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Steven Spielberg’s War Horse makes for beautiful, sweeping melodrama

Sean Wilson — Sun, 15 Jan 2012 14:18:36 +0000

War Horse: Jeremy Irvine at Albert in Steven Spielberg's adaptation of Michael Morpurgo's novel

If Steven Spielberg’s Tintin was an enjoyable, if hollow, experience, then War Horse is the full thoroughbred: proudly old-fashioned, defiantly sentimental and intoxicating in its sense of scope. It also shows off the county of Devon to glorious effect, right from the opening frames when the lilting flute solo on John Williams’ soundtrack ushers in the breathtaking aerial shots of Dartmoor.

Spielberg has always demonstrated an excellent sense of location but War Horse is special. Many will write-off the film’s depiction of rural England as sanctified and sugary, but this kind of healthy sentiment prevailed in the likes of John Ford’s The Quiet Man, so why not here? Spielberg has acknowledged Ford as an influence, and, by taking us into the landscape in the manner of past masters, he creates an all-encompassing sense of drama.

For a film so intricately bound up with nature and landscape, it’s appropriate that we start off with the birth of the horse in question. When drunken farmer Ted Narracott (Peter Mullan) outbids his devious landlord Lyons (David Thewlis) for the colt, much to the dismay of his wife Rose (Emily Watson), it falls to his son Albert (Jeremy Irvine) to train the animal.

The family pin their hopes on the horse, named Joey, using him to plough a patch of rocky earth for turnips in an attempt to raise money. But World War I has a way of interrupting good drama at strategic moments, and when Ted sells Joey to kindly Captain Nicholls (Tom Hiddleston), so the action relocates to France and the epic journey begins. As Joey finds himself passed between the opposing forces of English, French and German, so too does Albert enlist, never giving up hope that he will eventually be-reunited with his friend.

Adapted from Michael Morpurgo’s acclaimed novel, the film has some big hoof-prints to fill, seeing as it comes after the stage play which famously used puppetry to acclaimed effect. Spielberg’s film has the added hurdle of not being able to tell the story through the eyes of the horse who lies at the centre of the drama; what was internal now becomes external, meaning we have to root for an animal who is both a plot device and a character. But Spielberg pulls off the balancing act remarkably well.

Not only does Spielberg effectively render Joey as a sympathetic, flesh and blood character (especially during a harrowing sequence where he is forced to haul German artillery up a slope which is then used to fire on the British ranks); he also draws attention to the equine cost of the War, something which has been casually glossed over in innumerable war movies past.

His penchant for bold yet tasteful imagery serves him well: a fleeting shot of riderless horses leaping over ranks of firing machine guns lingers in the mind. However, there are missteps in Richard Curtis and Lee Hall’s screenplay, which frequently pauses en-route to take in secondary characters who are distractions from the gripping central struggle. A crisis involving two German brothers never has time to develop into anything interesting, and a lengthy section involving a French grandfather (A Prophet’s Niels Arestrup) and his sickly granddaughter takes the focus away from Joey.

Admittedly these sections are lifted from Morpurgo’s story but, given they’re divorced from Joey’s viewpoint, they lack the personal intensity that would heighten the drama. But although the story gets lost as often as Joey himself, the film always manages to re-orchestrate itself with stunning power. The personal and the panoramic are mixed together with the deftness of a master filmmaker at the top of his game, Joey careening through the desolation of no-man’s land, only to be aided in his escape from barbed wire by both British and German officers, in a moment of terrific irony.

And although it may be something of a glib metaphor, the fact that Joey embodies the struggle felt on either sides of the trenches lends the film a degree of universal interest. Once again, Spielberg demonstrates an uncanny knack for choosing populist material that will appeal to a wide demographic. It’s a brickbat with which he’s frequently beaten but in fact, to make a film this brazenly sentimental in this day and age is a bold move in and of itself.

Quite simply, such earnest manipulation isn’t fashionable in today’s jaded climate, so Spielberg ought to be applauded for leading the charge for broad, escapist melodrama. It’s his chance to honour his cinematic heroes, and those willing to submit to it will find War Horse a gloriously old-fashioned experience.

The film’s accomplishments are many-fold (the magnificent work by the horse-wranglers for one), but even so, the extraordinary, auburn-tinged closing shots stand out as one of the high points in Spielberg’s career to date. Aided by warmly emphatic performances from Irvine, Watson, Mullan and the outstanding supporting cast (Benedict Cumberbatch included), War Horse is perfect family entertainment.

