Whilst mucking around on various websites I stumbled across this fairly interesting quote:
“All of us who professionally use the mass media are the shapers of society. We can vulgarize that society. We can brutalise it. Or we can help lift it to a higher level.” – William Bernbach.
Of course Bernbach is one of the most famous American Ad giants but he has one flaw in his logic: does the media industry actually have an impact?
It can be argued that the influence from an advertising perspective has long been successful but is there any proof of this? I argue that it doesn’t. Just because it has a catchy theme tune, the CGI really makes you go ‘ahhh’ or the latest evictee from Big Brother appearing in the commercial does not necessarily make it indoctrinating to the extent of making you go out an purchasing the product it is promoting.
Obese children in particular have recently come under fire. McDonalds should not put their adverts on TV before 9pm as it encourages binge eating and this most unhealthy of establishments. What the hell?! What about the parents? Does this child have a TV in his/her bedroom? Can any parent seriously monitor whether the kid is watching this commercial somewhere on the web or after hours when Mummy and Daddy have hit the sack? No is the short answer. Never mind arguing whether it actually makes them want to eat the latest Big Aberdeen Texan McWhatever it is all down to the parents. The last time I looked it was illegal for children in Britain under the age of 16 to work, so even if the kid does crave cholesterol from one of the fast food giants surely it is up to the parents to put their foot down and say ’No’?
If Mr Bernbach believes that those with the power in the media can control the tide of human development then he is sadly confused. Generations into the future, when those who actually lived though the events documented have long since passed on, all that we will have to remember and study historically are the sources that have been preserved. That being what was found most acceptable at the time. Articles, radio programmes, TV shows will disappear like dust in the wind if they are not deemed through some universal logic to be good enough for posterity. The human race has been doing it for centuries, some versions of Greek myths were preferred over others, some paintings in Renaissance France put into storage and some books burned in Nazi Germany. Let’s look at the film industry at the moment. If you do not like the most recent Nicole Kidman flick then will you buy it when it is out on DVD? If you are of this opinion then surely you are not the only one! Hundreds of thousands of people will not invest their hard earned cash on a piece of art that could hold the key to deciphering our manic behaviour in years to come. Now I’m not saying that you should buy any and every DVD that you see, far from it, I am simply commenting on the paradox of ‘studying’ the past for it is the past that the ancients wanted us to see rather than what actually happened.
But can the media make a difference. Can it really lift society to a higher level? Does the subtlety of language used in The Independents news reports really change someone’s opinion in comparison with the same story from The Times? Surely educational level, which usually dictates reading habit, is master over opinion and interpretation? Does the media, and those shaping it, have any more impact than education and upbringing?
The argument against Bernbach’s is not a solid one, but a purely theoretical approach. Do we report the facts eloquently using a 1984-esque tone of language or do we carry on with the current trend of tabloid standard journalism? So called ‘Celebrities’ publicly insulting each other over custody of their traumatised children; advice columns documenting a variety of human inadequacies and pictures highlighting random peoples cellulite or sweat patches. Is this the world that we want to show to future generations? Or should we tidy it up a bit, as Bernbach believes, and portray a world that may have an impact on the quality of society? I do not know the answer, but I reckon we’ve got nothing to lose by giving it a go.
Wednesday, 28 November 2007
Friday, 23 November 2007
Death of the Paper?
After attending the Guardian Student Media conference I started pondering what Alan Rusbridger, Guardian Editor, had said.
Apparently the financial situation of the papers are dire at best. Alan predicts that the Financial Times, The Evening Standard and The Independent will collapse due to extensive financial loss within the next 10 years. Shocking eh? Papers that have been around for over 100 years, that have accompanied us through every major historical event throughout our lifetime are to be scrapped. The reason - the internet.
The information superhighway has sentenced print media to death. With the ‘now culture’ demanding immediacy with every aspect of their lives, from being too-posh-to-push through childbirth and the increasing demand for fast food, we have become lazy. Everything on a plate, on our screens, NOW.
If our news can be delivered to us via RSS feeds and notifications by text then where do the papers come in? Magazines have a long term value for glossy, 150 pager that offers monthly sacrifices to the altar of ‘popular culture’ but surely it is harder for daily broadsheets, Berliners and tabloids to stay afloat?
But why should it?! The feel of importance at walking around with a copy of the latest Times under your arm, or the level of satisfaction that is achieved after finishing your favourite column on the train can surely not be substituted by reading the most popular article of the moment - as voted for by the readers of BBC Online. The death of the newspaper is on the one hand a travesty - the hard work that went into developing the printing press can be destroyed with every click of the mouse, but what can be done about it?
Nothing, that’s what. Why stand in the way of progress? If the consumers want news delivered straight to their inbox rather than waiting 24 hours to get it in print then we must deliver it! But if we are changing our reading habits from paper to the net and consequently saving our 50p then who is paying the wages of the journalists? Does this mean that even news online will collapse eventually? The internet is a free resource where anyone can submit any standard of information about anything with limited repercussions - even by me writing this I could be seen to be contributing to the demise of the paper boy. Whoops.
But where does this end? Will the British Library go electronic? Will ’going to work’ become a thing of the past with satellite linkups becoming ever more popular in business? Will human interaction cease to function?
My advice is to enjoy it as much as you can while it still exists - ripping into a publication in a group, discussing a topic of interest or even bitching about the latest ‘Dear Aunty Advice’ column will never die out.
Apparently the financial situation of the papers are dire at best. Alan predicts that the Financial Times, The Evening Standard and The Independent will collapse due to extensive financial loss within the next 10 years. Shocking eh? Papers that have been around for over 100 years, that have accompanied us through every major historical event throughout our lifetime are to be scrapped. The reason - the internet.
The information superhighway has sentenced print media to death. With the ‘now culture’ demanding immediacy with every aspect of their lives, from being too-posh-to-push through childbirth and the increasing demand for fast food, we have become lazy. Everything on a plate, on our screens, NOW.
If our news can be delivered to us via RSS feeds and notifications by text then where do the papers come in? Magazines have a long term value for glossy, 150 pager that offers monthly sacrifices to the altar of ‘popular culture’ but surely it is harder for daily broadsheets, Berliners and tabloids to stay afloat?
But why should it?! The feel of importance at walking around with a copy of the latest Times under your arm, or the level of satisfaction that is achieved after finishing your favourite column on the train can surely not be substituted by reading the most popular article of the moment - as voted for by the readers of BBC Online. The death of the newspaper is on the one hand a travesty - the hard work that went into developing the printing press can be destroyed with every click of the mouse, but what can be done about it?
Nothing, that’s what. Why stand in the way of progress? If the consumers want news delivered straight to their inbox rather than waiting 24 hours to get it in print then we must deliver it! But if we are changing our reading habits from paper to the net and consequently saving our 50p then who is paying the wages of the journalists? Does this mean that even news online will collapse eventually? The internet is a free resource where anyone can submit any standard of information about anything with limited repercussions - even by me writing this I could be seen to be contributing to the demise of the paper boy. Whoops.
But where does this end? Will the British Library go electronic? Will ’going to work’ become a thing of the past with satellite linkups becoming ever more popular in business? Will human interaction cease to function?
My advice is to enjoy it as much as you can while it still exists - ripping into a publication in a group, discussing a topic of interest or even bitching about the latest ‘Dear Aunty Advice’ column will never die out.
Thursday, 22 November 2007
Me as a caricature? I'm flattered!
A satirical cartoon drawn by Steve Seller following my election to Orbital Editor, at the time it was very accurate! Mon 19.2.2007
A better version of the cartoon can be found at http://www.thefounder.co.uk/gallery/orbital-cartoon.jpg
The future of The Orbital
An article written for The Founder after my election victory to become Orbital Editor, Mon 19.02.2007
In light of the current controversy over the future of Royal Holloway’s publications, Mario Creatura (SU Publication Editor-Elect) provides The Founder with an exclusive insight into his plans for next year.
"When I was driving to my halls as a fresher back in September 2005, I passed the Queens Building where there was a huge and interesting Insanity banner. As soon as I got into the now non-existent Williamson Hall, I plugged in my stereo and tuned in to some girls talking about what I was soon to learn was a favourite pastime of Holloway students everywhere - pizza.
At that moment, a passion was ignited in me to get involved with the media on campus. Instead of intently reading for lectures and preparing for essays like so many of my peers, I began to swot up on all things media related by producing and presenting on Insanity and writing for the film section of The Orbital. Now, nearly two years later, I am the Editor-Elect of the Best Student Magazine in the whole of the UK! Not bad eh?
I don’t think that my passion, optimism and loyalty can be easily matched when it comes to our publication. With this constantly in mind, I have been working over the last few months on ways in which I can improve The Orbital to give you, the students of RHUL, exactly what you want in an SU magazine.
I am, by nature, a very proud person. I am proud of my work, and I am proud to be a Hollowegian. This means that I will always strive to produce the best publication possible for my fellow students. It must therefore come as no surprise that one of my aims is to bring about a more frequent magazine with even more student relevant content. By bringing out a publication fortnightly and improving the content we, and thus the SU, are able to interact with the students of Royal Holloway much more effectively to find out what you really want.
By incorporating the Communicate Card into the publication I hope that I will be able to produce a mag that is informative as well as entertaining. With reviews and previews of the upcoming union events, increased publicity and SU exclusives our union will be more accessible and available to its students than ever.
An improved website with interactive features coupled with many an eye-catching scheme (I cant give away everything now can I?!) will lead to a great future for the media on campus.
