D&CFilm

Life-changing communication explored in Life to Come short

D&CFilm — Thu, 17 May 2012 10:34:56 +0000

Life to Come: James Cotter in Ed Chappell's short

Life to Come is Ed Chappell’s short film about a woman who finds a life-changing letter on her doormat.

Shot in Torquay, it stars James Cotter and Nikky Leigh Brooks.

James will be featuring in John Tomkin’s sci-fi film They’re Coming, now in post production, which has also been shot in South Devon.

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Five days to help fund the Exeter Blitz Project documentary

D&CFilm — Wed, 16 May 2012 16:28:44 +0000

Exeter Blitz Project: a film record of the testimonies and performance is being made, but needs your help

It’s 70 years since Exeter suffered the worst of the Blitz, and now the memories of those involved are being shared via Viva Voce at the Bike Shed Theatre for the Exeter Blitz Project. The testimonies and show are also being filmed for a documentary, and the documentary needs financial support.

The multi award-winning documentary duo of David Williams and Andy Oxley in the form of Screen 3 Productions, have filmed interviews of the testimony given by volunteers who responded to adverts in press and flyers asking for people to come forward who experienced the Blitz in Exeter. It is from these the verbatim theatre piece was created (it’s at the Bike Shed Theatre, until Saturday, May 19).

David told D&CFilm: “We have been filming the show and intend to produce a documentary encapsulating the events of the Blitz in Exeter through the eyes of those who gave testimony as well as the resulting theatre piece and it’s success, the final aim to be able to give this resource to the city for posterity and educational opportunities.

“However, in light of current times we have struggled to get the support we need to do the job real justice, the Exeter Arts Council has given us their full support, but with other funding bodies we have been unsuccessful. So we are attempting to raise our own funds through the crowd funder website.

“Our deadline is only five days away and we’re still a way from our target of £3,000 pounds, any support you can give us helping us achieve our goal would be greatly appreciated.”

Help by popping along to the Crowdfunding site to support the movie.

Here’s the trailer:

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Mayhem, adventure and stunts! The latest DVD releases reviewed

Tom Leins — Wed, 16 May 2012 15:41:56 +0000

The Divide: intriguing claustrophobic thriller set in the aftermath of a nuclear attack on New York City

Before heading to Hollywood for the wearyingly average video-game adaptation Hitman, French director Xavier Gens made the slick, gruesome horror movie Frontier(s), which saw him marked out as one to watch.

His latest project is The Divide (Momentum), a claustrophobic thriller set in the aftermath of a nuclear attack on New York City. After the bomb drops a small group of tenants seek refuge with the building’s caretaker in the bunker-like basement. Unaware of what is happening outside the beleaguered residents are horrified when their stronghold is unexpectedly attacked by heavily-armed assailants wearing Haz-Mat suits. The survivors unite to fend off this mysterious new threat, but the sense of unity doesn’t last long, and the claustrophobic conditions soon prompt them into a devastating psychological battle for control of the basement.

If Hollywood whispers are to be believed, 20th Century Fox refused to release the ultra-violent version of Hitman that Gens helmed and hired a different director to oversee a batch of more commercial re-shoots. After four years licking his wounds, Gens has proved that you don’t have to dilute your vision to succeed. Every bit as tense and menacing as Frontier(s), The Divide explores increasingly nasty territory as the characters mentally unravel. Although the extreme horror flourishes that typified Frontier(s) have been toned down here, the film takes a demented turn as it approaches the final stretch, with some startling moments.

With an eye-catching role for genre veteran Michael Biehn (Aliens, The Terminator) and a solid array of supporting performances from the likes of Lauren German (Hawaii 5-0), Milo Ventimiglia (Heroes) and Michael Eklund (Intelligence), The Divide is impeccably cast, with everyone bringing something interesting to the table. Far too good to remain under the radar, The Divide is an accomplished return-to-form for Gens. What’s more, the ambiguous conclusion leaves the door wide open for a welcome sequel. Intriguing stuff.

The Sitter: a surreal edge and a winning performance from chunky pre-diet Jonah Hill

The Sitter (20th Century Fox), follows the exploits of Noah (Jonah Hill, Superbad), a work-shy college drop-out who lives with his mother while he attempts to woo the shallow Marisa (Ari Graynor, Fringe) using a distinctive (and entirely unreciprocated) sex act.