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War Horse charity premiere at Apollo Cinema, Paignton

Sean Wilson — Wed, 11 Jan 2012 09:21:48 +0000

War Horse: Steven Spielberg's epic tale had an epic charity performance at the Apollo Cinema, Paignton

Devon’s never had it so good. Midway through 2010, rumours began to arise. Had the world’s most famous film director, Steven Spielberg, been spotted on Dartmoor filming his adaptation of Michael Morpurgo’s novel War Horse? The answer was yes, but we had a while to wait. Fast forward 18 months and we finally got to see the results, the majesty of the moors plain to see from the opening frames of Spielberg’s sweeping film.

An epic tale that calls to mind the films of John Ford, Spielberg’s acclaimed drama explores the bond between Dartmoor farmer’s son Albert (Jeremy Irvine) and his horse Joey. The two friends are separated by the outbreak of World War I, and the film charts their struggles on either sides of the battle lines.

As the county basks in the glory of the subsequent media attention, on the evening of January 9th, the local area landed another major scoop. In association with the Rotary Club of Ashburton/Buckfastleigh, Paignton’s Apollo Cinema hosted a Charity Premiere, the second in the country following the World Premiere in London.

The premiere was held in aid of Help for Heroes, Cinema and Television Benevolent Fund and Michael Morpurgo’s charity Farms for City Children, and to say that the foyer of the Apollo Cinema was buzzing with excitement on the evening would be an understatement. It’s unprecedented for Torbay to play host to this kind of event, and the red carpet leading into the cinema merely stoked the interest, not to mention the shire horse patiently greeting the crowd near the steps.

This was my first film premiere and the fact it was held on my doorstep infused even the most basic of things with deep-seated joy, especially the glossy, beautifully designed tickets. As I glanced around at the make-up of the audience, all of whom were rapt at the slightest hint of the film starting, one thing struck me. Virtually every age group was catered for, from children to their parents and the elderly. Few directors are able to strike the populist chord as accurately as Spielberg, something which gives rise to a great deal of snotty criticism.

But there was a purity about the evening: this was an event, a shared experience, a sign that movies can bring people together. Truly, how many directors can boast that sort of clout in today’s cynical climate? That the Apollo Cinema were able to act as hosts is an enormous boost for the local area. Afterwards, I caught up with the cinema’s manager, Sarah O’Connor and she shared her thoughts on the evening:

“War Horse was filmed locally and there was a lot of interest in the film. Steven Spielberg spent time on Dartmoor and said it was one of the most wonderful locations he’d ever shot in. There’s obviously a lot of local interest because people can see places they know, places they’ve visited, places where they live,” said Sarah.

“[The novel] was also written by Michael Morpurgo, who lives in North Devon, and we wanted to tie that in with a premiere in the local area because we thought Torbay and Devon deserved one.

“We pushed really hard for permission from Disney and Dreamworks in order that we could show the film before everyone else. We were really lucky to get it the day after the London premiere – it’s something that’s unheard of in the Torbay area.”

Sarah then explained how the cinema went about securing the premiere: “We had to make a presentation to Disney, which we waited months to hear back from.

“Then we were approached by the Rotary Club, and they said they’d like to do a charity premiere of War Horse. So together, we made another presentation, and I think they got fed up with us asking! But they ultimately said yes. It’s great for Torbay to be able to host this, it’s been a superb event and it’s turned out to be a fantastic film as well.”

Finally, Sarah explained the Apollo’s committment to local media and culture: “Apollo Cinema is trying really hard to integrate itself into the community and become a community cinema. We’re trying to come up with a product that encourages a wider variety of films than other cinemas in the area, and we have the facilities to follow that through.

“We’ve expanded our content to include live opera and ballet performances from the Royal Opera House, West End performances, musicals and so on. What we’re trying to do is find content that’s suitable for everybody so that all everybody can come here and find something that they want to see.”

Many thanks go to Apollo Cinema, Sarah O’Connor, Philip Darby and the other members of the Ashburton/Buckfastleigh Rotary Club for a superb evening.

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Ray: A Life Underwater wins Shoot Film Festival 2011

Sean Wilson — Wed, 28 Dec 2011 12:03:10 +0000

Ray: A Life Underwater: winner of the Shoot Film Festival at Dartington Barn Cinema

Directed by Amanda Bluglass, Ray: A Life Underwater has been named the winner of the Shoot Short Film Festival 2011.

The festival aims to promote the best in short filmmaking, and as part of this year’s line-up, the audience was taken on an eclectic journey through a variety of genres. We watched in anticipation as a group of women scaled Mt Everest for the purposes of charity in documentary Unity in Diversity; witnessed a teenager attempting to flee an undisclosed crisis in Platform One; and were riveted as a journalist meets up with an ex-IRA terrorist in Dave Salas’ Mort-Gage. However, these were but some of the delights on display during the evening.

