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Showing posts with label del. Show all posts
Showing posts with label del. Show all posts

Wednesday, 21 January 2009

Zombie swarm or Presidential Inauguration

Some amazing satellite images from GeoEye show just how many people attended Barack Obama's inauguration yesterday.

Is it just me though or would that be what a zombie apocalypse would look like from space? If you've read World War Z you'll know the chapter I'm getting at.

Great photos and cheers to Del for pointing them out.

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Tuesday, 9 December 2008

Oliver Postgate RIP - No more Bagpuss and The Clangers will whistle no more.


Del told me the news from The Guardian.

Oliver Postgate, the creator and narrator of Bagpuss, The Clangers and a series of other classic children's television programmes, has died at the age of 83.

His creations, which also included Noggin the Nog, Ivor the Engine and Pingwings, were screened on the BBC and ITV from the 1950s.

He narrated all of his productions in a calm warm voice that will be familiar to millions.

Postgate's animations were made by Smallfilms, the company he set up with the artist and puppeteer Peter Firmin.

Although only 13 episodes of Bagpuss were made from 1974, the pink "saggy, old, cloth cat" remains fondly remembered.

Postgate's partner, Naomi Linnell, confirmed he died at a nursing home near his home in Broadstairs, Kent, yesterday.

Born in Hendon, Middlesex, Postgate set up Smallfilms in a disused cowshed near Canterbury after spending his early years in a number of different jobs.

Regularly voted the UK's favourite children's TV character, Bagpuss started life as an idea about an Indian army cat in a children's hospital, Postgate told TV producer and Postgate fan Clive Banks in a 2005 interview. Professor Yaffle was inspired by a meeting Postgate had with Bertrand Russell, who had "a very dry, thin voice".

Postgate went to drama school in 1948 and started in the TV industry in 1957 as a stage manager at Associated Rediffusion. Unimpressed with the ten-minute children's programmes of the time, he thought he could do better and wrote his first script, Alexander the Mouse, which led to a long series of much-loved children's characters.

When explaining the creation of The Clangers to the BBC in 2005, he said: "We did not 'come up with an idea' as you put it. The first Clanger was sighted over 800 years ago (see the book Noggin and the Moonmouse - it's been out of print for decades). They have evolved a lot since then by natural selection and are pink because that was the colour of Joan Firmin's wool."

Postgate later told Banks that the BBC complained about The Clangers' bad language.

"When the BBC got the script, [they] rang me up and said 'At the beginning of episode three, where the doors get stuck, Major Clanger says sod it, the bloody thing's stuck again,'" he said.

"'You can't say that on children's television' ... I said 'It's not going to be said, it's going to be whistled', but [they] just said 'But people will know!' ... If you watch the episode, the one where the rocket goes up and shoots down the Iron Chicken, Major Clanger kicks the door to make it work and his first words are 'Sod it, the bloody thing's stuck again'."

Actively involved in the anti-nuclear campaign in the 1970s and 1980s, more recently Postgate devoted his website to discussing current affairs, publishing essays exploring "What is Trident for?", "Iraq: A morality play" and "Let's not go on being stupid", which implored the public to get involved in the political process.

Both he and Firmin were awarded honorary MAs in 1987 from the University of Kent - on the condition that they brought Bagpuss along, complete with mortarboard and gown, to share the award.

"The only reason they gave us honorary MAs was because of Bagpuss," he told Banks.

"So we took Bagpuss along, and I made a speech on Bagpuss's behalf, in which he let them know that he had no truck with this bourgeois flummery [because] he was an Orthodox Miaoist, which got a good laugh from the university people and caused the cathedral authorities considerable embarrassment at the time because it was taking place in Canterbury Cathedral and they didn't care for ribald laughter filling the place," Postgate added.

The licensing and merchandising rights to Bagpuss, the Clangers and Ivor the Engine were bought by Coolabi in October, when it purchased Licensing by Design for £400,000.

However, the TV rights to the characters were still owned by Postgate and Firmin, although they were due to be reviewed soon.