Prompted by his long-suffering mother into taking a babysitting job caring for the unruly children of a family friend, Noah’s backwards priorities see him appropriate the family car and drag the kids on a city-wide trawl for cocaine, so that he can appease his would-be girlfriend. A visit to Karl (Sam Rockwell, Confessions of a Dangerous Mind), an eccentric drug-dealer/bodybuilding enthusiast, sees the evening take an unexpected turn, however, and Noah becomes embroiled in a typically madcap adventure that sees him form an unlikely bond with his strange young companions.

Director David Gordon Green surged to prominence in 2000 with the critically-acclaimed indie drama George Washington, before going on to rack up a series of similarly well-received dramas, including All The Real Girls, Snow Angels and Undertow. 2008 saw him move away from subtle coming-of-age movies with the chaotic stoner comedy Pineapple Express and the excellent HBO comedy Eastbound & Down. The unexpected shift in tone was more than a little mind-boggling, but the sheer hilarity of Eastbound quickly saw his earlier work overshadowed.

Despite a serious mis-step with the disastrously unfunny Your Highness, The Sitter sees Green recapturing some of Eastbound’s surreal edge thanks to a winning performance from chunky pre-diet Jonah Hill. That said, although it is riddled with laugh-out-loud moments, The Sitter is far too uneven to rank as a must-see comedy. Not a patch on Green’s best work, but a serviceable comedy nonetheless.

Freerunner: the Danny Dyer vehicle is a belated attempt to cash in freerunning's death-defying acrobatics

Danny Dyer lapsed into self-parody may years ago, and now occupies a bizarre position whereby he no longer headlines the very movies trading off his patchy reputation.

The latest blot on Dyer’s copybook is Freerunner (Revolver), which sees him team up with long-time cohort Tamer Hassan for their annual collaboration. Stealing the limelight, however, is Sean Faris (Never Back Down), who stars as Ryan, a talented freerunner, who is determined to break free of the shackles placed on him by Reese (Hassan, The Business), who earns a living setting street racers against each other in violent acrobatic contests.

This time however, Reese and his shadowy associate Mr Frank (Dyer) have raised the stakes, and organised a contest in which the participants will be forced to compete with exploding collars locked around their necks, forcing Ryan into a terrifying game of life and death.

After the success of the enjoyable District 13 movies, alongside the electric opening segment in Casino Royale, lesser filmmakers have displayed a willingness to graft freerunning scenes onto their movies to tap into the vogue for death-defying acrobatics. Freerunner is a belated case in point, and the opening credits gives the game away with images of people jumping over dumpsters and flower-beds and clambering over chain link fences.

Despite the involvement of six (count ‘em!) screenwriters, Freerunner’s dialogue is truly cringeworthy, and the cast are left floundering in a sea of cut-price awfulness throughout. Despite the presence of Dyer and Hassan, Freerunner is actually a US production, and was filmed in Ohio. As such, not even die-hard Dyer fans will find much to enjoy here, with the cockney sidelined in a superfluous supporting role. Finding fault with Danny Dyer movies is like shooting fish in a barrel, and sceptics will find plenty of ammunition in this lamentable offering. Ridiculous.

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Back to familiar haunts for Mel Gibson in How I Spent My Summer Vacation (review)

Simon Roger Key — Mon, 14 May 2012 08:00:59 +0000

How I Spent My Summer Vacation: more a busman's holiday than exciting new ground for Mel

While the trailer for How I Spent My Summer Vacation showed more promise than Mel Gibson’s recent ventures, it alone was unlikely to catapult the fallen star back to his glory days. How I Spent My Summer Vacation is the work of an exhausted actor, who is fresh out of luck and new ideas, but it’s far from a disaster.

Gibson plays a streetwise career criminal and although it’s never clear what exactly his area of specialty is, it is made explicit where he learnt his various ‘skills’ – the US army. This of course recalls one of Gibson’s most famous characters; Martin Riggs from Lethal Weapon, who was a solider in an elite task force during Vietnam, before he became a police officer with nothing to lose. Gibson’s character has many names during the film, from Bozo to Reginald T Barnes, but we’re never told what his real name is. IMDB lists Gibson’s character as ‘Driver’ (as in the driver), but for all intents and purposes, it might as well be Porter – but more on that later.