I caught up with Colin Orr, the event organiser, after the screening, and he discussed the aims and background of the festival:

SW: So Colin, how did the festival get started and what were the aims in getting started?

CO: This is our sixth year now and it was always the aim, within our programme, to encourage young filmmakers. The year before we started SHOOT, we’d worked with KEVICC to stage their end of year film festival, and a lot of films came up that I thought deserved to be seen by a wider audience. So we took the idea of that festival and extended it, made it open to all comers.

We limited it to Devon and Cornwall but with very loose criteria: either the films had to have been shot in Devon or Cornwall or the filmmakers had to reside in Devon or Cornwall. So for instance, tonight, we had films about Japan, China and Nepal, and also Plymouth and Totnes, so it’s a very varied mix.

SW: In order to determine the winner, the films are rated by the audience but who selects the final batch of films in the first place?

CO: The films are generally whittled down by myself. We’ve been working with The Barrel House for the last four years and, usually, there’s a committee of three people who get together to discuss the entries. This year, it’s slightly different in that it’s just been me whittling them down. And it varies: some years it’s very hard to choose from a long list of entries.

SW: And The Barn is committed to showcasing a wide variety of films across a wide variety of platforms, would you agree?

CO: Absolutely. I mean, we’re committed to many different types of filmmaking; we’re also committed to showcasing films and young talent from all over the world, in every genre, and we’re always trying to find new and interesting work.

We are the only cinema west of Bristol that will show this sort of stuff. Of course, we show a whole range of things, so we may have big audiences for some films and audiences of 10 to 15 people for other films. But those 10 to 15 people will have not had the chance to see those films anywhere else, and the appreciation we get from audiences for giving them the opportunity – that is just as worthy, just as rewarding as having packed houses every night.

The Final Films Shortlisted in the SHOOT 2011 Festival
Unity in Diversity (dir: Russ Pariseau)
Xi’An: Ancient Capital of China (Walter King)
Cigar Box Revolution (Lesley Ross)
The Last Man Standing (Ben Boyd-Taylor)
Double Take (Luke Tomlinson)
Platform One (Ben Leggett)
Market Town (Lesley Ross)
Mort-Gage (David Salas)

WINNER:
Ray: A Life Underwater (Amanda Bluglass)

*Drew Tate’s Ellen was shortlisted but due to a technical fault, was unable to be screened*

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Ambitious filmmakers Realm Pictures are aiming for the stars… and they’re flying high

Sean Wilson — Sat, 10 Dec 2011 12:55:40 +0000

D&CFilm Directors Series One EP2: David Reynolds from Movie Show on Vimeo.

Prior to the commencement of principal photography on his latest film, The Underwater Realm, director of Realm Pictures, David Reynolds, was interviewed by filmmaker John Tomkins.

The interview gives an insight into what goes on behind the scenes at Realm; David also talks about Realm Pictures’ visit to Cannes, winning at Raindance, filming at Shepperton Studios and the release of Zomblies online.

He also disccuses the team’s creative ambitions – it’s been a very busy year indeed at Realm Pictures!

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D&CFilm Directors Series: Ashley Wing (video)

Sean Wilson — Wed, 23 Nov 2011 11:57:57 +0000

Director Ashley Wing talks to Sean Wilson in the Directors Series

D&CFilm reviewer Sean Wilson caught up with filmmaker Ashley Wing to discuss his new sci-fi short, Fracture.

A visually striking achievement that draws on classic science fiction films from the past, Fracture is the story of a group of people coming apart at the seams within an isolated research station.

Here, Ashley talks about his influences, the difficulties of low budget filmmaking and the support he received from Sony in getting his film distributed. Recorded by John Tomkins, this is the first video in the D&CFilm Directors Series.

D & C Film Directors Series One : Ashley Wing from Movie Show on Vimeo.

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Totnes and Dartington Shoot Short Film Festival returns for 2011 to showcase Devon and Cornwall shorts

Sean Wilson — Sun, 20 Nov 2011 23:20:20 +0000

Back at The Barn, Dartington's Shoot Film Festival

Postponed from September, the Shoot Short Film Festival returns to the Dartington Barn Cinema on Thursday, November 24. Showcasing the finest short filmmaking in Devon and Cornwall, it’s a bracing change from big-budget mainstream fare, and once again demonstrates The Barn’s committment to exciting, alternative cinema.