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Sunday, 30 November 2008

Free Humphrey Bogart films at the Bombed Out Church in Liverpool

Del pointed this out to me and it all sounds rather splendid.

The good folks over at Urban Strawberry Lunch have been running all sorts of things at St. Luke's Church in Liverpool (it's at the top of Bold Street). This week they start a run of movies leading up to Christmas and they are all free. The church was designed by John Foster, and construction of the building began on April 9, 1811, with consecration taking place on January 12, 1831.On Monday, May 5, 1941, St Luke's was hit and burned by an incendiary bomb. Today it still stands as a burnt out shell, commonly known locally as "the bombed-out church", and its churchyard is a public park.

This week is Humphrey Bogart week and they've got the following films on:

Tuesday 2nd December - 4pm
Treasure of the Sierra Madre

Wednesday 3rd December - 4pm
Key Largo

Thursday 4th December - 4pm & 6pm
To Have and Have Not

Friday 5th December - 4pm & 6pm
The Big Sleep

Saturday 5th December - 4pm & 6pm
Casablanca

Sunday 7th December - 4pm
The Maltese Falcon

If you get the chance go along to at least one of them and show your support by leaving a little donation, but as their flyer says don't forget to take your own chair, blanket and flask. For more info call 0151 709 7562 or check out their site.

Next week they are showing films made by Liverpool film makers and in the week before Christmas it will be Christmas movies such as It's A Wonderful Life and Miracle on 34th Street. Oh and they told me today that they may have Coffee Union going along so you may be able to get hot drinks there. Here's looking at you kid.
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Christmas Shopping followed by Jesse Green + Skazzmatic


Afternoon all,

Yesterday was spent Christmas shopping with the Wife in Chester. It was all Christmassy and misty. A few drinks were drunk in the wonderful Old Harker's Arms and many gifts were bought.

Then the evening was rounded off meeting up with old friends at The Groves to see the legendary Jesse Green (he drummed with Jimmy Cliff and Bob Marley don't you know) perform - my mates Neil and Lee played guitar and drums respectively (their pics are below) - in his new band Skazzmatic. It was a great night, and I don't like reggae but the band rocked and I boogied on down. Jesse Green is a great showman and I recommend you see the band if you get the chance.

Hello to everyone who was there including Jinja, Sara, Street Pete, Del, Andy D, Paul, Little Bitch, The Dude and Emma, Rich (who came all the way from Darlington to see the band), Will, Kev (who may be having his first visit to the site today) and all the people with dreadlocks.

Here is a video of Jesse Green back in the day.


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Monday, 10 November 2008

Simon Pegg talks about Dead Set and why he doesn't like running Zombies

Thanks to Del for sending me this from The Guardian last week. It's Simon Pegg's (Spaced, Shaun of the Dead, Hot Fuzz, Star Trek) take on Charlie Brooker's zombie series, Dead Set, that was on E4 the other week. I really enjoyed the series and like both slow and fast zombies (the latter are particularly unfair though for any survivors of the zombie apocalypse). Here's what the Peggster had to say on the whole thing:

As an avid horror fan, I found the prospect of last week's five-night TV zombie spectacular rather exciting. Admittedly, the trailer for E4's Dead Set made me somewhat uneasy. The sight of newsreader Krishnan Guru-Murthy warning the populace of an impending zombie apocalypse induced a sickening sense of indignation. Only five years previously, Edgar Wright and I had hired Krishnan to do the very same thing in our own zombie opus, Shaun of the Dead. It was a bit like seeing an ex-lover walking down the street pushing a pram. Of course, this was a knee-jerk reaction. It's not as if Edgar and I hadn't already pushed someone else's baby up the cultural high street - but that, to some extent, was the point. In Shaun of the Dead, we lifted the mythology established by George A Romero in his 1968 film Night of the Living Dead and offset it against the conventions of a romantic comedy.