The film begins with Driver speeding away from the US Border Patrol, after a big score – watch-out for a cameo from Breaking Bad’s Dean Norris, in a similar role. The car crashes through the Mexican border and Driver is promptly arrested and marched-off to the worst prison in Mexico, although not before having his loot stolen by corrupt police officers. From here Porter – I mean Driver – makes an unlikely alliance with a nine-year-old boy and must battle to survive in this den of iniquity, and all while attempting to discover who has his stolen money and how to escape.

Everything about How I Spent My Summer Vacation is all very familiar and it’s almost impossible to see it as anything other than a spiritual sequel to Gibson’s 1999 film, Payback. In fact, I’d be so bold as to retitle the film, Payback II: South of the Border. The similarities are endless, from Porter’s grizzled, surly attitude, to a scene where Driver ‘makes’ the criminals in a crowd, he demonstrates an uncanny ability to pick pockets, he’s always one step ahead of everybody else, then there’s the bungling crims, and the corrupt and ineffectual police forces (both Mexican and American).

The comparisons don’t stop there. The film features a crime overlord whose preferred method of contact is over Skype, just like Payback’s Bronson (Kris Kristofferson), who likes to keep out of the dirtier aspects of the ‘business’, choosing instead to communicate via telecommunications ie removed from the ‘action’. The crime overlord in How I Spent My Summer Vacation is played by Peter Stormare (who recently starred in the overlooked Lockout) and it’s later revealed that he works out of Chicago, which is the city run by ‘the syndicate’, in Payback. Should I go on?

Fortunately, I’m rather fond of Payback – although not so much the director’s cut – so while the film was predictable and a little too reliant upon Gibson’s grizzled narration, it was still rather enjoyable. There’s one plot point involving Driver’s past which is slightly fumbled, pop to the toilet at the wrong moment and you’ll miss a vital connection at the film’s conclusion – and to be honest, even the trained eye could miss the relevance of this allusion (to Driver’s past).

I did have some concerns that How I Spent My Summer Vacation might flirt with xenophobia, in the same manner as Taken, but I was relieved to see it didn’t. However, whether you are a fan of Payback or not, this is clearly a cynical attempt to recapture some of the actor’s popularity, by recycling a tried and tested formula.

To give Gibson his dues, it does kind of work, but perhaps the wisest use of his time should be spent attempting to recapture some of the magic he displayed directing Apocalypto, behind the camera and away from the limelight.

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What is the future of the Paignton Picture House Cinema?

Sean Wilson — Sat, 12 May 2012 13:19:15 +0000

Paignton Picture House in the 60s

Believed to be the oldest, purpose-built cinema in Europe, the Paignton Picture House on Torbay Road next to Paignton Train Station first opened sometime between 1907 and 1910, and closed its doors in 1999. Over those 90 odd years, the cinema was at the heart of the local community, and was patronised by the likes of Agatha Christie. An adaptation of Christie’s Ordeal by Innocence starring Donald Sutherland was even filmed in the building.

Originally known as The Paignton Bioscopic Exhibition Centre (not the pithiest of titles), the building showcased slides and short movies and, as was common practice back in the early days of cinema, the auditorium also played host to a 21 piece orchestra which played live during each showing.

The closure of the Grade II listed building was a major blow to the local community, and its fate now lies in the hands of the National Trust. I caught up with two people who have affectionate memories of the cinema in its heyday: Preston-based projection enthusiast Stuart Saunders (whose website on the cinema is a goldmine of information) and filmmaker Anthony Bueno (who maintains a strong connection with Torbay having grown up here and is now based in London with a movie interview company entitled Premier Scene). Anthony was involved in raising awareness of the cinema’s plight prior to the National Trust’s involvement.

Sean Wilson: So Stuart, you’re a projection enthusiast but what’s your background?

Stuart Saunders: I’m an electrician but as a kid back in the 60s, the first machine I had was a little hand-held projector. In those days it was magic, that’s how it started. Then the following Christmas I received one with a motor. Then there was sound. We didn’t have a television and when you did get one, it was little, so to go to the cinema and see the real thing – there was an atmosphere back then which you don’t seem to get in many modern cinemas.

The old cinemas are beautiful; just when you sit down, you’ve got loads to look at, and then you’ve got the screen which is hidden behind curtains.

SW: And Anthony, you have your own production company so what’s your background?

