Over here in Blighty we have a really good music programme called Later...With Jools Holland, which is where they get as many bands/artists as possible into the studio and spend as little time as possible chatting to them - they just let them play live music which always sounds good. Occasionally you discover an artists you've never heard of before and really get to dig, or maybe just an individual song. This has happened twice for me this year. The first instance was with the SugaRush Beat Company (More about them in a future blog entry), but recently the artist SIA has come to my attention. The Australian singer was not on my radar until a week or so ago, and admittedly I had to get over the rather relaxed way she sings her songs. But there was one she performed which was one of the most beautiful I've heard in a long time. I'm not sure how it will fare in our hit parade over here, but I feel like I should share it with the millions who no doubt read this blog obsessively (Boom boom). So here it is - enjoy!
Laters!
Wednesday 15 October 2008
Tuesday 14 October 2008
Burton's Ephiphany
Below is the review for one of my most eagerly anticipated movies of this year, Tim Burton's Sweeney Todd: The Demon Barber Of Fleet Street, based on the epic musical by American legend Stephen Sondheim.
Tim Burton has, despite his frequent insistence on his dislike for the genre, always been a director of musicals. You only need to look at the animated films of Corpse Bride or The Nightmare Before Christmas to see his unique take on show stopping numbers, and in his other films there are often moments of musical tomfoolery, such as in Charlie And The Chocolate Factory or Mars Attacks! The difference between these films and something like, say The Sound Of Music is pretty obvious. Burton is a dark, Gothic auteur whose own brand of black comedy and love of ghoulish storytelling is now legendary in its own right.
So Sweeney Todd was perfect for him. In fact there is no other living film director who comes to mind who would have been as perfect a director of the film adaptation of Stephen Sondheim's perhaps most celebrated musical (though its more of a light opera than anything else - not in its subject matter, but in the amount of dialogue and songs). The actual show just oozes Burton in its horror story qualities, and you have the chance to bring more gore to the proceedings being much more up close and personal than in the theatre. Yet Burton never goes OTT with this gore, unlike some very unfortunate film franchises that are circulating today. It is INTENTIONAL gore, and though it may shock you when you first experience it (it comes in rather late into the movie) you quickly get over the surprise and begin to enjoy it in a rather unnerving way.
There are other reasons for this other than Burton's handling. Depp and Bonham Carter are brilliant in their roles. Neither are strong singers, yet they perform their songs with such intensity it would be hard to believe they have not performed this on the stage themselves. Depp has added another memorable character to his vastly growing CV of kooks, and Bonham Carter's credibility has once again shot up above the Merchant Ivory costume dramas she was first discovered in. The supporting cast work very well too, though the love story between Todd's daughter and his sailor friend does suffer from the necessity of cutting for time.
It helps that the music is extraordinary too. Though Sondheim has not been as successful in the UK as he has been in the States, its incredibly difficult to grasp just why this show was not more popular over here. The songs segue beautifully into each other , always with a dark undertone lurking somewhere, even in the lighter pieces (and there are one or two). A new production will no doubt be planned in the near future - and if not, why not?
Burton has returned back to his roots after a few films that, though brilliant, were very family orientated. This is a film for grown ups, a fable for grown ups, and Burton does very well indeed with these fables.
8/10
Laters!
Tim Burton has, despite his frequent insistence on his dislike for the genre, always been a director of musicals. You only need to look at the animated films of Corpse Bride or The Nightmare Before Christmas to see his unique take on show stopping numbers, and in his other films there are often moments of musical tomfoolery, such as in Charlie And The Chocolate Factory or Mars Attacks! The difference between these films and something like, say The Sound Of Music is pretty obvious. Burton is a dark, Gothic auteur whose own brand of black comedy and love of ghoulish storytelling is now legendary in its own right.
So Sweeney Todd was perfect for him. In fact there is no other living film director who comes to mind who would have been as perfect a director of the film adaptation of Stephen Sondheim's perhaps most celebrated musical (though its more of a light opera than anything else - not in its subject matter, but in the amount of dialogue and songs). The actual show just oozes Burton in its horror story qualities, and you have the chance to bring more gore to the proceedings being much more up close and personal than in the theatre. Yet Burton never goes OTT with this gore, unlike some very unfortunate film franchises that are circulating today. It is INTENTIONAL gore, and though it may shock you when you first experience it (it comes in rather late into the movie) you quickly get over the surprise and begin to enjoy it in a rather unnerving way.