I believe that change is good and I look forward to working with our union and the team behind The Founder to create a better and unified media for all of our readers. I look forward to the challenges that face me in the year ahead with confidence and to continue The Orbital’s nationally award winning reputation."
In light of the current controversy over the future of Royal Holloway’s publications, Mario Creatura (SU Publication Editor-Elect) provides The Founder with an exclusive insight into his plans for next year.
"When I was driving to my halls as a fresher back in September 2005, I passed the Queens Building where there was a huge and interesting Insanity banner. As soon as I got into the now non-existent Williamson Hall, I plugged in my stereo and tuned in to some girls talking about what I was soon to learn was a favourite pastime of Holloway students everywhere - pizza.
At that moment, a passion was ignited in me to get involved with the media on campus. Instead of intently reading for lectures and preparing for essays like so many of my peers, I began to swot up on all things media related by producing and presenting on Insanity and writing for the film section of The Orbital. Now, nearly two years later, I am the Editor-Elect of the Best Student Magazine in the whole of the UK! Not bad eh?
I don’t think that my passion, optimism and loyalty can be easily matched when it comes to our publication. With this constantly in mind, I have been working over the last few months on ways in which I can improve The Orbital to give you, the students of RHUL, exactly what you want in an SU magazine.
I am, by nature, a very proud person. I am proud of my work, and I am proud to be a Hollowegian. This means that I will always strive to produce the best publication possible for my fellow students. It must therefore come as no surprise that one of my aims is to bring about a more frequent magazine with even more student relevant content. By bringing out a publication fortnightly and improving the content we, and thus the SU, are able to interact with the students of Royal Holloway much more effectively to find out what you really want.
By incorporating the Communicate Card into the publication I hope that I will be able to produce a mag that is informative as well as entertaining. With reviews and previews of the upcoming union events, increased publicity and SU exclusives our union will be more accessible and available to its students than ever.
An improved website with interactive features coupled with many an eye-catching scheme (I cant give away everything now can I?!) will lead to a great future for the media on campus.
I believe that change is good and I look forward to working with our union and the team behind The Founder to create a better and unified media for all of our readers. I look forward to the challenges that face me in the year ahead with confidence and to continue The Orbital’s nationally award winning reputation."
At conference with Chris Noonan & Renee Zelwegger
Written for The Orbital, March 2007
It’s been a while since writer-director Chris Noonan’s last project (Babe - 1995) yet it is he that was chosen to lead the challenge to transform the secretive life of one of literatures best loved children’s authors. Renee Zellweger’s portrayal of the lead was not made easier by having to deal with the role of Executive Producer as well. But by working alongside Academy Award Nominee Emily Watson (Breaking the Waves) and her old pal Ewan McGregor (Down with Love) the team sought to bring the life of Beatrix Potter to the silver screen for us to enjoy for years to come.
From the film is seems that Beatrix is a modern woman in an old setting, is that a fair assumption?
CN “Yes it is. I sort of thought of her as a time traveller when I first read her story, I felt that she was a woman with modern values and aspirations for herself who was suddenly waking up in the middle of Victorian England’s restrictive social environment and having to cope with this conflict. I think that Beatrix was someone with aspirations for herself that didn’t seat neatly with the people around her, a lot of them wanted her to be something that she didn’t want to be. And it was her determination that set her on her course, a course of collision with the world around her.”
What particularly drew you to the playing role of Beatrix?
RZ “It’s a really boring answer actually, from an actors perspective you don’t often read a script that’s as beautiful in its simplicity and as rich. It was so compelling, and to come to the last page and say “I want to see this film!” made me want to do it! I couldn’t believe it wasn’t fiction! She led a fascinating life and yet we know so little about this amazing woman. It started with that I think.”
What did the credit ’Executive Producer’ mean to your role in the film?
RZ “It usually means abusing the actress!! [Laughs]. It was an interesting learning opportunity and I asked the guys if they would be interested in that type of partnership because I really wanted to see this project through creatively.”
One of the themes seem to be how Beatrix is very self reliant and didn’t need a man or a family in order for her life to be a success, was that something that struck a cord with you in terms of your own life?
RZ “I didn’t think about it in terms of my own life to be honest, I just had a keen admiration for her right away. I was fascinated by her life and I liked her a lot, she was so witty and quick and her wry sense of humour, I thought of her as a person I would like to know.”
How did perfecting the English accent for this part compare with your preparation for Bridget Jones given that you are playing someone from a century earlier? And did it help playing somebody English before?
RW “Yes it was very different this time but as you said I have had experience with the accent from my past films and I had an amazing voice coach to help me with the more formal dialect. My coach seemed to stand over me with a whip and she always made sure that I wasn’t lazy and so I had no choice but to listen to her! I also had Emily Watson who has the most gorgeous voice, and just to listen to her talk helped me to master it a lot quicker.
But it was very different, much more formal and I couldn’t get away with things that I might have like to.”
The animation in this film is very charming and subtle; was that something you were really aware of or wanted to be very careful of?
CN “The original script had our characters jumping off the page as 3D animals and walking around the room. When we first met however, Renee was talking about how this would break beyond what was proper for this film and that she felt it would just become a gimmick in the movie. Our biggest fear was that it would not sit naturally within it and so we worked on it, found some animators that we liked and we developed the approach that you see in the film. If we had gone the original way then it would have been a totally different movie and not nearly as charming as the end result.”
RZ “I didn’t want those animations to jump at you and completely take over the scenes they were in so it was very carefully planned how to introduce the first bit of animation. We were very careful about how that magical world, the world of Beatrix’s imagination, was going to be introduced and I think that we succeeded in this movie.”
It’s been a while since writer-director Chris Noonan’s last project (Babe - 1995) yet it is he that was chosen to lead the challenge to transform the secretive life of one of literatures best loved children’s authors. Renee Zellweger’s portrayal of the lead was not made easier by having to deal with the role of Executive Producer as well. But by working alongside Academy Award Nominee Emily Watson (Breaking the Waves) and her old pal Ewan McGregor (Down with Love) the team sought to bring the life of Beatrix Potter to the silver screen for us to enjoy for years to come.
From the film is seems that Beatrix is a modern woman in an old setting, is that a fair assumption?
CN “Yes it is. I sort of thought of her as a time traveller when I first read her story, I felt that she was a woman with modern values and aspirations for herself who was suddenly waking up in the middle of Victorian England’s restrictive social environment and having to cope with this conflict. I think that Beatrix was someone with aspirations for herself that didn’t seat neatly with the people around her, a lot of them wanted her to be something that she didn’t want to be. And it was her determination that set her on her course, a course of collision with the world around her.”
What particularly drew you to the playing role of Beatrix?
RZ “It’s a really boring answer actually, from an actors perspective you don’t often read a script that’s as beautiful in its simplicity and as rich. It was so compelling, and to come to the last page and say “I want to see this film!” made me want to do it! I couldn’t believe it wasn’t fiction! She led a fascinating life and yet we know so little about this amazing woman. It started with that I think.”
What did the credit ’Executive Producer’ mean to your role in the film?
RZ “It usually means abusing the actress!! [Laughs]. It was an interesting learning opportunity and I asked the guys if they would be interested in that type of partnership because I really wanted to see this project through creatively.”
One of the themes seem to be how Beatrix is very self reliant and didn’t need a man or a family in order for her life to be a success, was that something that struck a cord with you in terms of your own life?
RZ “I didn’t think about it in terms of my own life to be honest, I just had a keen admiration for her right away. I was fascinated by her life and I liked her a lot, she was so witty and quick and her wry sense of humour, I thought of her as a person I would like to know.”
How did perfecting the English accent for this part compare with your preparation for Bridget Jones given that you are playing someone from a century earlier? And did it help playing somebody English before?
RW “Yes it was very different this time but as you said I have had experience with the accent from my past films and I had an amazing voice coach to help me with the more formal dialect. My coach seemed to stand over me with a whip and she always made sure that I wasn’t lazy and so I had no choice but to listen to her! I also had Emily Watson who has the most gorgeous voice, and just to listen to her talk helped me to master it a lot quicker.
But it was very different, much more formal and I couldn’t get away with things that I might have like to.”
The animation in this film is very charming and subtle; was that something you were really aware of or wanted to be very careful of?
CN “The original script had our characters jumping off the page as 3D animals and walking around the room. When we first met however, Renee was talking about how this would break beyond what was proper for this film and that she felt it would just become a gimmick in the movie. Our biggest fear was that it would not sit naturally within it and so we worked on it, found some animators that we liked and we developed the approach that you see in the film. If we had gone the original way then it would have been a totally different movie and not nearly as charming as the end result.”
RZ “I didn’t want those animations to jump at you and completely take over the scenes they were in so it was very carefully planned how to introduce the first bit of animation. We were very careful about how that magical world, the world of Beatrix’s imagination, was going to be introduced and I think that we succeeded in this movie.”
Miss Potter - Review
Written for The Orbital, March 2007
With the soppy posters, cheesy title and the lead being played by none other than Miss Bridget Jones herself, Renee Zellweger, you would have been forgiven for thinking that this is yet another text book chick flick… but it isn’t! I was expecting a cliché romp through the romantic psyche of arguably one of England’s most prolific storytellers. Instead my prejudices were bulldozed away with amazingly sensitive and yet entertaining direction from Chris Noonan with sublime performances from the supporting cast including a superbly understated Bill Paterson as Beatrix’s father and an amazingly feministic Emily Watson.