Organised by Dartington’s very own Colin Orr, it’s a festival with a difference, as the viewing audience gets to decide the winner.

Last year’s winner screened alongside My Afternoons with Magueritte in the main cinema programme, but which will claim the prize this year? You decide.

Tickets cost just £2.50 and the evening starts at 8pm. Booking is available online here:

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John Tomkins’ Like an Angel is now available to watch online

Sean Wilson — Sat, 01 Oct 2011 08:04:00 +0000

Like An Angel: the time travelling drama had the action in Tudor and modern Torbay

Actress Kirsty Symonds’ soulful performance lies at the heart of John Tomkins’ Like An Angel, a time-travelling drama which starts in the Tudor era with a man named Coldare (Adam Barfield) on the run from the agents of Squire Revin Hallows (David Gent).

It transpires Coldare has stolen a mysterious stone from Hallows. Seeking refuge at the home of his friend, Sam J Stevens (Sam Jones), it soon becomes apparent that the stone is possessed of magical qualities, and has the ability to transport its owner through time. Alanda Olanda (Symonds) soon discovers this when she is transported to modern-day Brixham. But things aren’t quite what they seem…

For all its rough edges, Like an Angel is nevertheless worthy of admiration when one considers the conditions under which it was made. It was Torbay-based, singer-songwriter Tomkins’ first plunge into the world of feature filmmaking, a baptism of fire that was to consume its maker’s life between 2008 and 2009. In spite of the difficult production, he emerged from the experience a better filmmaker and a wiser man.

Given Tomkins wrote the script, shot the entire project on one camera (along with co-director Symonds), edited it and composed most of the soundtrack, all on a budget of approximately £500, it’s undeniably crude on a technical level. Off-camera, there were problems too. A fire destroyed John’s flat midway through the shoot but like a true maverick, his passion wasn’t dampened; it was re-ignited.

At times, Like An Angel resembles a grungy student film but Tomkins’ commitment to the project can’t be denied. Indeed, he coaxes solid performances out of the actors, all of whom have fun with the archaic dialogue, especially TOADS Theatre actor David Gent, who feasts on the scenery and devours every last vowel as the mysterious Revin Hallows. Laura Jury also delivers an amusing, partially improvised performance as Rachel Olanda, the modern woman who can’t quite come to terms with her genetic connection to Symonds’ mysterious time-travelling figure.

Tomkins’ enthusiasm was such that he even went so far as to create some of the practical effects himself – the void for example which takes Alanda from the past into the future was created with lemonade and a lava lamp. The score is an intriguing mixture of past and present, all created on a keyboard, and the combination of those mysterious leafy Torbay locations along with Lionel Digby’s costumes means the Tudor period is evoked brilliantly. The subsequent jump into modern-day Brixham makes for classic fish out of water humour, with Symonds’ costumes drawing authentically baffled looks from extras playing bemused passers-by.

Adam Barfield as Coldare: he also helped co-ordinate the film’s climactic sword fight, one of its most distinctive and memorable moments

But perhaps Tomkins’ greatest strength was his ability to draw out key skills in his cast and crew, resulting in a truly collaborative effort which helped transcend the difficulties of the production itself. There’s no doubt the project fulfilled Tomkins’ original aim: to promote local talent from across Torbay. Adam Barfield for example not only took the role of Coldare fresh out of Exeter’s Cygnet Theatre; he also helped co-ordinate the film’s climactic sword fight, one of its most distinctive and memorable moments.

Kirsty Symonds meanwhile took the lead role and also helped direct behind the camera. Other talented personnel behind the scenes included Darren Jones (whose input can be keenly felt on the opening title sequence) and local composer Steve Sowden (who contributed an original song to the soundtrack).

John’s belief in his project was such that he was able to see beyond the technical limitations in an attempt to realise his vision. The results aren’t wholeheartedly successful but then Stanley Kubrick once said that filmmakers only need to pick up a camera and shoot. John certainly did that – and much more besides.
Like an Angel is now available to watch online at http://www.emberlenseproductions.com/#Homepage

The soundtrack is available for purchase on iTunes and Amazon

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The Manhattan Short Film Festival at The Blue Walnut Cafe and Cinema, Torquay

Sean Wilson — Sun, 18 Sep 2011 08:00:26 +0000

Manhattan Short Film Festival: at the Blue Walnut Cafe, Chelston, Torquay

We all relish those times when we’re reminded of what film is really capable of, but how often does that actually happen? For all the megabucks, airbrushed stars and frequently vapid, slick surfaces, it’s a thrill to observe filmmakers really testing the boundaries of narrative cinema… especially when the length of the reel barely exceeds that of your average action sequence.