Still, I had to acknowledge Dead Set's impressive credentials. The concept was clever in its simplicity: a full-scale zombie outbreak coincides with a Big Brother eviction night, leaving the Big Brother house as the last refuge for the survivors. Scripted by Charlie Brooker, a writer whose scalpel-sharp incisiveness I have long been a fan of, and featuring talented actors such as Jaime Winstone and the outstanding Kevin Eldon, the show heralded the arrival of genuine homegrown horror, scratching at the fringes of network television. My expectations were high, and I sat down to watch a show that proved smart, inventive and enjoyable, but for one key detail: ZOMBIES DON'T RUN!


I know it is absurd to debate the rules of a reality that does not exist, but this genuinely irks me. You cannot kill a vampire with an MDF stake; werewolves can't fly; zombies do not run. It's a misconception, a bastardisation that diminishes a classic movie monster. The best phantasmagoria uses reality to render the inconceivable conceivable. The speedy zombie seems implausible to me, even within the fantastic realm it inhabits. A biological agent, I'll buy. Some sort of super-virus? Sure, why not. But death? Death is a disability, not a superpower. It's hard to run with a cold, let alone the most debilitating malady of them all.


More significantly, the fast zombie is bereft of poetic subtlety. As monsters from the id, zombies win out over vampires and werewolves when it comes to the title of Most Potent Metaphorical Monster. Where their pointy-toothed cousins are all about sex and bestial savagery, the zombie trumps all by personifying our deepest fear: death. Zombies are our destiny writ large. Slow and steady in their approach, weak, clumsy, often absurd, the zombie relentlessly closes in, unstoppable, intractable.


However (and herein lies the sublime artfulness of the slow zombie), their ineptitude actually makes them avoidable, at least for a while. If you're careful, if you keep your wits about you, you can stave them off, even outstrip them - much as we strive to outstrip death. Drink less, cut out red meat, exercise, practice safe sex; these are our shotguns, our cricket bats, our farmhouses, our shopping malls. However, none of these things fully insulates us from the creeping dread that something so witless, so elemental may yet catch us unawares - the drunk driver, the cancer sleeping in the double helix, the legless ghoul dragging itself through the darkness towards our ankles.


Another thing: speed simplifies the zombie, clarifying the threat and reducing any response to an emotional reflex. It's the difference between someone shouting "Boo!" and hearing the sound of the floorboards creaking in an upstairs room: a quick thrill at the expense of a more profound sense of dread. The absence of rage or aggression in slow zombies makes them oddly sympathetic, a detail that enabled Romero to project depth on to their blankness, to create tragic anti-heroes; his were figures to be pitied, empathised with, even rooted for. The moment they appear angry or petulant, the second they emit furious velociraptor screeches (as opposed to the correct mournful moans of longing), they cease to possess any ambiguity. They are simply mean.


So how did this break with convention come about? The process has unfolded with all the infuriating dramatic irony of an episode of Fawlty Towers. To begin at the beginning, Haitian folklore tells of voodoo shamans, or bokors, who would use digitalis, derived from the foxglove plant, to induce somnambulant trances in individuals who would subsequently appear dead. Weeks later, relatives of the supposedly deceased would witness their lost loved ones in a soporific malaise, working in the fields of wealthy landowners, and assume them to be nzambi (a west African word for "spirit of the dead"). From the combination of nzambi and somnambulist ("sleepwalker") we get the word zombie.


The legend was appropriated by the film industry, and for 20 or 30 years a steady flow of voodoo-based cinema emerged from the Hollywood horror factory. Then a young filmmaker from Pittsburgh by the name of George A Romero changed everything. Romero's fascination with Richard Matheson's novel I Am Legend, the story of a lone survivor struggling in a world overrun by vampires, led him to fixate on an aspect of the story leapfrogged by the author: namely, the process by which humanity is subjugated by the aggressive new species. Romero adopted the Haitian zombie and combined it with notions of cannibalism, as well as the viral communicability characterised by the vampire and werewolf myths, and so created the modern zombie.


After three films spanning three decades, and much imitation from film-makers such as Lucio Fulci and Dan O'Bannon, the credibility of the zombie was dealt a cruel blow by the king of pop. Michael Jackson's Thriller video, directed by John Landis, was entertaining but made it rather difficult for us to take zombies seriously, having witnessed them body-popping. The blushing dead went quiet for a while, until the Japanese video game company Capcom developed the game Resident Evil, which brilliantly captured the spirit of Romero's shambling antagonists (Romero even directed a trailer for the second installment). Slow and steady, the zombie commenced its stumble back into our collective subconscious.