Zellweger returns with her old partner in crime, Ewan McGregor (Down with Love) to deliver a believably frumpy portrayal of Potter‘s live and social circumstances. The cinematography is refreshingly English with the timeless images of Peter Rabbit and co. coming alive several times throughout the movie to illustrate the mental strain and emotional turmoil occurring within Potter. Although this is befitting a children’s illustrator, at times it seems lazy to rely on animation to portray what a capable performer could and verges dangerously close to inferring that she had some kind of mental disorder. But nonetheless, Miss Potter is an engaging feel good biopic best watched on a rainy winters evening with a nice cup of hot cocoa!
With the soppy posters, cheesy title and the lead being played by none other than Miss Bridget Jones herself, Renee Zellweger, you would have been forgiven for thinking that this is yet another text book chick flick… but it isn’t! I was expecting a cliché romp through the romantic psyche of arguably one of England’s most prolific storytellers. Instead my prejudices were bulldozed away with amazingly sensitive and yet entertaining direction from Chris Noonan with sublime performances from the supporting cast including a superbly understated Bill Paterson as Beatrix’s father and an amazingly feministic Emily Watson.
Zellweger returns with her old partner in crime, Ewan McGregor (Down with Love) to deliver a believably frumpy portrayal of Potter‘s live and social circumstances. The cinematography is refreshingly English with the timeless images of Peter Rabbit and co. coming alive several times throughout the movie to illustrate the mental strain and emotional turmoil occurring within Potter. Although this is befitting a children’s illustrator, at times it seems lazy to rely on animation to portray what a capable performer could and verges dangerously close to inferring that she had some kind of mental disorder. But nonetheless, Miss Potter is an engaging feel good biopic best watched on a rainy winters evening with a nice cup of hot cocoa!
X-men 3: The Last Stand - Review
Written for The Orbital, March 2006
You would think that a film with so many interesting characters would be superficial and lacking in emotional depth - but you would be wrong!
The movie spends a significant amount of the time detailing the background story of Jean Grey (Famke Janssen).who returns from the dead to cause havoc as the menacing Dark Phoenix and the introduction of new characters such as Beast (Kelsey Grammer), Juggernaught (Vinnie Jones) and Angel (Ben Foster).
From the dialogue and visual ambience of the film you can tell that Bryan Singer is no longer at the helm. This responsibility has now been taken by Brett Ratner, who presents us with 3 major storylines to sink our teeth into. The first is the emotional conflicts presented to the X-men in responding to Jean’s demonic transformation. The second is the development of a genetic suppressant that ‘cures’ mutants and causes a war led by the always suave Magneto (Ian McKellan). The third is a totally unnecessary diversion into the love triangle of Iceman, Rogue and Kitty and only serves to cause the audience to laugh at the inability for Hollywood to resist cheese.
Although this may not win any awards, this is a fantastic romp into comic book mythology and a great way to entertain your childish side with spectacular special effects and an endless supply of interesting characters.
In the words of Patrick Stewart: “There are little clues that suggest this may not be the last stand after all”.
You would think that a film with so many interesting characters would be superficial and lacking in emotional depth - but you would be wrong!
The movie spends a significant amount of the time detailing the background story of Jean Grey (Famke Janssen).who returns from the dead to cause havoc as the menacing Dark Phoenix and the introduction of new characters such as Beast (Kelsey Grammer), Juggernaught (Vinnie Jones) and Angel (Ben Foster).
From the dialogue and visual ambience of the film you can tell that Bryan Singer is no longer at the helm. This responsibility has now been taken by Brett Ratner, who presents us with 3 major storylines to sink our teeth into. The first is the emotional conflicts presented to the X-men in responding to Jean’s demonic transformation. The second is the development of a genetic suppressant that ‘cures’ mutants and causes a war led by the always suave Magneto (Ian McKellan). The third is a totally unnecessary diversion into the love triangle of Iceman, Rogue and Kitty and only serves to cause the audience to laugh at the inability for Hollywood to resist cheese.
Although this may not win any awards, this is a fantastic romp into comic book mythology and a great way to entertain your childish side with spectacular special effects and an endless supply of interesting characters.
In the words of Patrick Stewart: “There are little clues that suggest this may not be the last stand after all”.
Changing the scenary...
Written for The Orbital, February 2007
The theme of this issue is “The Summer of Scenic Change”. Although we at The Orbital encourage you at all times to venture outside into our wide and wonderful world, we also realise that you might not always want to! So sit back, relax, and watch some of the most beautiful films to have graced the silver screen in recent times!
But if your not in the mood for that much culture, then the students of RHUL have also supplied a list of the ‘10 Summer Flicks of All Time!’ through internet polling and focus group discussion. Enjoy!
Hero
Starring Jet Li, this Korean movie tells the story of an Unnamed Assassin who is attempting to kill the Emperor of his region. He gains favour with the Emperor by telling him that he has killed two other infamous assassins. Stunning flashback sequences and cinematography coupled with superbly choreographed fight scenes and beautiful scenary this is a must for any movie fan.
American Beauty
By following the emotional and psychological journey of a 40-something man (Kevin Spacey) during the male menopause, we experience some truly thought provoking and abstract scenes in a movie with a superb soundtrack and exemplary acting from the whole cast.
Moulin Rouge
When Baz Luhrman makes a film, you can tell! Set in bohemian Paris, he uses a plethora of pop songs to illustrate the mental processes within the characters head. We are able to enjoy singing along to Elton’s ‘Your Song’ whilst not losing any of its romantic significance to the plot. Starring Ewan MacGregor, Nicole Kidman and a stellar supporting cast we are treated to special effects galore and a great movie to enjoy in a group.
Garden State
This follows the story of depressed Andrew Largeman (Zach Braf) who returns home to New Jersey after a long absence following the death of his mother. This inspiring film concentrates on the inevitable conflicts that he must face with his father (Ian Holm) and the old acquaintances. The music perfectly accompanies the superb acting styles in this ‘Indie’ film and will leave you contemplating the quality of your own life.
Ten Summer Films of All Time Voted for by RHUL students
1) Grease (1978) – John Travolta & Olivia Newton-John
2) Jaws (1975) – Richard Dreyfuss
3) I know what you did last Summer (1998) – Freddie Prince Jr. & Jennifer Love-Hewitt
4) Dirty Dancing (1987) – Patrick Swayze & Jennifer Grey
5) Independence Day (1996) – Jeff Goldblum, Bill Pullman & Will Smith
6) Summer Holiday (1963) – Cliff Richard
7) American Pie 2 (2001) – Jason Biggs & Eugene Levy
8) National Lampoon’s Vacation (1983) Chevy Chse
9) The Mummy (1999) – Brendan Fraser & Rachel Weisz
10) Monsoon Wedding (2001) - Naseerudin Shah
The theme of this issue is “The Summer of Scenic Change”. Although we at The Orbital encourage you at all times to venture outside into our wide and wonderful world, we also realise that you might not always want to! So sit back, relax, and watch some of the most beautiful films to have graced the silver screen in recent times!
But if your not in the mood for that much culture, then the students of RHUL have also supplied a list of the ‘10 Summer Flicks of All Time!’ through internet polling and focus group discussion. Enjoy!
Hero
Starring Jet Li, this Korean movie tells the story of an Unnamed Assassin who is attempting to kill the Emperor of his region. He gains favour with the Emperor by telling him that he has killed two other infamous assassins. Stunning flashback sequences and cinematography coupled with superbly choreographed fight scenes and beautiful scenary this is a must for any movie fan.
American Beauty
By following the emotional and psychological journey of a 40-something man (Kevin Spacey) during the male menopause, we experience some truly thought provoking and abstract scenes in a movie with a superb soundtrack and exemplary acting from the whole cast.
Moulin Rouge
When Baz Luhrman makes a film, you can tell! Set in bohemian Paris, he uses a plethora of pop songs to illustrate the mental processes within the characters head. We are able to enjoy singing along to Elton’s ‘Your Song’ whilst not losing any of its romantic significance to the plot. Starring Ewan MacGregor, Nicole Kidman and a stellar supporting cast we are treated to special effects galore and a great movie to enjoy in a group.
Garden State
This follows the story of depressed Andrew Largeman (Zach Braf) who returns home to New Jersey after a long absence following the death of his mother. This inspiring film concentrates on the inevitable conflicts that he must face with his father (Ian Holm) and the old acquaintances. The music perfectly accompanies the superb acting styles in this ‘Indie’ film and will leave you contemplating the quality of your own life.
Ten Summer Films of All Time Voted for by RHUL students
1) Grease (1978) – John Travolta & Olivia Newton-John
2) Jaws (1975) – Richard Dreyfuss
3) I know what you did last Summer (1998) – Freddie Prince Jr. & Jennifer Love-Hewitt
4) Dirty Dancing (1987) – Patrick Swayze & Jennifer Grey
5) Independence Day (1996) – Jeff Goldblum, Bill Pullman & Will Smith
6) Summer Holiday (1963) – Cliff Richard
7) American Pie 2 (2001) – Jason Biggs & Eugene Levy
8) National Lampoon’s Vacation (1983) Chevy Chse
9) The Mummy (1999) – Brendan Fraser & Rachel Weisz
10) Monsoon Wedding (2001) - Naseerudin Shah
Conference with Jude Law & Anthony Minghella
Written for The Orbital, November 2006
Writer-Director Anthony Minghella and Jude Law have worked together twice before in the Academy Award winning Cold Mountain (2003) and The Talented Mr. Ripley. This time they are brought together for Breaking and Entering: a film about an Architect whose offices are being continually broken into by Miro, a Bosnian teenager. Conflicts ensue as Will (Law) confronts Miro and his mother whilst trying to save his relationship with his own partner and her demanding autistic daughter.