Yes, it’s time once again for The Manhattan Short Film Festival, playing out across six continents and 200 cities from September 23to October 2. Founded by Nicholas Mason, it’s a film festival with a difference, because the voters are the viewers; and its aim is to unite audiences from all over the world through the power of cinema. Each film is 18 minutes or less in length and the festival demonstrates the fascinating breadth of different cultures scattered around the world.

On viewing the 10 films that have made the final shortlist (this year culled from a staggering 598 entries, taken from 48 countries around the world), each member of the audience is asked to vote for their favourite. The results are then compiled before the winner is announced online at www.manhattanshort.com on Sunday, October 2.

The Manhattan Short Film Festival continues to fly the flag for those who view film as more than just a way to top up a studio’s bank balance, and as a film critic, it’s a privilege to announce that one of the venues which broadcasts the festival is located on my doorstep in Torquay. That place is The Blue Walnut Café in Chelston.

The Blue Walnut has the great honour of being one of only three venues in the UK to screen the festival, auspicious prestige for a sleepy coastal town where the arts are often left floundering in a sea of hotels, tourists and arcades. A multiplex this isn’t. Instead, the charming cinema at the rear of the building (remnants of an old Nickolodeon) boasts a unique, peaceful identity all of its own, complete with 23 tiered seats, Dolby Digital Surround Sound and Widescreen. And it’s not just films: food and drink is available in the cafe looking onto sleepy Walnut Road, and there are regular art and live music events.

The Blue Walnut’s low key commitment to artistic integrity is borne out in the hard work of the festival itself, one which showcases a similar sense of dedication, but to cinema itself as an art form that can bridge continents, cultures, languages and sensibilities. Such principles are easy to overlook nowadays, especially when there’s a multi-screen behemoth around the corner – but they’re worth making the extra effort to seek out.

And now people in and around Torbay have the chance to take part in this extraordinary festival at The Blue Walnut Café. All across the world, people will be voting for their favourite short, from Kathmandu, Nepal to Perth, Australia; St Petersburg, Russia to Buenos Aires, Argentina. And you too can be a part of it.

For more details on the festival itself, visit www.manhattanshort.com For more details on The Blue Walnut, visit www.bluewalnutcafe.com

Showtimes for The Manhattan Short Film Festival at The Blue Walnut

Monday to Friday: 7.30pm, doors open at 7pm.

Saturday and Sunday: 3pm and 7.30pm, doors open 30 minutes before each show

This year’s finalists

Incident By A Bank (Ruben Ostlund): Sweden (9:30)
A wryly comic glimpse at an amateurish bank robbery gone wrong

DIK: (Christopher Stollery): Australia (10:00)
A child’s school drawing leads to sexual confusion and paranoia between his parents

Mak (Geraldine Zosso): Switzerland (18:00)
The story of Ilinka, a girl living in Switzerland who has just given birth to a baby boy

I Love Luci (Colin Kennedy): Scotland (11.00)
After a heavy night, a girl’s day gets worse when she loses her false teeth, followed by her dog and bicycle

The Legend of Beaver Dam (Jerome Sable): Canada (12:00)
A spin on urban legends and campfire stories, when a group of kids and their leader resurrect the spirit of Stumpy Sam

Sexting: (Neil LaBute) USA (8:00)
The girlfriend of a married man agrees to meet his jilted wife

The Forest (György Mór) Hungary (12:00)
A man is witness to a murder in the middle of a Hungarian forest

A Doctors Job (Julio Ramos) Peru (10:30)
Ramon Moran is a doctor and also a taxi driver; both careers come in handy when his day takes an unexpected turn

David & Goliath (George Zaverdas) USA (12:00)
The extraordinary true story of a man hiding from the Nazi’s in World War II, and the dog who refused to give him away

Martyr Friday (Abu Bakr Shawky) Egypt (10:00)
A ground-level documentary view of the February uprising in Eygpt, which ultimately led to Hosni Mubarak being ousted as President

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An interview with Elizabeth-Jane Baldry from Chagford Filmmaking Group (audio)

Sean Wilson — Tue, 06 Sep 2011 18:26:21 +0000

The Chagford Filmmaking Group, of which Elizabeth-Jane Baldry is headgirl, have been revitalising traditional tales

Since 2004, Chagford Filmmaking Group has been quietly carving out a fascinating niche, casting an eye over the rich history of the South West, and bringing to life sumptuous fairy tales, romances and period dramas. I recently caught up with its founder, Elizabeth-Jane Baldry, to discuss the aims of the company, its future projects and the process of filmmaking. Thanks go to Torquay filmmaker John Tomkins, who arranged and organised the interview.