Inspired by the game and a shared love of Romero, Edgar Wright and I decided to create our own black comedy. Meanwhile, Danny Boyle and Alex Garland were developing their own end-of-the-world fable, 28 Days Later, an excellent film misconstrued by the media as a zombie flick. Boyle and Garland never set out to make a zombie film per se. They drew instead on John Wyndham's Day of the Triffids, as well as Matheson and Romero's work, to fashion a new strain of survival horror, featuring a London beset by rabid propagators of a virus known as "rage".


The success of the movie, particularly in the US, was undoubtedly a factor in the loose remake of Romero's Dawn of the Dead in 2004. Zack Snyder's effective but pointless reboot parlayed Boyle's "infected" into the upgraded zombie 2.0, likely at the behest of some cigar-chomping, focus-group-happy movie exec desperate to satisfy the MTV generation's demand for quicker everything - quicker food, quicker downloads, quicker dead people. The zombie was ushered on to the mainstream stage, on the proviso that it sprinted up to the mic. The genre was diminished, and I think it's a shame.


Despite my purist griping, I liked Dead Set a lot. It had solid performances, imaginative direction, good gore and the kind of inventive writing and verbal playfulness we've come to expect from the always brilliant Brooker. As a satire, it took pleasing chunks out of media bumptiousness and, more significantly, the aggressive collectivism demonstrated by the lost souls who waste their Friday nights standing outside the Big Brother house, baying for the blood of those inside. Like Romero, Brooker simply nudges the metaphor to its literal conclusion, and spatters his point across our screens in blood and brains and bits of skull. If he had only eschewed the zeitgeist and embraced the docile, creeping weirdness that has served to embed the zombie so deeply in our grey matter, Dead Set might have been my favourite piece of television ever. As it was, I had to settle for it merely being bloody good.

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Wednesday, 20 August 2008

Boushh - Bounty Hunter down time. Cool Photo

Cheers to Del for sending me this.

Discuss in the forum.

Tuesday, 19 August 2008

What Joss would have done with the Dark Knight

Cheers to Del for sending me this.

Apparantly Joss Whedon had a go at writing a script for the Batman reboot that Christopher Nolan eventually won. Whedon said his tale would have been a "bit less epic" and have mainly been set in Gotham City.

"He didn't go to Tibet and meet cool people, but it was very similar in vibe," Whedon told MTV.

"In my version, there was actually a new [villain], it wasn't one of the classics - which is probably why they didn't use it. It was more of a Hannibal Lecter type - he was somebody already in Arkham Asylum that Bruce went and sort of studied with."
"It was a whole thing - I get very emotional about it, I still love the story. Maybe I'll get to do it as a comic one day."


I personally hope that Joss Whedon gets a chance to write a comic book movie. His take on Wonder Woman sounded good but it was just not to be. So that's two of the big DC Trinity that Joss has been involved with to varying degrees. I wonder if he'll get a chance to write the next Superman movie?

Discuss in the forum.

Tuesday, 5 August 2008

5 Word Reviews

Some 5 Word Reviews from a load of people. If you have any email them to me.