Anthony Bueno: Well, bizarrely, it’s perhaps when I was working as a waiter than I began to think seriously about cinema. My Dad ran a restaurant in Birmingham and there was a cinema – I saw The Jungle Book as a kid there. You could sit in the seats and just stay there, and I saw Mickey’s Christmas Carol and The Jungle Book. It eventually shut down, but I remember it being so big and something that’s always bugged me about modern cinema is how they’ve been compartmentalized and shrunk down, almost. I left Birmingham and then went into computers for six years at the local hospital.

But I’ve always been fascinated by film. However, I never believed I would become a filmmaker. Even now, it’s slightly surreal! It was the one area of life I hadn’t really explored that I was really passionate about.

I’ve always loved going to the cinema and seeing films such as Ghostbusters, so I went to film school in London and ended up doing that for a year. But I’d come down [to Torbay] pretty much all the time and on certain tipsy evenings with friends, I always used to stroll past the Paignton Picture House. And in fairness, I remember it being a bit tatty, but with a lot of potential.

I’ve always had an affinity for cinemas and the fact they just seemed to dwindle when Torbay used to have five… I saw Back to the Future at the Coliseum where Littlewoods is now, and the Care Bears Movie but that’s beside the point! But when a cinema with so much character and history closes down, it’s mortifying, and everything has become so industrial now with the multiplexes.

Of course, they have their place and with the amount of movies on release nowadays, it’s the only way to get them all out there but they’re a tad soulless and I was so sad when the Paignton cinema shut down. I remember walking past with my mate thinking you could do so much with a place like that.

Architecturally it’s gorgeous and yes on the inside it’s a bit tatty but it’s only superficial and a bit of graft would improve it. I also remember thinking if this was in London, it would be a big money earner.

As time moved on and I progressed with my filmmaking, I talked to different people and learned about a local community banding together to save The Rex in Berkhamstead. It’s a gorgeous cinema now and one of the most successful in the country. In fact it appears in the film Son of Rambow at the end. It’s very relaxed with tables and chairs and you’re not kicked out like I was at a chain cinema recently following a screening of The Artist.

Anyway, I’d been up in London for about a year and I contacted a group that were trying to do something with the Paignton cinema, and I said I’d be prepared to film something to put on the internet but that didn’t work out.

SW: So did the Paignton Picture House have a particular romantic appeal?

SS: Yes, I mean it’s nearly 100 years old. It was built back in the silent era and back then cinema was treated as a day out. That was what people really looked forward to, it was a whole new world, just magic. And I think that magic is what you remember as a kid. The screen, as I said, was hidden behind the curtains and it was a rule in those days that you never saw a white screen because the magic was behind those curtains. So as they start pulling back, the picture’s already on, and the projectionist used to get in trouble if ever a white screen was seen. It was a performance by the projectionist as well, and he was in control, the lights dimmed, the whole thing was put together. Whereas today it can just be switched on.

SW: So there was a theatrical aspect to it.

SS: It was showmanship, yes. And that’s been lost now with digital. Nowadays you just press a button and it’s all done on a computer. It’s all pre-timed, the lights are dimmed automatically, so there’s no actual showmanship involved anymore.

SW: So why is the role of the projectionist so vital when compared with digital projection?

SS: To go back to what I said before, he’s a showman. [Former Picture House projectionist] John Mann is a perfect example of a showman. I recently did a little thing for him at the Church Hall opposite Paignton Post Office for the Paignton Preservation Society – we put on some old Charlie Chaplin films, and we had Pam, the cinema’s former pianist, playing along live. And it was fantastic. I’m not the biggest fan of Charlie Chaplin but put to the sound of live playing from Pam, it came to life.

AB: It’s almost like travelling back to a magical time that was less processed. Just to go back to Ghostbusters, a couple of years ago I saw it on an old print and it was admittedly a bit knackered but there’s a charm to it. Likewise, you can’t beat the charm of sitting in an old cinema with a group of people who are so enthusiastic and bring energy to proceedings.

A couple of days ago, I attended a demonstration by Getty Images, they showed a short film about 20 minutes in length composed entirely of off-cuts, stock footage from the studio. There was just something about watching this black and white footage shot prior to the 1906 San Francisco earthquake – it’s fascinating, and I think at one point that actually captured the earthquake unfolding on-screen.

SS: Digital is a natural progression. The cost of making a film print is very expensive and so many prints have to be made for release on the same day, all over the world. So it’s obviously a lot cheaper to put it on the hard drive, it had to go that way.