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Watching the World Burn: A Nuclear Double Bill at the Dartington Barn Cinema

Sean Wilson — Sat, 23 Jul 2011 00:08:02 +0000

The Dartington Barn Cinema showcases its commitment to provocative filmmaking with a double bill of Countdown to Zero and Dr Strangelove

At one point in the Coen Brothers’ No Country For Old Men, Tommy Lee Jones’ Sheriff, lamenting the violence of the modern world, opines: ‘I laugh myself sometimes… Ain’t a whole lot else you can do’. The same sentiment applied here – it was fascinating to see how Dr Strangelove’s dark humour both went against and complemented the gloomy message of Walker’s documentary.

It’s not just that both films concentrate on nuclear war. This double bill was also proof that cinema is one of the most potently humane and flexible art forms in the world: just as Walker’s film chillingly lights the rocket under our seat in alerting us to the nuclear threat, Kubrick’s film implodes our fears from within, mocking humanity’s penchant for self-destruction and flagging up how silly it all is. Why would we want to destroy ourselves when humanity has so much to offer?

Walker’s film consequently is hardly a joyous affair, appropriately cloaked in an air of dread from the outset. Yet, it’s remarkably even-handed. After all, one country’s fear is another country’s propaganda tool – the focus on recent nuclear development in Pakistan rams that home, and such insights make for queasy but compelling viewing. What’s really chilling are the mundane details: one key that could spark off a crisis; the anguished face of J Robert Oppenheimer as he cites the famous Hindu quotation, ‘I am become death’.

Following that was a screening of Kubrick’s black comedy Dr Strangelove, which, although it was released in 1964 just after the Cuban Missile Crisis, continues to add further philosophical wrinkles to our understanding of this modern threat.

Like a fine wine, Kubrick’s film only gets better with age, the minutely calibrated performances from the likes of Peter Sellers and George C Scott beautifully lampooning human paranoia. Ken Adam’s sets are wonderfully minimalist, and if only the issues of the world were as black and white as Gilbert Taylor’s cinematography.

Yet away from the impeccable technical credits of both films, one recent, the other an undisputed classic, it was fascinating to see how they were able to communicate the same issues but in radically different ways. Walker’s film is a documentary designed to unnerve and inform; Kubrick’s is a satire designed to make us laugh at things we shouldn’t really laugh at.

Yet the human principle is the same in both movies: for humanity to destroy itself would be a ‘silly thing’ indeed (as Sellers’ President Merkin Muffley points out over the phone). It’s further proof of the Barn Cinema‘s firm commitment to provocative, stimulating screenings, and earmarks it as one of the most exciting cinemas in South Devon.

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An interview with Sketchwork TV’s Justin Heasman and Dean Nolan

Sean Wilson — Fri, 15 Jul 2011 11:00:43 +0000

Sketchwork TV’s Justin Heasman and Dean Nolan add story and wit to special effects. Sean Wilson talks to themSketchwork TV: caption

The brainchild of Justin Heasman, Sketchwork TV is an offshoot of his production company, Sketchwork Productions. A collaboration between Heasman and acting partner Dean Nolan, Sketchwork TV is comprised of witty short films featuring remarkably accomplished special effects. Both Heasman and Nolan act out the episodes, which owe a charming debt to genre cinema and the more innocent kids movies that were around in the 1980s. And it doesn’t stop there.

Because if you want to know how the guys accomplished said effects, then be sure to turn over to the Channel Two section of their website www.sketchwork.tv – launching very soon.

Following the release of their fourth episode, The Trouble with Time Travel, I caught up with the two brilliantly talented (and brilliantly down-to-earth) filmmakers.

[pullshow id="story"]

So, guys, you’re the face of Sketchwork TV. But what exactly is Sketchwork TV?
Justin Heasman: Well in a nutshell, Sketchwork TV came out of an idea. There are lots of tutorials out there on the internet about how to do special effects, but it’s literally just a case of showing you what to do.

[pullthis id="story"]We wanted to do a show which took the form of a story, and we also wanted to explain how to do certain effects[/pullthis]. So we created Channel One on Sketchwork TV, which broadcasts the story around which the effects are created – people can watch it and enjoy it. Then if people want to find out more, they can go over to Channel Two, which explains how viewers can recreate the stuff we’ve shown them. And it’s proven to be really, really popular.

Fantastic. And Dean you bring the acting chops to it, because you’ve got background in performance, is that right?
Dean Nolan: Yeah, well I certainly try to! Film and TV is something I’m intrigued in as an actor, but I’m also intrigued as to how effects are made.

