Ryan was written by her late husband, Robert Bolt, who passed away in 1995. The film started with an overture of the musical soundtrack with the curtains still closed. At three hours thirty it had an intermission. So very much a blast from the cinematic past. The thing was I couldn’t help myself – shagging in the bluebell woods beside the burbling brook, rescuing rebel arms from the crashing waves, padding barefoot across the beaches of Dingle – I was suckered, I came out feeling I’d just watched something romantic and epic and Technicolor from a bygone age.
Lean was the prime-mover behind the British Academy of Film and Television Arts. He gave half of his huge royalty shares on Bridge over the River Kwai and Dr Zhivago to help get the Academy up and running. (He didn’t bother including Lawrence of Arabia as the studio had told him it would never show a profit – dontcha just love creative accounting a la Hollywood.) So Lean was the first Chairman of the Academy and a life-long supporter, very keen on film retaining its “dignity” through proper screening in well equipped public auditoriums.
The cherry on the (birthday) cake – the birthday, BAFTA, biorhythm thing that seemed to be conjoining on the day – was that, unbeknownst to me (I found out the next morning) the nominees for this year’s BAFTA TV Craft Awards had been announced during the day and Big Art Mob was nominated in two of the three interactive categories, on top of its nomination the week before in the BAFTA TV Awards. It’s up against Dr Who, X Factor, Spooks, BBC iPlayer, Kate Modern and Bebo among others so pretty much a shoe-in
Craft was very much Lean’s background having emerged into directing via editing. He cut for Powell & Pressburger during the war, as well as for Noel Coward on In Which We Serve. His first writing credit was for adapting Coward’s This Happy Breed which starred the marvelous Robert Newton under Lean’s direction (his solo directorial debut). There was nothing remotely televisual about Ryan’s Daughter. It was steeped in the craft and love of cinema. No better way to celebrate a birthday.
Hot off the presses – Big Art Mob has been nominated for a TV BAFTA in the Interactivity category (the only interactive/cross-platform category in the TV Awards). Now that’s lifted what started out as something of a drudgy day a bit!
The competition is:
- Dr Who Comic Maker
- Spooks Interactive
- The X Factor
So no problems there then…
[Picture courtesy of AFP]