There are other reasons for this other than Burton's handling. Depp and Bonham Carter are brilliant in their roles. Neither are strong singers, yet they perform their songs with such intensity it would be hard to believe they have not performed this on the stage themselves. Depp has added another memorable character to his vastly growing CV of kooks, and Bonham Carter's credibility has once again shot up above the Merchant Ivory costume dramas she was first discovered in. The supporting cast work very well too, though the love story between Todd's daughter and his sailor friend does suffer from the necessity of cutting for time.
It helps that the music is extraordinary too. Though Sondheim has not been as successful in the UK as he has been in the States, its incredibly difficult to grasp just why this show was not more popular over here. The songs segue beautifully into each other , always with a dark undertone lurking somewhere, even in the lighter pieces (and there are one or two). A new production will no doubt be planned in the near future - and if not, why not?
Burton has returned back to his roots after a few films that, though brilliant, were very family orientated. This is a film for grown ups, a fable for grown ups, and Burton does very well indeed with these fables.
8/10
Laters!
Friday 10 October 2008
Fore!
So I thought I'd spend a little time telling you all about my new job working as a barman in my local golf club. I've been there for almost two weeks now, and, honestly? It ain't that bad!
Sure the shifts are long, and sure most of the time (as I'm restricted to working a lot of weekdays) the most people I serve is perhaps a dozen golfers, and sure I spend the majority of the time on my feet. But I think what I love about the job is that it is completely and utterly different it is to anything I've ever done before in my life.
When I left University with a 2:1 the option was there to stay on and do a Masters in English Studies anywhere I wanted. And the idea still appeals to me. But I never had a gap year before going to Winchester, so I've been in education since I was 5. And to be honest, I've had enough for now. Seriously, any more information/knowledge in this brain and it was liable to explode! So I wanted to do something for a while that was so far removed from English or education that I wouldn't need to worry about the danger of being on the news for having the first self-destructing cranium in history.
The people are lovely, too. My "trainer" is a professional dancer who is just finishing a show in Convent Garden, and although I didn't get to bed until 1:40 am on Sunday morning due to having to work a wedding reception on the Saturday evening, it was still great fun! See, I read that back and I seem somewhat insane, ha! But I honestly enjoyed it all, and still do. Plus, with my days off I can concentrate on my writing - at least, that's the idea. I haven't done any so far today, although I suppose this blog counts for something?
Laters.
Sure the shifts are long, and sure most of the time (as I'm restricted to working a lot of weekdays) the most people I serve is perhaps a dozen golfers, and sure I spend the majority of the time on my feet. But I think what I love about the job is that it is completely and utterly different it is to anything I've ever done before in my life.
When I left University with a 2:1 the option was there to stay on and do a Masters in English Studies anywhere I wanted. And the idea still appeals to me. But I never had a gap year before going to Winchester, so I've been in education since I was 5. And to be honest, I've had enough for now. Seriously, any more information/knowledge in this brain and it was liable to explode! So I wanted to do something for a while that was so far removed from English or education that I wouldn't need to worry about the danger of being on the news for having the first self-destructing cranium in history.
The people are lovely, too. My "trainer" is a professional dancer who is just finishing a show in Convent Garden, and although I didn't get to bed until 1:40 am on Sunday morning due to having to work a wedding reception on the Saturday evening, it was still great fun! See, I read that back and I seem somewhat insane, ha! But I honestly enjoyed it all, and still do. Plus, with my days off I can concentrate on my writing - at least, that's the idea. I haven't done any so far today, although I suppose this blog counts for something?
Laters.
Thursday 9 October 2008
The Whosit In The Whatsit With The Whatchamacallit
So, once again, the world is gripped by a news story that simple little me has no clue about. I seriously do not understand the financial crisis that's taking its toll on us; all of the jargon just muddles me completely; the credit crunch sounds like an unappetizing breakfast cereal.
I can't stand the fact that I don't understand what the hell's going on. I suppose its because I'm used to living in a world where things are explained to me in very simple steps. I've always said that we are living in an Age Of Information, where you can learn anything by simply clicking on a button, be it mouse or TV. But it seems that in this situation I've been left very much in the dark. And its not just me; practically all my friends are feeling exactly the same way.