It was important for us that there was a story and that we could present the show. It was also important to ensure each episode worked as a short film, even at just two minutes long, and each episode also needed to demonstrate effects within a simple story.

So for me, it’s been great fun and as Justin said there, the response has been brilliant. We’ve got loads more to come, this is just the start really. It’ll only grow and it can only get better.

Once Channel Two’s up as well, we’ll have lots of things on there like the forum and outtakes – they’re always a winner with people. Just please come and see it really, I think once you’ve seen one, you’ll watch the others – they’re nice and short, nice and sweet, hopefully fun and tongue in cheek, and we just want to spread the word really, to get the name Sketchwork TV out there.

[pullshow id="transformation"]

And as I understand it, you’ve got several story threads coming up that will weave their way through the show?
JH: That’s right, we’re trying to put together some mini stories to go over several episodes. We’ve completed our first one which is set in a new, superhero world – that was episode three, The Superhero Academy Interview, and it proved really popular. That’s going to go into a four-parter. [pullthis id="transformation"]We’ve also got a transformation series which is all about the effects of transforming into vampires and werewolves and things[/pullthis], and which looks into make-up techniques.

We’re looking at zombies as well, a whole series based around zombies and all the fun that comes with it. And the last one we’ve got on the cards at the moment is a wizarding one, going off the back of Harry Potter, so we’re looking into spells and sorts of fun. So yeah it’s going to be a fun ride.

Wonderful. And finally, Dean, you’ve got a connection to Cornwall where you film a lot of your stuff, correct?
DN: Yeah there have been lots of different bits and bobs and I’m from Cornwall originally. I’ve spent a lot of time in London but since I’ve been back working with Justin, I’ve been involved in quite a few different projects, a few films like Weekend Retreat for instance, several of which will be showing at the Cornwall Film Festival. So I’d really encourage people to come down and see those as well.

But certainly with regard to Sketchwork TV, it’s been lovely.

Justin and I worked together years ago when we were younger as performers and Justin’s now gone off into visual effects, becoming hugely accomplished at it, while I’m still finding my way with acting and also producing.

Both of us together… hopefully it’s quite a good force, we’re having fun doing it as well which I think is the main thing. Like I said, we hope that sense of fun comes across in our work, it’s a laugh. We just want more people watching it and giving us feedback, really. Also don’t be afraid to sense us in your own ideas. It’s nice to be back in Cornwall when the weather’s decent, and it’s nice to be able to visit Torbay!

JH: The web address if you want to watch all our shows is www.sketchwork.tv and you can catch us on Facebook and Twitter besides our actual website. Just type Sketchwork TV into Google and we’ll be there.

Wonderful. Guys, thanks very much.

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South Devon College students take a bite out of filmmaking in Deadmoor

Sean Wilson — Fri, 15 Jul 2011 08:00:44 +0000

Deadmoor: Digital Media students at Torbay’s South Devon College energise the zombie genre

Zombies are all the rage at the moment (forgive the 28 Days Later style pun), from TV’s The Walking Dead to the upcoming adaptation of Max Brooks’ World War Z (reported to be filming in Cornwall in August). And following its premiere at the Apollo Cinema in Paignton, Deadmoor now takes a bite out of the local filmmaking scene.

It’s a credit to the makers of Deadmoor that it energises a familiar genre with pace and a degree of innovation. A collaborative effort between second year Digital Media students at Torbay’s South Devon College, it places flesh eaters in the heart (there’s another groaner) of Dartmoor. A group of strangers must battle for survival against the odds as the night and the ghouls close in.

What’s more remarkable is how coherent the end product turns out to be, given it’s directed by four students – Vince Knight, Joe Pegg, Richard De Young and Kirsty Anne Symonds (whose Deity recently screened at Torre Abbey’s Spanish Barn). Whatever their individual strengths, the end product is nippily edited and fast-paced, and Dartmoor is cloaked in a steely, shadowy gaze that is quite wonderfully atmospheric.

Given the relative lack of funds, the make-up effects courtesy of Cat Bruce, Bianke Di Salvo and Jess Sings are also brilliantly done, all bloody jowls and boggle eyes.

There’s talent in front of the camera too – fellow students Abi Chalk, Louis Brzozka, Hayley Wetherall, Chris Tennant and the others devour their roles with relish and put a human face on the scenario. Proof that the zombie movie is one of the most adaptable of all the genres, the makers of Deadmoor deserve every success. Here’s to Dawn of the Devon Dead in future.