But I think as the years go on, digital will bear comparison with the Paignton steam train: film itself is the progenitor and people will take an interest due to the historical context. When you travel on a steam train for example, there’s an atmosphere. But as far as I’m concerned, that’s the future of Paignton Picture House: modern equipment but I’m sure you will be able to get prints to show in the future.

AB: I remember talking with someone who ran a chain of cinemas and he said, when we’ve tried to show old films, no-one turns up. But he also said, if you focus the marketing campaign around certain movies, then you’ll probably get more people in.

For example at the Prince Charles Cinema in Leicester Square, they do double bills such as Die Hard and Lethal Weapon, Gremlins and Ghostbusters and so on – it’s down to the marketing and you must have several revenue streams going into the business to make it work.

When I first met Stuart and John Mann, I imagined Tapas food in the Paignton cinema, snacky things, a proper bar with cocktails and so on, which would assist in creating a relaxed atmosphere for film enthusiasts.

SS: In Oldway every Monday or Tuesday, there’s the Organist’s Society, which is connected to the cinema in many ways because organists were associated with cinemas. I’m sure lots of societies would be delighted to use the cinema as a meeting place. It’s got to be very community based.

Paignton Picture House Projectors

SW: How did your website come about, Stuart?

SS: I just felt there was nothing out there at the time stating information about the cinema. I’m more interested in the machinery than the films per se and I would say that the vast majority of the people who used to patronise that cinema didn’t know what was behind the porthole at the top. It was a very involved job. It wasn’t just about switching a lamp on, it was keeping control of the lighting and sound, 20 minutes per projector changeover, 101 different things. I’ve always had a passion for that poor guy up there that nobody knows about.

SW: Anthony, you’re listed as a ‘friend’ of the cinema on Stuart’s website. Was your primary role to raise awareness?

AB: Yes, although the National Trust are the main ones involved now. We took a step back when they got involved. But it’s a very complex process. There were times when the railway would contact me but discussions had to go through a lot of other people first. I’m sure there will be a moment when all this waiting will seem like a long-distant memory.

It’s like when the Star Wars prequels came out – it took a long time except that instance it wasn’t worth the wait! We did a talk recently with a group of people in Paignton and every time a group meets up, there will always be someone who’s completely unaware about the project involving the cinema.

SW: So when the cinema closed, what detrimental effect did that have on the local area?

AB: I think it had a major knock-on effect in Paignton. There’s a lot of history in the town – you have the theatre where Gilbert and Sullivan once played – and I don’t think the town’s been quite the same since. Everyone looked at that cinema as the heart of the town.

However, by the same token, it’s obvious why these sorts of cinemas close: they can’t compete, they get run-down and they don’t earn enough. You have to invest money into it, you have to ensure it looks up to date and clean. But it was apparent for years that money wasn’t being invested in it, so it’s no wonder people go elsewhere.

SS: Well, it was a matter of competition. John believed it could compete, but I wasn’t so sure. It was looking tatty, as Anthony said, and with full Dolby Digital sound systems elsewhere, it was destined to close.

The cinema needed money spent on it there and then for better equipment, better seating and so on, and at that time, nothing happened. Dampness is now creeping in due to the presence of the stream beneath the building – let’s not forget that the land all the way up to the railway is reclaimed land. And of course a building without any heating but suffering from damp will eventually crumble over time. With every year that passes, I think you’re talking about more money.

Each given cinema doesn’t really make money out of a film, you have to pay to hire it, and the cost is phenomenal. The bigger the film, the more they’ll likely have to pay. A re-run is less so they don’t have to pay so much for hiring it, so all the money is made out of popcorn and so on.

SW: With what’s happened to the Picture House, do you think that’s representative of how independent cinemas are now competing with multiplexes?

SS: Well, I would still encourage the installation of modern equipment [in the Picture House], so you can show up-to-date movies. And I think you can compete in other ways, you can do your own thing. If you brought the stage out for example, you could put on small stage acts as well. I think you can open it up.

You can’t just see it as a cinema, you must see it as a meeting place where Paignton people can get involved and put on what they want. There’s a cinema in Bristol near Cleveland, that’s community based and seems to be packed out for most performances, so it can be done if done properly.

AB: You want to create a sense of occasion. Years ago, people would dress up to go to the cinema, and that whole way of doing things has kind of gone. But I’ve always said, the Picture House isn’t just for Paignton or Torquay, it’s for the whole of South Devon or even the whole of Devon itself.