I think the reason for this is because that, at the moment, none of this is actually affecting us. I guess if I was still living in Winchester, if I was still having to buy my own food, I would notice something wrong with the prices perhaps? But there is nothing in my life right this moment that is in danger of changing because of this credit crunch. At the moment, anyway. Who knows? I'll write an irritated blog of panic and anxiety when it does, so don't worry, you'll learn more about it as I learn more about it. Then again, maybe I won't, so then maybe you won't.
Basically, in this Age Of Information, don't come to this blog looking for this kind of information.
Laters.
I can't stand the fact that I don't understand what the hell's going on. I suppose its because I'm used to living in a world where things are explained to me in very simple steps. I've always said that we are living in an Age Of Information, where you can learn anything by simply clicking on a button, be it mouse or TV. But it seems that in this situation I've been left very much in the dark. And its not just me; practically all my friends are feeling exactly the same way.
I think the reason for this is because that, at the moment, none of this is actually affecting us. I guess if I was still living in Winchester, if I was still having to buy my own food, I would notice something wrong with the prices perhaps? But there is nothing in my life right this moment that is in danger of changing because of this credit crunch. At the moment, anyway. Who knows? I'll write an irritated blog of panic and anxiety when it does, so don't worry, you'll learn more about it as I learn more about it. Then again, maybe I won't, so then maybe you won't.
Basically, in this Age Of Information, don't come to this blog looking for this kind of information.
Laters.
Wednesday 8 October 2008
Song...James Song
As a self-confessed Bond Fanatic, it was only a matter of time before I commented on the latest addition to a compilation CD to end all compilation CDs - the latest James Bond theme, "Another Way To Die". There have been very mixed reactions to the first ever duet to tie in with a Bond film, and I must admit I too was very unsure of it to begin with. Alicia Keys and Jack White are, lets face it, a very odd combination in any situation.
But when you hear it again and again, when you're prepared for its perhaps rather unconventional tune, I must admit it doesn't sound all that bad. There are certainly elements of the classic Bond themes in the guitar licks, the brass section fast and furious. Yet I think there is also a rather unnerving sense of foreboding menace in the verses, perhaps no doubt to go with the fact that, let's face it, Bond is considerably darker then he has been since Licence To Kill in 1989. Casino Royale set a tone, and Daniel Craig created a new side to Bond's character. The very fact that the end of this film had such a downbeat feeling only builds my excitement and anticipation towards this new film.
Basically, though it will certainly get some getting used to, and though I don't think its anywhere near as good as the last effort, "You Know My Name", until we all see Quantum Of Solace, until we all bear witness to what happens in this film, its mood, and how it ends in particular, I don't think we will be able to fully appreciate this rather brave effort. It's something new and different, and that's exactly what the Bond franchise has become. Lets not deride that instantly.
I mean, come on - at least it's better than Lulu's "The Man With The Golden Gun"!
Laters.
But when you hear it again and again, when you're prepared for its perhaps rather unconventional tune, I must admit it doesn't sound all that bad. There are certainly elements of the classic Bond themes in the guitar licks, the brass section fast and furious. Yet I think there is also a rather unnerving sense of foreboding menace in the verses, perhaps no doubt to go with the fact that, let's face it, Bond is considerably darker then he has been since Licence To Kill in 1989. Casino Royale set a tone, and Daniel Craig created a new side to Bond's character. The very fact that the end of this film had such a downbeat feeling only builds my excitement and anticipation towards this new film.
Basically, though it will certainly get some getting used to, and though I don't think its anywhere near as good as the last effort, "You Know My Name", until we all see Quantum Of Solace, until we all bear witness to what happens in this film, its mood, and how it ends in particular, I don't think we will be able to fully appreciate this rather brave effort. It's something new and different, and that's exactly what the Bond franchise has become. Lets not deride that instantly.
I mean, come on - at least it's better than Lulu's "The Man With The Golden Gun"!
Laters.
Tuesday 7 October 2008
G'day! Can I Have A Job?
So recently my dear mother has developed something of an obsession with a certain famous film actor from Australia - Hugh Jackman. This has become so great that she has bought quite a lot of DVDs of his work, including a lot of the stuff he did for Australia and, lets face it, some very, very bad b-movies that he had to be in before he was "discovered".
It's interesting to me how long it takes for us to realise an actor or actresses' potential to be a star. I got nothing against Jackman, I think he's a very talented wallaby. But the first I heard of him was when he was in Oklahoma! over here in Blighty almost a decade ago, and then he turned up in Swordfish which is, at times, an okay film (and I don't say that because Halle Berry gets out her Ayres Rocks). Of course after that he went from strength to strength, including the X-Men trilogy, Kate & Leopold, and The Prestige which is in my view his bet performance.