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Dartington’s Barn Cinema is an absolute must for movie buffs

Sean Wilson — Sat, 25 Jun 2011 13:53:43 +0000

Let’s face it, trying to find an eclectic film programme at your local cinema in Torbay is a bit of challenge.

Most seem to favour the mainstream Hollywood line-up, not that there’s anything remotely wrong with that. After all, generic product is what brings in the audiences and there’s no reason to be snobby against Hollywood. It’s a system that has brought innumerable pleasures to cinema goers since the dawn of the medium; this year for example, the mega-budget Thor was a noteworthy delight.

[pullshow]

Also, let’s not forget, Swedish art-house auteur Ingmar Bergman was a noted admirer of Steven Spielberg, that most recognisable of commercial directors.

But sometimes it’s nice to have the odd wild card amid the usual roster of Pirates of the Caribbeans and Hangover II’s. [pullthis]Luckily, there’s a cinema outside Totnes that has the answer. It’s located, almost magically, down a series of bewitching country lanes that snake alongside the soothing River Dart[/pullthis].

It’s staffed by enthusiastic folk who can’t shove that bit of press material into your hand eagerly enough. And it features one of those enchantingly old-fashioned cinema curtains that rises gracefully, fold-by-fold, to reveal that tantalising filmic universe within. Heck, you can even enjoy a delicious slice of homemade cake before going in.

Such are the delights of Dartington Hall’s Barn Cinema, one of those secluded gems that proves there’s still life in the eccentric, independent picture house.

But the cinema’s main appeal lies in its terrific programme of movies, one which appeases all audiences from documentary lovers to art-house enthusiasts; foreign language fans to mainstream film-goers. From a newly restored print of Battleship Potemkin to provocative art house fare like the recent Le Quattro Volte, it’s THE place to go if you’re feeling jaded about the state of contemporary cinema.

And yes, they show the occasional blockbuster too.

Check out the full line-up of movies at the Dartington Barn site.

Talk about getting better and better, well, what about you? Just like
the ever-evolving cinema technology, look into some IT degrees to
see what possibilities open up for you. Courses offered online are in high
demand these days, since many people want the flexibility they offer.

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Comedy and oppression: The Prison Where I Live screened in Totnes for TTT film night

D&CFilm — Tue, 07 Jun 2011 13:26:32 +0000

This Prison Where I Live: Maung Thura, better known as Zarganar, but is victimised by the Burmese military junta

The documentary about comedy and oppression, This Prison Where I Live, is being screened by Transition Town Totnes at its TTT film night.

The movie is a feature-length documentary about two comedians. Maung Thura, better known as Zarganar, is Burma’s greatest living comic. Relentlessly victimised by the Burmese military junta, he is now in prison. Michael Mittermeier, in stark contrast, is free to practise his art of humour and provocation as one of Germany’s leading stand up comedians.

The film night is put on with Amnesty International

Transition Town Totnes film night takes place pstairs at The Dartmouth Inn.

The screening takes place on Tuesday, June 14. Doors open at 7.30pm. Film starts at 8pm. Finish by 10.30pm. Entry £4 / 3 TTT Film Club.

There is more info about joining TTT Film Club at the film night. Or for enquires, email Jacqi Hodgson on edap.totnes@transitionnetwork.org

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Release date imminent for world-wide sci fi collaboration, Fracture

D&CFilm — Mon, 06 Jun 2011 15:45:19 +0000

Fracture: Ashley Wing’s sci-fi ‘opera’ is in the final states of post production, with the release date to be announed in the coming weeks

After nearly three years in production Ashley Wing’s sci-fi opera Fracture is almost ready. Currently in the final stages of visual effects post production, the film is expected to see the light of day in the next five or six weeks.

Fracture is a no budget short film put together by a world-wide community of filmmakers on a part-time basis.

Ashley was offered to direct the film and is now working solidly with vfx supervisor Sebastien Regert to get it finished in time for its official screening, which will be announced shortly.

Ashley told D&CFilm: “We’re ready to start looking at promoting the film and look for suitable outlets to have it screened, our film will run for 10 minutes so it’s very short – but ideal for the festival circuit.

“Three years of work with an international community has been great fun and we’re all very much looking forward to getting it out there. With the project I decided to take it in a retro direction to give it a slightly different identity from everything else on the market.

“I grew up with the movies from the 80s and such classics as The Thing, which is one of my favourite movies from that period. This approach works perfectly on a visual level for the story.

An official release date will be announced in the next three weeks. For now take a look at the poster which has just been released.

Meanwhile, take a look at the teaser trailer

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