What inspired you to write an original film solely based in London?
AM “After being away from the UK for so long, I wanted to make another British film. I was inspired to write Breaking and Entering from my own experiences. I had offices in London that were continually getting broken into. So I got my notebook and started to write about a couple who come home from a night out to find they have been burgled! The couple then draw up an inventory of what’s been stolen and find that things have been added and this causes them to address the problems in their relationship.“
How did you find filming on location in London?
AM “It was difficult only because we had to film ‘around’ London. We couldn’t block off Primrose Hill for filming! We had no extras; every one you see in the film was a genuine Londoner that just happened to be walking past that day. We shot that scene and for the better part of a day we didn’t receive any interference from anybody but instead got a lot of interest and support from the good hearted Londoners! We were very proud of London, we both talked about how it was our neighbourhood and that we lived close to that hill. It’s a wonderful city, you can find beauty and ugliness depending on what angle your trying to shoot and we were welcomed in London and were thrilled to be shooting a city we live in and love. ”
Jude, this is your 3rd film with Anthony, have you seen a development in the way you work together?
JL “Well it certainly hasn’t got tougher! What’s involved is a friendship and therefore a sense of trust and an understanding of each other. One knows with friends when someone gets it and so something doesn’t have to be reiterated. The themes of this film are very interesting and relevant to everyone’s lives, so there was an awful lot to talk about just because it was a meaty topic. Afterwards we realised that we never actually discussed my character an awful lot, this is because Anthony had the confidence in me so that it didn’t need to be discussed.”
In writing this film, did you set out to change the perception of the immigrant culture in British audiences and do you think that they will change as a result?
AM “We were talking earlier about how we had wished that we had come away having talked more about what the film was about. And its wonderful that we are! On one level I was trying to write a story about a modern marriage in London where there’s no ring or contract involved. It spilled out, necessarily, into a commentary on an invisible class in London that sustains us. If we took the migrant class away then London would implode. As my family is a migrant family, I have a predilection towards celebrating the fantastic community of all sorts and all colours and all creeds. But its not always perfectly compatible due to differing values, expectations and privileges so this leads to crime and conflict. Inevitably the film argues for compassion and for a second chance - which everyone in the movie gets.”
There’s a huge media interest in your personal life, does this effect your professional life?
JL “Luckily, just about the only thing it doesn’t effect is my professional life. Very often work is a safe haven, a place where it doesn’t really have an effect. If it started to have an effect then I would probably go and live on the Isle of Wight with Anthony!”
Finally, what really pisses you off about living in London?
JL “There’s not an awful lot that really pisses me off… my own criticism is a personal one. The fact that strange men are allowed to lurk outside my house with large cameras and do not get moved along by the police and somehow never get parking tickets! That really pisses me off, otherwise I love London.”
Writer-Director Anthony Minghella and Jude Law have worked together twice before in the Academy Award winning Cold Mountain (2003) and The Talented Mr. Ripley. This time they are brought together for Breaking and Entering: a film about an Architect whose offices are being continually broken into by Miro, a Bosnian teenager. Conflicts ensue as Will (Law) confronts Miro and his mother whilst trying to save his relationship with his own partner and her demanding autistic daughter.
What inspired you to write an original film solely based in London?
AM “After being away from the UK for so long, I wanted to make another British film. I was inspired to write Breaking and Entering from my own experiences. I had offices in London that were continually getting broken into. So I got my notebook and started to write about a couple who come home from a night out to find they have been burgled! The couple then draw up an inventory of what’s been stolen and find that things have been added and this causes them to address the problems in their relationship.“
How did you find filming on location in London?
AM “It was difficult only because we had to film ‘around’ London. We couldn’t block off Primrose Hill for filming! We had no extras; every one you see in the film was a genuine Londoner that just happened to be walking past that day. We shot that scene and for the better part of a day we didn’t receive any interference from anybody but instead got a lot of interest and support from the good hearted Londoners! We were very proud of London, we both talked about how it was our neighbourhood and that we lived close to that hill. It’s a wonderful city, you can find beauty and ugliness depending on what angle your trying to shoot and we were welcomed in London and were thrilled to be shooting a city we live in and love. ”
Jude, this is your 3rd film with Anthony, have you seen a development in the way you work together?
JL “Well it certainly hasn’t got tougher! What’s involved is a friendship and therefore a sense of trust and an understanding of each other. One knows with friends when someone gets it and so something doesn’t have to be reiterated. The themes of this film are very interesting and relevant to everyone’s lives, so there was an awful lot to talk about just because it was a meaty topic. Afterwards we realised that we never actually discussed my character an awful lot, this is because Anthony had the confidence in me so that it didn’t need to be discussed.”
In writing this film, did you set out to change the perception of the immigrant culture in British audiences and do you think that they will change as a result?
AM “We were talking earlier about how we had wished that we had come away having talked more about what the film was about. And its wonderful that we are! On one level I was trying to write a story about a modern marriage in London where there’s no ring or contract involved. It spilled out, necessarily, into a commentary on an invisible class in London that sustains us. If we took the migrant class away then London would implode. As my family is a migrant family, I have a predilection towards celebrating the fantastic community of all sorts and all colours and all creeds. But its not always perfectly compatible due to differing values, expectations and privileges so this leads to crime and conflict. Inevitably the film argues for compassion and for a second chance - which everyone in the movie gets.”
There’s a huge media interest in your personal life, does this effect your professional life?
JL “Luckily, just about the only thing it doesn’t effect is my professional life. Very often work is a safe haven, a place where it doesn’t really have an effect. If it started to have an effect then I would probably go and live on the Isle of Wight with Anthony!”
Finally, what really pisses you off about living in London?
JL “There’s not an awful lot that really pisses me off… my own criticism is a personal one. The fact that strange men are allowed to lurk outside my house with large cameras and do not get moved along by the police and somehow never get parking tickets! That really pisses me off, otherwise I love London.”
Conference with 'Borat'
Written for The Orbital, November 2006
The Orbital takes no responsibility for any of the views expressed in this interview or any psychological trauma obtained as a result from reading this. If you are easily offended then please DO NOT read this. Consider yourself fairly warned!
Could you tell me a bit about yourself?
“My name is Borat Sagdiyev. I am son of Boltok the Rapist. I am former husband of Oxana Sagdiyev, who was daughter of Boltok the Rapist. My hobbies are disco dance, table tennis and also taking photographs of ladies whilst they make toilet without their knowledge - why not?!
My sister had make my family very proud by making fourth most successful prostitute in all of Kazakhstan. And recently received award from Minister of Commerce for Best Mouth Party. Very nice! I also have a brother, name Bilo, who is a retard with a very strong arms but tiny head like a chicken. He have 200 teeth, 3 of which are in nose.”
What happened to your wife?
“My first wife is dead, hi 5! She was boring. I did not kill her, she was in a woods and a hunter mistook her for a bear because she have much hair on arm and back and she dead. No problem, I have a new wife. She is nice!”
What is your opinion of George Bush after your visit to America?
“We in Kazakhstan very much admires Premier George Walter Bush. Not merely because he is a wise man but also because he is very strong, although perhaps not as strong as his father Barbara.”
What do you think the Americans could learn from the glorious nation of Kazakhstan?
“My glorious leader, President Nazarbayev, have recently visited mighty Premier. There he teaches him about lessons from Kazakhstan. About strong leadership, how to crush with your hands, and also how to suspend a car battery with the testes satchel. My Premier can do this for almost 8 seconds. I do not know how long your Premier Blair can do this, I think maximum 2 seconds without tearage.”
You’ve talked in the past of your national pastimes including drinking horses urine and wrestling men. Are there any others that you enjoy?
“I have in Kazakhstan a games - we play Shurik where we shoot dogs, we dig a big hole, fill it with potatoes and Uzbekis and have a big party.”
Was the film well received back at home?
“At first my government was worried about the level of anti-Semitism in my movie film. However eventually the Kazak censor decided there was just enough of it and allowed it to be released. It has been a great success and has been released in all of the 3 cinemas in our nation and took the top spot from the movie film King Kong, which had been number 1 movie ever since it was released in 1932.”
Is there anything that surprised you about America?
“I was very surprised to see that women is allowed to drive cars. They say in my count that to let a women drive a car is like letting a monkey fly a plane! Very dangerous! We have not allowed any monkey’s to fly planes since the 2002 Astana Air crash.”
Has making this movie changed your opinion of America?
“My experiences have make me like America very much! I like very much all their music. I am a huge fanny of the singer Madonna. It is a credit to US and A that a transvestite can become so popular. In my country he would be in a circus.”
What was your best experience in the United States?
“I must tell you, I like very much their delicious foods! I went to a restaurant called McDonalds, which is so fancy pants that it has separate room for you to make shit in. While I there I eat 17 of these delicious hamburgers and 600 packets of red soup - called Ketchup. It not agree with my stomach and next day my anus was hanging like the mouth of a tired dog.”
What characteristics make for a good wife?
“A good wife must be strong enough to pull a plough and have a very erotic physique. I like very much woman with teet that make danglings. Current Miss Kazakhstan have a pair that hang 1.3 metre, 1.4 including milk valves. In Kazakhstan we like attaching rocks to them to make sure they low, so that when you bend over it look like you have 4 legs. It’s nice! I like!”