We need to encourage people to travel more than 10 minutes beyond their front door but it has to be worth the journey.

In London, I have to travel up to an hour to reach The Rex Cinema but it’s such a great place, there’s a nice restaurant connected to it and you can go and watch a film in real comfort. If we can get some of that down in the Paignton Cinema, that would be fantastic.

SS: And it all depends on which films you’re showing. The blockbusters for example might attract more kids but they’ve got to be involved more. They shouldn’t just see the film, they should understand the whole process behind filmmaking. The other suggestion was for facilities so kids could create their own news and to show it.

SW: Anthony, you’ve interviewed some very famous people, but you would seem to have a vested interest in this local cinema?

AB: Well, John Mann always said it would get national coverage were it to open again, and I think it would due to its age and the fact that there aren’t many such buildings left now. We’ve always tried to find celebrities who could become connected to it but most of them have died!

Agatha Christie and Oliver Reed used to come down, Tommy Cooper as well. There’s a great film which they shot at the Palm Court Hotel called The System by Michael Winner and it starred Oliver Reed. That’s how he’s connected to the cinema.

I believe the Pythons were there at some stage, I did meet Terry Gilliam in the latter part of last year and I asked him if he remembered the cinema. He said he wasn’t sure. I sent [Torquay-born cinematographer] Roger Deakins an email message and he said he never went there. I think the benefits for the town would be immense. Those more affluent tend to go to Exeter and when the cinema went, that was a big thing for Paignton.

But I would love for the cinema to bring focus to the local area again, albeit not in a Fawlty Towers sense, and it would be great to get someone marginally famous attached to the project, it would get the whole thing launched. That’s what the National Trust are trying to do, get the word out. But a lot of people simply don’t know that the cinema is even there because it’s boarded up and they just walk past. Some people don’t see the relevance of re-opening it and want it pulled down and replaced with something else.

SS: There are still a lot of people who don’t seem to know about the place. Just to be able to walk into the foyer would help. Health and safety would probably restrict you from going any further but to be able to see the place would be amazing. There will be restrictions due to it being a Grade II listed building. Structural changes will have to be made to make the place a success. That’s the next problem.

AB: One of the ideas I had, was to introduce tables and chairs but how do you go about it? You can’t change the floor because it’s original.

SS: You could build over the floor. I think the balcony area would need to be left alone. That needs to be kept in its original state but to get people into the main area downstairs, there’s 101 things to do. It’s not going to be easy.

AB: A lot of young people aren’t familiar with the place because they were too young when it was originally open. I realise, through gritted teeth, that they would likely to have to show movies like Transformers. At the Curzon in Cleveland, when they screened The King’s Speech, it earned enough revenue to keep the whole place open for a year, and it’s a good film as well.

SS: And they’ve got new digital equipment in there as well as the old stuff.

SW: Well, a lot of cinemas compromise now with digital and traditional. Is that a way forward?

SS: Well I don’t give it many more years before they stop using film. They’ve still got them in the vaults. There are 70MM societies in Germany and other places where they get together and make a new print from the one that’s in the vault, it costs a few thousand pounds, and you get people watching that. There are still ways and means of being able to watch a film but you’re not going to get the current releases.

AB: Digital is simply cheaper, and it’s becoming cheaper.

SW: Just to return to the cinema, is the National Trust essential to its survival?

SS: Yes, without their involvement, it might never happen. You need that main focus which the Trust has got, they’ve got a lot of respect and they could help in getting lots of other organisations on-board.

SW: So to sum up, why is the survival of the cinema so important?

SS: It’s the history. It’s one the few purpose-built cinemas. There were many that were converted from theatres into cinemas but there aren’t many surviving that were built to show films. I think there are just 4 or 5 left in Europe, probably a few in America but not many. And it’s in Paignton.

AB: For me, as a person who loves these old places, the history is fascinating. Those were the places where you’d go and dream, and you’d see dreams come to life and you’d see what the possibilities were. There are so many emotions connected with those kind of buildings and to see it just go… You lose part of the town’s identity familiar from your youth.

There are so many places in Torquay like that, old buildings which don’t exist anymore. But that’s life, eventually everything becomes a memory, and that’s how it is with the cinema. I didn’t go there all the time because I was Torquay-based when I was growing up but it’s still part of my past, it’s a part of cinema history. Some people might not care less but even those with a vague interest in films, it would be a huge loss were it to close.