But looking at all the work he did before breaking through to the big time makes you realise just how much work is needed for a actor to do before he gets noticed. I've met a few professional actors in my life, including one who turned into a drama teacher because it paid better money then he was getting as an actor. My experience with Ash Green Youth Theatre and knowing the irrepressible director of that has also giving me a realisation that, lets face it, the world of performing arts, in whatever field, is not the big-money, LA mansion world that many people dream of. For a hell of lot of people the reality is a long hard slog through life tyring to get a job.
Which brings me to A Chorus Line - didn't plan to get here when I started writing this, but my brain doesn't always act rationally at 8:37 in the morning. I watched the film of this legendary musical recently. Admittedly the film is very dated, but the urgency hidden underneath it, the motive of practically every character in it, is: "God, I hope I get it/I hope I get it...I need this job/Oh God, I need this show." That's what 9/10 professional actors go through every single day. Going into this profession is a brave, risky step - and I salute all of you who decide to take that step. After all, who knows? You might be the next Hugh Jackman, and then some middle-aged woman will obsessively buy all of your work, good and bad, on DVD!
Laters.
It's interesting to me how long it takes for us to realise an actor or actresses' potential to be a star. I got nothing against Jackman, I think he's a very talented wallaby. But the first I heard of him was when he was in Oklahoma! over here in Blighty almost a decade ago, and then he turned up in Swordfish which is, at times, an okay film (and I don't say that because Halle Berry gets out her Ayres Rocks). Of course after that he went from strength to strength, including the X-Men trilogy, Kate & Leopold, and The Prestige which is in my view his bet performance.
But looking at all the work he did before breaking through to the big time makes you realise just how much work is needed for a actor to do before he gets noticed. I've met a few professional actors in my life, including one who turned into a drama teacher because it paid better money then he was getting as an actor. My experience with Ash Green Youth Theatre and knowing the irrepressible director of that has also giving me a realisation that, lets face it, the world of performing arts, in whatever field, is not the big-money, LA mansion world that many people dream of. For a hell of lot of people the reality is a long hard slog through life tyring to get a job.
Which brings me to A Chorus Line - didn't plan to get here when I started writing this, but my brain doesn't always act rationally at 8:37 in the morning. I watched the film of this legendary musical recently. Admittedly the film is very dated, but the urgency hidden underneath it, the motive of practically every character in it, is: "God, I hope I get it/I hope I get it...I need this job/Oh God, I need this show." That's what 9/10 professional actors go through every single day. Going into this profession is a brave, risky step - and I salute all of you who decide to take that step. After all, who knows? You might be the next Hugh Jackman, and then some middle-aged woman will obsessively buy all of your work, good and bad, on DVD!
Laters.
Monday 6 October 2008
Back To Black
Well, hi there! Long time no blog, lol, despite my earlier insistence over two months ago, ha ha!
A lot has happened within that time period. I've been in and out of a relationship, I've got a brand new job working as a barman in my local golf club, I'm rehearsing for a play with my local amateur dramatics group that has a LOT of lines to learn. And, perhaps most interestingly of all, my writer's block concerning The Witch Sister has finally broken. The problem with this book is that, due to certain events which happen, the plot is very twisted in both structure and story lines. I think there are more characters in this book than in any of my last two.
Where Wild Things Grow, by the way, after yet another brief edit, will be sent to several agents by the end of this month. I just need to get my head round the cover letter that needs to go with everything else that has to be sent. It's typical, actually - my writers block breaks on one project then decides to settle nicely on a perhaps more immediate one. Ah well, c'est la vie.
Laters.
A lot has happened within that time period. I've been in and out of a relationship, I've got a brand new job working as a barman in my local golf club, I'm rehearsing for a play with my local amateur dramatics group that has a LOT of lines to learn. And, perhaps most interestingly of all, my writer's block concerning The Witch Sister has finally broken. The problem with this book is that, due to certain events which happen, the plot is very twisted in both structure and story lines. I think there are more characters in this book than in any of my last two.
Where Wild Things Grow, by the way, after yet another brief edit, will be sent to several agents by the end of this month. I just need to get my head round the cover letter that needs to go with everything else that has to be sent. It's typical, actually - my writers block breaks on one project then decides to settle nicely on a perhaps more immediate one. Ah well, c'est la vie.
Laters.
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