Is there anything left that you want to do whilst you are in England?
“Yes, I would very much like to meet this Welsh prostitute Charlotte Church. I hear she has the voice of an angel and the vagine of a horse. I like!”
The Orbital takes no responsibility for any of the views expressed in this interview or any psychological trauma obtained as a result from reading this. If you are easily offended then please DO NOT read this. Consider yourself fairly warned!
Could you tell me a bit about yourself?
“My name is Borat Sagdiyev. I am son of Boltok the Rapist. I am former husband of Oxana Sagdiyev, who was daughter of Boltok the Rapist. My hobbies are disco dance, table tennis and also taking photographs of ladies whilst they make toilet without their knowledge - why not?!
My sister had make my family very proud by making fourth most successful prostitute in all of Kazakhstan. And recently received award from Minister of Commerce for Best Mouth Party. Very nice! I also have a brother, name Bilo, who is a retard with a very strong arms but tiny head like a chicken. He have 200 teeth, 3 of which are in nose.”
What happened to your wife?
“My first wife is dead, hi 5! She was boring. I did not kill her, she was in a woods and a hunter mistook her for a bear because she have much hair on arm and back and she dead. No problem, I have a new wife. She is nice!”
What is your opinion of George Bush after your visit to America?
“We in Kazakhstan very much admires Premier George Walter Bush. Not merely because he is a wise man but also because he is very strong, although perhaps not as strong as his father Barbara.”
What do you think the Americans could learn from the glorious nation of Kazakhstan?
“My glorious leader, President Nazarbayev, have recently visited mighty Premier. There he teaches him about lessons from Kazakhstan. About strong leadership, how to crush with your hands, and also how to suspend a car battery with the testes satchel. My Premier can do this for almost 8 seconds. I do not know how long your Premier Blair can do this, I think maximum 2 seconds without tearage.”
You’ve talked in the past of your national pastimes including drinking horses urine and wrestling men. Are there any others that you enjoy?
“I have in Kazakhstan a games - we play Shurik where we shoot dogs, we dig a big hole, fill it with potatoes and Uzbekis and have a big party.”
Was the film well received back at home?
“At first my government was worried about the level of anti-Semitism in my movie film. However eventually the Kazak censor decided there was just enough of it and allowed it to be released. It has been a great success and has been released in all of the 3 cinemas in our nation and took the top spot from the movie film King Kong, which had been number 1 movie ever since it was released in 1932.”
Is there anything that surprised you about America?
“I was very surprised to see that women is allowed to drive cars. They say in my count that to let a women drive a car is like letting a monkey fly a plane! Very dangerous! We have not allowed any monkey’s to fly planes since the 2002 Astana Air crash.”
Has making this movie changed your opinion of America?
“My experiences have make me like America very much! I like very much all their music. I am a huge fanny of the singer Madonna. It is a credit to US and A that a transvestite can become so popular. In my country he would be in a circus.”
What was your best experience in the United States?
“I must tell you, I like very much their delicious foods! I went to a restaurant called McDonalds, which is so fancy pants that it has separate room for you to make shit in. While I there I eat 17 of these delicious hamburgers and 600 packets of red soup - called Ketchup. It not agree with my stomach and next day my anus was hanging like the mouth of a tired dog.”
What characteristics make for a good wife?
“A good wife must be strong enough to pull a plough and have a very erotic physique. I like very much woman with teet that make danglings. Current Miss Kazakhstan have a pair that hang 1.3 metre, 1.4 including milk valves. In Kazakhstan we like attaching rocks to them to make sure they low, so that when you bend over it look like you have 4 legs. It’s nice! I like!”
Is there anything left that you want to do whilst you are in England?
“Yes, I would very much like to meet this Welsh prostitute Charlotte Church. I hear she has the voice of an angel and the vagine of a horse. I like!”
At conference with Zach Braff
Written for The Orbital, October 2006
Aged 18, his first acting role was as Woody Allen and Diane Keaton’s son in ’Manhattan Murder Mystery’, what a way to start a career! Since then he has kept himself pretty busy, most notably with his 6 year stint as “JD” in “Scrubs” for which he was nominated for 2 Golden Globe‘s. Braff ventured onto the writing/directing circuit in 2004 and took the lead alongside the legendary Sir Ian Holm (Alien), Natalie Portman (Star Wars) and Peter Armguard (Jarhead) in the indie smash “Garden State”.
Q: This film is about a 29 year old who realises that there are no surprises left in his life anymore. How easily could you relate to this character?
A: I can relate to being 31 and society saying ‘your supposed to get married in this decade - go!’. It’s a lot of pressure. I think I come from a generation of people who for the most part our parents got divorced, im like ‘How come no-one can stay together anymore?’ we are all afraid of this commitment because we don’t have enough examples of it working and yet we all want it still - we all dream of finding this person that we wont stray from or that wont stray from us.
Q: Writer, director, actor… if we had to shut you in the room to make you decide on just one of those things then what would it be?
A: Catering! Nah, I would choose directing because it allows you to do all 3, you have to be a little bit of a writer, a little bit of an actor, a little bit of a photographer, a little bit of a production designer… I like having my mind busy and when your directing a movie there’s 5 trillion things running through your head at all times and I also love that if this was a first production meeting, filling the room with the most creative people in every department that you have found and being the conductor of the orchestra for them. I love working with really creative people and striving to bring out the best in them, on Garden State that was one of the most fulfilling artistic experience of my life.
Although, one of the hardest things about directing a movie is conveying everything that’s in your head to your lead actor and being able to fully articulate everything that your thinking perfectly to the person that’s the start of your movie. One of the things that was easy with Garden State was talking to myself and losing that place where information can be mis-communicated. I love acting too, and I want the opportunity to keep doing them both in some capacity.
Q: Was the choice to take this on as an actor for hire a opposed to director given the success you had with Garden State a hard one?
A: I was looking for something to act in without directing. One of the best things about Scrubs is that I don’t have to run out and take a job… I can wait for something that I can really respond to, so after Garden State I waited a long time. When I read this I felt that it was so honest and raw and I’d seen the Italian version and I couldn’t believe that an American studio was going to make it when I met the producers I said “Be honest with me, are you going to water this down and take all the raw gritty awfulness out of it” and when they said they wouldn’t I signed on because I just thought it didn’t wimp out in any way.
Q: Do you find it hard deciding which projects to chose to work on?
A: I have to choose who I work with carefully, now obviously if its one of my heroes, if Scorcese casts me I’m not going to say a damn word the whole time I swear! Ya know? Its different, but when its people who I consider my peers. But I think its important for me to be in a capacity where I can at least put in my 2 cents without the person feeling threatened or pissed off at me.
Q: How did you find working with Tom Wilkinson?
A: I loved Tom, I was so honoured to work with him. Shooting that scene on a porch was one of the few experiences that I’ve had as an actor where for brief seconds at a time you feel like you are that person. Its like playing tennis with someone better than you, you have to become a bit better. When he’s looking at you in the eye and he’s talking to you, you cant help to forget that there’s a film camera there filming the whole thing. I’d love to work with him over and over again.
Q: How did you find playing this serious role in comparison to playing JD in Scrubs for all these years?
A: I liked doing that, being a silly, goofy guy that bumps into walls for 7 months out of the year is a lot of fun! But when I’m done with it I like to do something different, so that’s why I’ve been choosing the things that I’m currently doing. Although Fastrack is a film that I’ve got coming out next year which is a film with Jason Bateman in a pretty silly comedy.
Q: What’s working on Scrubs like?
A: I love Scrubs, leaving it would be really sad for me, its my life. You’ve got to understand that 8 months out of the year, 15 hours a day, 5 days a week I’m in an abandoned hospital with the same 150 people for 6 years. It is a very close home and a very creative environment, one of a kind situation where you can go to work, make a nice living and just be goofy as hell and silly and creative and I get to direct when I want. Its sort of an actors dream, so walking away at times seems idiotic and then there’s times where I go that ‘Maybe that’s safe, I’m 31years old and should start the next chapter in my life’.
Q: Are you still going to carry on with Scrubs?
A: I don’t know, I think the show will continue on with or without me… Its all up in the air, it’s the first year where its up to me I mean my contracts up at the end of this year so I’m sort of procrastinating the decision. There’s plenty of pros and a couple of cons. The short answer is that I can take a while thinking about it so I’m going to!
Aged 18, his first acting role was as Woody Allen and Diane Keaton’s son in ’Manhattan Murder Mystery’, what a way to start a career! Since then he has kept himself pretty busy, most notably with his 6 year stint as “JD” in “Scrubs” for which he was nominated for 2 Golden Globe‘s. Braff ventured onto the writing/directing circuit in 2004 and took the lead alongside the legendary Sir Ian Holm (Alien), Natalie Portman (Star Wars) and Peter Armguard (Jarhead) in the indie smash “Garden State”.
Q: This film is about a 29 year old who realises that there are no surprises left in his life anymore. How easily could you relate to this character?
A: I can relate to being 31 and society saying ‘your supposed to get married in this decade - go!’. It’s a lot of pressure. I think I come from a generation of people who for the most part our parents got divorced, im like ‘How come no-one can stay together anymore?’ we are all afraid of this commitment because we don’t have enough examples of it working and yet we all want it still - we all dream of finding this person that we wont stray from or that wont stray from us.
Q: Writer, director, actor… if we had to shut you in the room to make you decide on just one of those things then what would it be?