Daniel
Kung Fu Panda
- Fat Panda saves the day - 9/10


Paul
Jaws
- big fish eats people, grrrrr - 10/10
Pale Rider - horses, guns, cigars, tunes, Eastwood - 8/10
Oceans 11 - poor mans Goodfellas, good gadgets - 7/10
Platoon - untouchable Nam movie, very harsh - 10/10
Apocalypse Now - hunt for drug-addled cottonwool-stuffed Brando - 9/10
Jacobs Ladder - intense-trippery, beware of flashbacks! - 8/10
Porkys - the original bawdy teen movie - 6/10
The Blues Brothers - shades, songs, chases and chuckles - 6/10
Hulk (Ang Lee) - intensely disappointing, very slow, yawnville - 4/10 (btw, is Ang Lee the Chinese subtitle?)
Crouching Tiger Hidden Dragon - lightweight kung-fu movie, overrated, yawnville - 5/10
The Dirty Dozen - stick it to the Nazi's - 5/10
Starship Troopers - high ammo usage, in space /10
X-Men - really enjoyable Marvel Mutant mayhem - 8/10
Leon - neglected classic, Gary Oldman excels - 9/10
The Fifth Element - Bruce Willis in space-taxi yarn - 7/10
Akira - The Undisputed GodFather Of Manga - 10/10
Ghost in the Shell - mondern Manga with cutting edge - 8/10
Ring - original good, remake bad, spooksville - 7/10
Army of Darkness - comic horror, funny gory romp - 6/10
300 - blood, swords, sandles. seriously bloody - 8/10
Sin City - beautifully visual film noir. excellent - 10/10
Pulp Fiction - gimp bums big black baddie - 10/10
Jackie Brown - absorbing and clevery constructed. long - 7/10
Lethal Weapon - dross 80's american cop movie - 4/10
Caddyshack - angry golf-playing beaver gets 'Chevy-Chased' - 6/10 - submitted by 'other' phil (PD)
Ghostbusters - Giant Marshmellow gets uber toasted - 8/10
Jason & the Argonauts - Mythical Greek Hero kicks ass - 7/10 - other phil (PD)
Pretty Woman - street whore becomes posh whore - 0/10
Witness - bearded blokes chased by Solo - 2/10
D.A.R.Y.L. - Jonny Nemonic's Dad steals plane - 8/10 (ps, i'm sure he did steal a plane!)

Alan S
The Phantom
- 2/10 - "Zane is poor man's Batman"
A.I. - 4/10 - "Spielberg's warped vision of future"
Jaws - 9.5/10 - "Spielberg triumph that terrorised millions"

Del
A.I. - Please, please, please, please finish, 2/10
Jaws - dont go into the water 8/10


Discuss in the forum.

Friday, 4 July 2008

5 Word Reviews

From Chisholm:
The Shining - 8/10 - Some shine and some don't
Spartacus - 8/10 - The Blockbuster of its day
Pitch Black - 6/10 - better than I was expecting
Monsters Inc - 7/10 - Fun for the whole family
Hellboy - 11/10 - suck it 10/10 fan boys
The Punisher - 6/10 - great when it gets going

From Rich:
The Shining - 8/10 - All work and no play...
Pitch Black - 5/10 - Myopic Muscleman in Mediocre Monsterfest.
Monsters Inc - 7/10 - Animated Antics in Imaginary Industry.
Bad Taste - 6/10 - Spoon - Brain. Brain - Spoon. Yum.

From Andy D:
Pitch Black - Quality sci-fi, thinking mans aliens - 8/10
Monsters Inc - enjoyable as a one off - 6/10
Hellboy - average: lets the comic down - 5/10
Bad Taste - A hint in the name? - 8/10

From Del:
Hellboy - 6/10 - Big Red Monster Kicks Ass

Tuesday, 1 July 2008

5 Word Reviews

O Brother Where Art Thou? - 8/10 - Homers' Odyssey with redneck fugitives. AD
The Unforgiven – 9/10 – Geriatric cowboy’s poignant final yeeha. DT
The Matrix – 8/10 – Fast-paced slow-motion masterpiece. DT
The Minority Report - 7.5/10 - Decent intelligent enjoyable sci-fi romp. AD
Airplane! - 8/10 - The original and best "Nielson". AD
Saving Private Ryan - 8/10 - Massively realised and brilliantly executed. AD
Iron Man - 9/10 - Perfectly paced and loads of fun. AD
Wizard of Oz - 7/10 Flying monkeys and melting witches! AD
Saving Private Ryan - 8/10 - GOOD FIRST TWENTY FIVE MINUTES. DE
A History of Violence - 9/10 - DONT MESS WITH COFFEE SHOPS. DE
Airplane! - 9/10 - TOO MANY JOKES IT HURTS. DE