A: Catering! Nah, I would choose directing because it allows you to do all 3, you have to be a little bit of a writer, a little bit of an actor, a little bit of a photographer, a little bit of a production designer… I like having my mind busy and when your directing a movie there’s 5 trillion things running through your head at all times and I also love that if this was a first production meeting, filling the room with the most creative people in every department that you have found and being the conductor of the orchestra for them. I love working with really creative people and striving to bring out the best in them, on Garden State that was one of the most fulfilling artistic experience of my life.
Although, one of the hardest things about directing a movie is conveying everything that’s in your head to your lead actor and being able to fully articulate everything that your thinking perfectly to the person that’s the start of your movie. One of the things that was easy with Garden State was talking to myself and losing that place where information can be mis-communicated. I love acting too, and I want the opportunity to keep doing them both in some capacity.
Q: Was the choice to take this on as an actor for hire a opposed to director given the success you had with Garden State a hard one?
A: I was looking for something to act in without directing. One of the best things about Scrubs is that I don’t have to run out and take a job… I can wait for something that I can really respond to, so after Garden State I waited a long time. When I read this I felt that it was so honest and raw and I’d seen the Italian version and I couldn’t believe that an American studio was going to make it when I met the producers I said “Be honest with me, are you going to water this down and take all the raw gritty awfulness out of it” and when they said they wouldn’t I signed on because I just thought it didn’t wimp out in any way.
Q: Do you find it hard deciding which projects to chose to work on?
A: I have to choose who I work with carefully, now obviously if its one of my heroes, if Scorcese casts me I’m not going to say a damn word the whole time I swear! Ya know? Its different, but when its people who I consider my peers. But I think its important for me to be in a capacity where I can at least put in my 2 cents without the person feeling threatened or pissed off at me.
Q: How did you find working with Tom Wilkinson?
A: I loved Tom, I was so honoured to work with him. Shooting that scene on a porch was one of the few experiences that I’ve had as an actor where for brief seconds at a time you feel like you are that person. Its like playing tennis with someone better than you, you have to become a bit better. When he’s looking at you in the eye and he’s talking to you, you cant help to forget that there’s a film camera there filming the whole thing. I’d love to work with him over and over again.
Q: How did you find playing this serious role in comparison to playing JD in Scrubs for all these years?
A: I liked doing that, being a silly, goofy guy that bumps into walls for 7 months out of the year is a lot of fun! But when I’m done with it I like to do something different, so that’s why I’ve been choosing the things that I’m currently doing. Although Fastrack is a film that I’ve got coming out next year which is a film with Jason Bateman in a pretty silly comedy.
Q: What’s working on Scrubs like?
A: I love Scrubs, leaving it would be really sad for me, its my life. You’ve got to understand that 8 months out of the year, 15 hours a day, 5 days a week I’m in an abandoned hospital with the same 150 people for 6 years. It is a very close home and a very creative environment, one of a kind situation where you can go to work, make a nice living and just be goofy as hell and silly and creative and I get to direct when I want. Its sort of an actors dream, so walking away at times seems idiotic and then there’s times where I go that ‘Maybe that’s safe, I’m 31years old and should start the next chapter in my life’.
Q: Are you still going to carry on with Scrubs?
A: I don’t know, I think the show will continue on with or without me… Its all up in the air, it’s the first year where its up to me I mean my contracts up at the end of this year so I’m sort of procrastinating the decision. There’s plenty of pros and a couple of cons. The short answer is that I can take a while thinking about it so I’m going to!
The Last Kiss Review
Written for The Orbital, October 2006
You would have thought that Hollywood would have had enough of remakes, but here comes another!
The Last Kiss is a revamp of an Italian film L’Ultimo Bacio and follows the emotional turmoil of Michael (Zach Braff). He has his life planned out perfectly; he’s a successful architect with a loving girlfriend (Jacinda Barrett) and a loyal bunch of friends - but it doesn’t seem like enough.
He realises that there are no surprises left in his life anymore leaving him feeling unfulfilled.
Through a chance encounter at a wedding he meets the stunning Kim (Rachel Bilson) and is slowly tempted into an affair leading to an obviously explosive encounter with his girlfriend.
The film intends to comment on the issue of modern day relationships and doesn’t do this as well as you would have expected from Academy Award winning screenwriter Paul Haggis (Million Dollar Baby, Crash). Veteran’s Blythe Danner and Tom Wilkinson steal the show as the older couple struggling to keep the fire going in their relationship but they aren’t enough to carry the slow movie to a its inevitable climax.
At the risk of sounding sexist, this is satisfying only if you are a woman above the age of 20 but do not go and see it if you are wanting to watch Garden State 2. Braff has been unable to make the convincing transition to a more adult screen role on this occasion and instead leaves the audience with an unsatisfactory ending to a largely obvious film.
You would have thought that Hollywood would have had enough of remakes, but here comes another!
The Last Kiss is a revamp of an Italian film L’Ultimo Bacio and follows the emotional turmoil of Michael (Zach Braff). He has his life planned out perfectly; he’s a successful architect with a loving girlfriend (Jacinda Barrett) and a loyal bunch of friends - but it doesn’t seem like enough.
He realises that there are no surprises left in his life anymore leaving him feeling unfulfilled.
Through a chance encounter at a wedding he meets the stunning Kim (Rachel Bilson) and is slowly tempted into an affair leading to an obviously explosive encounter with his girlfriend.
The film intends to comment on the issue of modern day relationships and doesn’t do this as well as you would have expected from Academy Award winning screenwriter Paul Haggis (Million Dollar Baby, Crash). Veteran’s Blythe Danner and Tom Wilkinson steal the show as the older couple struggling to keep the fire going in their relationship but they aren’t enough to carry the slow movie to a its inevitable climax.
At the risk of sounding sexist, this is satisfying only if you are a woman above the age of 20 but do not go and see it if you are wanting to watch Garden State 2. Braff has been unable to make the convincing transition to a more adult screen role on this occasion and instead leaves the audience with an unsatisfactory ending to a largely obvious film.
Scary Films? Bring ’em on!
Written for The Orbital, October 2006
It’s that time of year again! Soon all hallow’s eve will be upon us and the annual attempt to give yourself nightmares by watching a horror movie surrounded by a bunch of mates is approaching… but which film do you choose? Before turning the lights off and settling down for a scarefest, this question must be answered with care. With this in mind I have compiled a list of films that, you, the students of Royal Holloway, have voted as being the 10 most horrifying student films of all time! This list is in no particular order and was created through a mixture of Internet polling and group discussion... so we hope you'll agree with it! Though there’s no accounting for individual taste…
1. The Exorcist (1973) - a classic film about a possessed little girl and a priest who tries to save her soul. When it first came out people were so shocked by certain ‘blasphemous’ scenes that there was throwing up in the aisle of the theatre!
2. Alien (1979) - starring Sigourney Weaver, Ian Holm and John Hurt. Ridley Scott’s first major movie about a ship investigating a distress call in space. Guts and Aliens abound in this jumpy classic.
3. The Shining (1980) - The film that made Jack Nicholson’s career, Stanely Kubrick adapted Stephen Kings infamous novel about a family who are looking after an isolated haunted hotel for the winter. Abstract 80’s effects make this a must for any Kubrick fan.
4. Nightmare on Elm Street (1984) - Wes Craven’s movie about a specteral child murderer that stalks the children of the members of the lynch mob that killed him when he was alive. Gorefest!
5. Halloween (1978) - Daughter of Janet Leigh (Psycho), Jamie Lee Curtis stars in John Carpenter’s classic
6. The Texas Chainsaw Massacre - a guy with a chainsaw, chasing teenagers. Can this classic formula ever get boring?
7. The Ring - The original one! Quite simply makes you shit your pants. More than once.
8. Night of the living Dead - Romero classic with prosthetic zombies-galore!
9. Carrie - Stephen King, the master of spooky novels presents this dark tale.
10. American Werewolf in London - John Landis
It’s that time of year again! Soon all hallow’s eve will be upon us and the annual attempt to give yourself nightmares by watching a horror movie surrounded by a bunch of mates is approaching… but which film do you choose? Before turning the lights off and settling down for a scarefest, this question must be answered with care. With this in mind I have compiled a list of films that, you, the students of Royal Holloway, have voted as being the 10 most horrifying student films of all time! This list is in no particular order and was created through a mixture of Internet polling and group discussion... so we hope you'll agree with it! Though there’s no accounting for individual taste…
1. The Exorcist (1973) - a classic film about a possessed little girl and a priest who tries to save her soul. When it first came out people were so shocked by certain ‘blasphemous’ scenes that there was throwing up in the aisle of the theatre!
2. Alien (1979) - starring Sigourney Weaver, Ian Holm and John Hurt. Ridley Scott’s first major movie about a ship investigating a distress call in space. Guts and Aliens abound in this jumpy classic.
3. The Shining (1980) - The film that made Jack Nicholson’s career, Stanely Kubrick adapted Stephen Kings infamous novel about a family who are looking after an isolated haunted hotel for the winter. Abstract 80’s effects make this a must for any Kubrick fan.
4. Nightmare on Elm Street (1984) - Wes Craven’s movie about a specteral child murderer that stalks the children of the members of the lynch mob that killed him when he was alive. Gorefest!
5. Halloween (1978) - Daughter of Janet Leigh (Psycho), Jamie Lee Curtis stars in John Carpenter’s classic
6. The Texas Chainsaw Massacre - a guy with a chainsaw, chasing teenagers. Can this classic formula ever get boring?
7. The Ring - The original one! Quite simply makes you shit your pants. More than once.
8. Night of the living Dead - Romero classic with prosthetic zombies-galore!
9. Carrie - Stephen King, the master of spooky novels presents this dark tale.
10. American Werewolf in London - John Landis
Snakes on a Plane Review
Written for The Orbital, September 2006
A young surfer dude witnesses the brutal murder of a prosecuting attorney charged with putting an infamous gangster in jail. He of course escapes with the help of FBI Agent Flynn played by the ever cool Samuel L. Jackson. The gangster decides that the only way to kill the witness is to bring the whole plane down by stuffing it with every kind of poisonous snake imaginable - well why the hell not?!
The snakes throughout the film cause you to laugh and jump at the same time as they attack every possible body part presented by the passengers. The obvious neck bites abound, but the silicon breasts of a randy mile-higher and the (males avert your eyes!) penis of a gentlemen relieving himself in the toilet are some of the more cringe worthy attacks.
The plot is unbelievable and the characters abnormal yet you honestly do not care! It is entertaining and humorous as well as being jumpy and satisfying throughout giving Mr Jackson many fantastic one liners including: “Enough is enough! I hae had it with these mother****ing snakes on this mother****ing plane! - Genius!
4/5
A young surfer dude witnesses the brutal murder of a prosecuting attorney charged with putting an infamous gangster in jail. He of course escapes with the help of FBI Agent Flynn played by the ever cool Samuel L. Jackson. The gangster decides that the only way to kill the witness is to bring the whole plane down by stuffing it with every kind of poisonous snake imaginable - well why the hell not?!
The snakes throughout the film cause you to laugh and jump at the same time as they attack every possible body part presented by the passengers. The obvious neck bites abound, but the silicon breasts of a randy mile-higher and the (males avert your eyes!) penis of a gentlemen relieving himself in the toilet are some of the more cringe worthy attacks.
The plot is unbelievable and the characters abnormal yet you honestly do not care! It is entertaining and humorous as well as being jumpy and satisfying throughout giving Mr Jackson many fantastic one liners including: “Enough is enough! I hae had it with these mother****ing snakes on this mother****ing plane! - Genius!
4/5
Can you hear the Soundtrack?
Written for The Orbital, September 2006
The annoying barrage of adverts warning you to watch your speed when driving is followed by the usually plot revealing trailers have finished and the film is about to start. BANG! The production logo crashes onto the screen with a barrage of orchestral music forcing you to notice that, yes, this is yet another Universal Studio’ production. 20th Century Fox, New Line & DreamWorks etc. all have their own distinctive and attention grabbing sequences that proudly announces to the audience that this film was made by their company. What is it about these 20 second clips that grabs our attention? Try to imagine them sans music! Would it have the same impact?
Can anybody seriously argue the lack of the importance of music and scoring in films? Firstly, the public go to see films for one reason only: they want to be entertained. You pay to be stimulated emotionally. Since the dawn of time monkeys have attracted females with mating calls and birds with the unique patterns of their songs. Humans are no different; music makes us feel things emotionally. We all know this! Just watch any silent film and you will find it hard to empathise with the characters on the screen. Why did every Chaplin movie have a pianist performing parallel to the movie?
Present day production companies realised this long ago. Do you think your Mum would have cried watching Titanic had Celine-bloody-Dion not been wailing in the background? How about imagining the scene in Hitchcock’s Psycho where Marion Crane gets stabbed in the shower without the cutting music? Or what about in Jaws as the shark heads towards the beach without the cellic droning?
Films are primarily a visual means of stimulation, but without the epic film scores that go with them they are only half done.
The annoying barrage of adverts warning you to watch your speed when driving is followed by the usually plot revealing trailers have finished and the film is about to start. BANG! The production logo crashes onto the screen with a barrage of orchestral music forcing you to notice that, yes, this is yet another Universal Studio’ production. 20th Century Fox, New Line & DreamWorks etc. all have their own distinctive and attention grabbing sequences that proudly announces to the audience that this film was made by their company. What is it about these 20 second clips that grabs our attention? Try to imagine them sans music! Would it have the same impact?
Can anybody seriously argue the lack of the importance of music and scoring in films? Firstly, the public go to see films for one reason only: they want to be entertained. You pay to be stimulated emotionally. Since the dawn of time monkeys have attracted females with mating calls and birds with the unique patterns of their songs. Humans are no different; music makes us feel things emotionally. We all know this! Just watch any silent film and you will find it hard to empathise with the characters on the screen. Why did every Chaplin movie have a pianist performing parallel to the movie?
Present day production companies realised this long ago. Do you think your Mum would have cried watching Titanic had Celine-bloody-Dion not been wailing in the background? How about imagining the scene in Hitchcock’s Psycho where Marion Crane gets stabbed in the shower without the cutting music? Or what about in Jaws as the shark heads towards the beach without the cellic droning?
Films are primarily a visual means of stimulation, but without the epic film scores that go with them they are only half done.
What is it with Biopics?!
Written for The Orbital, February 2006.
Is it just me or are there a hell of a lot of biopics out in recent years? Examples that immediately spring to mind are recent hits such as Ray (2004) and The Aviator (2004).
Why is it that when there are so many talented young screenwriters with a plethora of fresh and original scripts, that the larger production companies resort to mimicking a celebrities life?!
There are several plausible theories as to why this occurs…
The optimistic viewpoint is one that suggests that the producers want to make a tribute to one of their childhood idols. They hope that the impact that this one person’s life can inspire the world, just like it inspired them! Now isn’t that a nice thought?
It’s a shame that this romantic fantasy is one that is clouded by the structured way of making a biopic and more importantly the dreams of Oscar glory! Walk the Line, the newest in this genre is based on Johnny Cash’s rise to fame and was tipped for Oscar glory BEFORE it had even finished post-production!
Biopics were a rare but welcome sight in the 1960’s with the only real example being the fantastic Lawrence of Arabia (1962). The next really noticeable biopic was Raging Bull, starring Robert De Niro in 1981. That’s a difference of 19 years folks!
However, since A Beautiful Mind, a film about the life of mathematician John Forbes Nash, won 6 Oscars in 2001 we have seen no less than 15 biopics released.
How ridiculous is that?! Don’t get me wrong there are some good films - take the refreshing American Splendor (2003) for example. But the predictable nature of the majority mars the whole genre. If you notice there is a regimented process to making these films successfully:
1) Research and write the screenplay, basing it on the early rise to fame.
2) Neglect monotonous information detailing once they have become famous, unless focusing on personal relationships.
3) Ensure some form of abuse (drug, alcohol etc.) is included as a contributing factor to their success. Best is bad parenting or unresolved childhood trauma. Illustrates humanity in the ‘star’.
4) Obtain approval from the ’star’ to retain credibility.
5) Wait for the person to pass away so that the filmmakers creative license cannot be questioned.
6) Wait for the Oscar nominations to flood in!
Two new biopics have been recently announced, Sexual Healing and Napoleon. The former being the life story of Marvin Gaye and the latter being about Napoleon Bonaparte (go figure!) to be played by Al Pacino.
But, Pacino is currently in competition with Scarlet Johansson who is also vying to produce this film with a rival company. Who would have thought that a Biopic could cause such a ruckus! My analysis: they know it’ll get Oscars… and they both want ‘em!
My plea is for everyone (including the producers), to notice that there is an incredible amount of potential in original films from aspiring talent who are just waiting for an opportunity to break into the industry - if only they were not blocked by the lingering reputations of dead celebrities and the lust for Oscar ‘glory‘.
Is it just me or are there a hell of a lot of biopics out in recent years? Examples that immediately spring to mind are recent hits such as Ray (2004) and The Aviator (2004).
Why is it that when there are so many talented young screenwriters with a plethora of fresh and original scripts, that the larger production companies resort to mimicking a celebrities life?!
There are several plausible theories as to why this occurs…
The optimistic viewpoint is one that suggests that the producers want to make a tribute to one of their childhood idols. They hope that the impact that this one person’s life can inspire the world, just like it inspired them! Now isn’t that a nice thought?
It’s a shame that this romantic fantasy is one that is clouded by the structured way of making a biopic and more importantly the dreams of Oscar glory! Walk the Line, the newest in this genre is based on Johnny Cash’s rise to fame and was tipped for Oscar glory BEFORE it had even finished post-production!
Biopics were a rare but welcome sight in the 1960’s with the only real example being the fantastic Lawrence of Arabia (1962). The next really noticeable biopic was Raging Bull, starring Robert De Niro in 1981. That’s a difference of 19 years folks!
However, since A Beautiful Mind, a film about the life of mathematician John Forbes Nash, won 6 Oscars in 2001 we have seen no less than 15 biopics released.
How ridiculous is that?! Don’t get me wrong there are some good films - take the refreshing American Splendor (2003) for example. But the predictable nature of the majority mars the whole genre. If you notice there is a regimented process to making these films successfully:
1) Research and write the screenplay, basing it on the early rise to fame.
2) Neglect monotonous information detailing once they have become famous, unless focusing on personal relationships.
3) Ensure some form of abuse (drug, alcohol etc.) is included as a contributing factor to their success. Best is bad parenting or unresolved childhood trauma. Illustrates humanity in the ‘star’.
4) Obtain approval from the ’star’ to retain credibility.
5) Wait for the person to pass away so that the filmmakers creative license cannot be questioned.
6) Wait for the Oscar nominations to flood in!
Two new biopics have been recently announced, Sexual Healing and Napoleon. The former being the life story of Marvin Gaye and the latter being about Napoleon Bonaparte (go figure!) to be played by Al Pacino.
But, Pacino is currently in competition with Scarlet Johansson who is also vying to produce this film with a rival company. Who would have thought that a Biopic could cause such a ruckus! My analysis: they know it’ll get Oscars… and they both want ‘em!
My plea is for everyone (including the producers), to notice that there is an incredible amount of potential in original films from aspiring talent who are just waiting for an opportunity to break into the industry - if only they were not blocked by the lingering reputations of dead celebrities and the lust for Oscar ‘glory‘.
Was there something missing from your Christmas?
Written for The Orbital, December 2005.
For me, one of the most exciting times in the movie calendar is not the Oscars or the BAFTA’s - but the Christmas season!
For 11 months of the year, we try to fool ourselves into believing that we have high standards when it comes to choosing which films we want to watch - but in the run up to Christmas our tastes suddenly change. We fail to see the problem with becoming incredibly excited by films that (if they had been released in the summer) would normally have been smashed by critics for having magical creatures and ‘soppy’ storylines.
The mentality of the movie going public at Christmas is one that encourages fantastical plots and permits the stereotypical battle between good and evil. Recent box office examples at Christmas include the Lord of the Rings Trilogy and the continuing Harry Potter Saga. I’m not saying that these are low quality films (far from it!), but surely there must be a reason why they are released specifically at this time of year.
For the first time in 3 years we didn’t have a fantastic Peter Jackson film to drool over at Christmas - it had left the world a void that needed to be filled! Although the magic of Harry continues (and will do for many years to come) the Lord of The Rings epic scale and the immense amount of dedication that was put into it is missed by many.
So, as a substitute, we have the CS Lewis’ The Chronicles of Narnia and the King Kong remake to take its place, however both are inextricably linked to the Lord of the Rings franchise.
The most obvious bond is between Peter Jackson who directed the saga and his direction of King Kong - which has receiving large amounts of praise from the critics. With Narnia, it was shot on location in New Zealand - the same setting as LOTR. Rumour also has it that Peter Jackson was even invited down personally to the set by the director (Andrew Adamson) for his professional opinion on the aesthetic quality of the film!
But will these substitute teachers rival (or even equal!) LOTR? I doubt it very much! - with a total of 17 Academy Awards to the trilogy, it is a mighty act to follow. But we shall see… there are many whispers (and mystery trailer!) moving through cyberspace suggesting that Peter Jackson is thinking about shooting the prequel to LOTR – The Hobbit. These are as yet unconfirmed and although Peter and several cast members have not denied their interest there have been no statements released. The world can only wait with baited breath…
------------------------------------------------------------------------------------------------
In an interview, Paul Ross (movie reviewer for the News of the World) said, “When I was first watching The Return of the King, towards the end there was a guy sitting next me crying! I turned to him and asked ‘Are you alright mate?’ and he turned back and said ‘I’ll be fine… it’s just, I’ll never watch this film for the first time again!’ At which point I started to well up as well!”
------------------------------------------------------------------------------------------------
For me, one of the most exciting times in the movie calendar is not the Oscars or the BAFTA’s - but the Christmas season!
For 11 months of the year, we try to fool ourselves into believing that we have high standards when it comes to choosing which films we want to watch - but in the run up to Christmas our tastes suddenly change. We fail to see the problem with becoming incredibly excited by films that (if they had been released in the summer) would normally have been smashed by critics for having magical creatures and ‘soppy’ storylines.
The mentality of the movie going public at Christmas is one that encourages fantastical plots and permits the stereotypical battle between good and evil. Recent box office examples at Christmas include the Lord of the Rings Trilogy and the continuing Harry Potter Saga. I’m not saying that these are low quality films (far from it!), but surely there must be a reason why they are released specifically at this time of year.
For the first time in 3 years we didn’t have a fantastic Peter Jackson film to drool over at Christmas - it had left the world a void that needed to be filled! Although the magic of Harry continues (and will do for many years to come) the Lord of The Rings epic scale and the immense amount of dedication that was put into it is missed by many.
So, as a substitute, we have the CS Lewis’ The Chronicles of Narnia and the King Kong remake to take its place, however both are inextricably linked to the Lord of the Rings franchise.
The most obvious bond is between Peter Jackson who directed the saga and his direction of King Kong - which has receiving large amounts of praise from the critics. With Narnia, it was shot on location in New Zealand - the same setting as LOTR. Rumour also has it that Peter Jackson was even invited down personally to the set by the director (Andrew Adamson) for his professional opinion on the aesthetic quality of the film!
But will these substitute teachers rival (or even equal!) LOTR? I doubt it very much! - with a total of 17 Academy Awards to the trilogy, it is a mighty act to follow. But we shall see… there are many whispers (and mystery trailer!) moving through cyberspace suggesting that Peter Jackson is thinking about shooting the prequel to LOTR – The Hobbit. These are as yet unconfirmed and although Peter and several cast members have not denied their interest there have been no statements released. The world can only wait with baited breath…
------------------------------------------------------------------------------------------------
In an interview, Paul Ross (movie reviewer for the News of the World) said, “When I was first watching The Return of the King, towards the end there was a guy sitting next me crying! I turned to him and asked ‘Are you alright mate?’ and he turned back and said ‘I’ll be fine… it’s just, I’ll never watch this film for the first time again!’ At which point I started to well up as well!”
------------------------------------------------------------------------------------------------
Sex in Films? Hell Yeah!
My first article for The Orbital - my University magazine. Printed in November 2005.
Can films be sexy? Hell yeah, they can! With love being one of the most recurring themes in the industry, it’s not hard to see that sex (in its broadest definition) impacts our lives all too often. Movies have the ability to manipulate, influence and change our very memories. So, bearing in mind the importance of sex in all our lives, we have compiled this list of films that, you, the students of Royal Holloway, have voted as being the 10 sexiest student films of all time! This list was created through a mixture of Internet polling and group discussion... so we hope you'll agree with it! Though there’s no accounting for individual taste…
Can films be sexy? Hell yeah, they can! With love being one of the most recurring themes in the industry, it’s not hard to see that sex (in its broadest definition) impacts our lives all too often. Movies have the ability to manipulate, influence and change our very memories. So, bearing in mind the importance of sex in all our lives, we have compiled this list of films that, you, the students of Royal Holloway, have voted as being the 10 sexiest student films of all time! This list was created through a mixture of Internet polling and group discussion... so we hope you'll agree with it! Though there’s no accounting for individual taste…
1. Cruel Intentions (1999) – Unanimously the most popular choice. Starring Sarah Michelle Gellar and Ryan Phillippe, the tagline says it all: ‘In the game of seduction, there is only one rule: Never fall in love.’
2. Dangerous Liaisons (1988) – Starring Glenn Close, John Malkovich and Michelle Pfeiffer. Sumptuous costumes and passion driven plot made this a strong contender for the top spot.
3. American Beauty (1999) – Starring Kevin Spacey. A tale of a dissatisfied middle aged man’s quest for excitement in a world where he isn’t wanted. A talented cast and sensuous plot made this a must have for the list.
4. Mullholland Drive (2001) – David Lynch’s abstract film leaves viewers perplexed, but all agreed that there’s something mysteriously sexy about the whole film.
5. James Bond: Dr No (1962) – Starring Sean Connery and Ursula Andress. Containing the sexiest scene in movie history, the bikini-clad Bond girl emerging from the sea gave it classic status for entry.
6. A Streetcar named Desire (1951) – Starring Marlon Brando. As one person said, ‘any film with Brando in is sexy!’
7. Shakespeare in Love (1998) – Starring Gwyneth Paltrow and Joseph Fiennes. Shakespeare is sexy… never! Sense the sarcasm?
8. Doctor Zhivago (1965) – Starring Omar Sharif and Julie Christie. The epic tale of love during the Russian Revolution. David Lean doesn’t disappoint.
9. Basic Instinct (1992) – Starring Michael Douglas and Sharon Stone. Sex and murder, funny how they are never too far apart…
10. The Matrix (1999-2003) – Starring Keanu Reeves, Hugo Weaving and Lawrence Fishburne. The visual sexiness and presence of the actors made this a surprising but acceptable entry.
Ones that almost made the list… but didn’t!
1. Pride and Prejudice (1995) – Starring Colin Firth and Jennifer Ehle. This was an extremely popular choice but as it was a TV series it couldn’t enter into the poll… sowie!
2. Ghost – Though famous for the ‘clay scene’ this was not included due to its blatant cheesiness and the merit of the top 10.
3. Naked Gun 2 ½: The Smell of Fear – infamous for the ‘clay scene’, the sight of Leslie Nielsen topless is reason enough…
4. Pretty Woman – Richard Gere and Julia Roberts in one film, ‘nuff said.
5. Top Gun – The young Tom Cruise was the main reason for this being nominated, but due to the belief that it lacked emotional depth was not included!
6. Lost in Translation – Had sexual tension rather than sexiness; I had to be tough!
Starting again...
After blogging for several years about, in hindsight, a load of crap, I have decided to start blogging afresh!
By afresh I obviously mean submitting anything that I have previously written that isn't too embarassing or degrading pour moi. I shall also be regularly writing about anything that takes my fancy - who knows what will crop up!
Enjoy!
By afresh I obviously mean submitting anything that I have previously written that isn't too embarassing or degrading pour moi. I shall also be regularly writing about anything that takes my fancy - who knows what will crop up!
Enjoy!
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