AB: There’s a place near the Pavilions in Plymouth which used to be an old theatre where Laurel and Hardy played their last ever performance, and that was converted into a nightclub. But now that’s derelict, one of the few surviving Victorian buildings.

SS: Even if the Picture House was saved, I don’t think the construction would hold up due to dampness in the walls and so on. I think it will get knocked down if it isn’t saved. It’s got to be part of the community. In order to get people coming back time and time again, it’s got to function as a meeting place, not just a cinema.

What I would personally like is a focus on education, to get schools involved and put stuff in there, modern and traditional equipment so kids can see how films are made. Quite simply, you’ve got to get young people in there, you can’t just put on old films. An old film with live accompaniment from a pianist would be great as a one-off but not every day but it’s got to be opened up. Anything and everything to do with entertainment.

AB: Sometimes they try and save the front of these buildings but that would be pointless. Birmingham Children’s Hospital, which I was familiar with as a kid, is now a multiplex casino, and I went there and it is just soulless. You’ve still got the front of the building there but the rest of it’s gone – apart from saying ‘Children’s Hospital’ along the time, there’s nothing to signify what it once was. If that were to happen to the Paignton Picture House, it would be a sad loss indeed.

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The Lucky One drowns in schmaltz (review)

Sean Wilson — Sat, 12 May 2012 12:38:04 +0000

The Lucky One: Zac Efron moves away from the clean-cut kid from High School Musical

It’s always unfortunate when an actor attempts to expand their range, only to be let down by an inferior script. Sadly, that’s exactly what happens to Zac Efron in The Lucky One. Fair play to Efron, he clearly wants to be seen as more than the clean-cut kid from High School Musical, and this character would seem to be a perfect fit.

Adapted from Nicholas Sparks’ novel, Efron stars as Logan, a soldier who discovers the photo of a woman in a war-zone. After narrowly missing a bomb blast, Logan believes the photo is his good luck charm and he returns to America to track down the woman in question.

This being a Sparks adaptation, the first sight of Taylor Schilling as Efron’s eventual conquest sees her backlit in gloopy sunlight, walking towards the camera in slow-motion and wearing a pair of cut-off denim shorts. She also runs a dog kennel so that means she has a heart of gold. Of course, Efron doesn’t get around to telling her why he’s taken an interest until a convenient point in the narrative.

Credit where it’s due, The Notebook proved it’s possible to make a decent adaptation of Sparks’ work. That movie, although corny and cheesy, was buoyed by lively chemistry between Rachel McAdams and Ryan Gosling, and had a charming flashback story structure. But The Lucky One isn’t on that level. There’s a fundamental problem with a movie that expects us to take a vested interest in a character who has as much psychological depth as a Thunderbird puppet (Efron’s relentless, creepy staring and stiff posture does invoke cries of ‘FAB!’).

Critical scenes are also treated in arbitrary fashion – the opening bomb blast which provides the catalyst for Logan’s journey is over and done in a matter of seconds, and Efron seems less affected by it than he would be over the death of his pet hamster. As for the moment in which Schilling demonstrates that she also has issues by destroying her potted plants in a fit of rage – that’s one of the greatest unintentionally funny scenes in a movie this year.

The flaws in Will Fetters’ script are exacerbated by Scott Hicks’ laboured direction, which absorbs so much sunlight one almost expects to get a tan in the cinema. Vital information is also spoon-fed to the audience: Efron demonstrates he’s a man’s man by sizing up a piece of guttering, yet he’s also sensitive because he likes kids and dogs. Meanwhile, Schilling’s ex-husband Keith (Jay R Ferguson), who’s also the town’s deputy Sheriff, practically cries out for a Dr Evil style raised-finger-to-lip movement, so melodramatic is he in his pantomime villainy.

It’s a pity as The Lucky One is clearly a movie made with the best intentions. If only the film’s good luck had extended beyond good weather in the Louisiana bayous.

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Bumper book sale and film show at Plymouth Central Library

D&CFilm — Sat, 12 May 2012 06:00:48 +0000

Hugo, based on Brian Selznick's novel The Invention of Hugo Cabret

Plymouth’s Central Library is holding a bumper book sale and film shows – a screening of two particularly bookish films.

The action takes place throughout at the on Saturday, May 19 from 9am when you’ll be able to grab some bargains at the book sale, which fittingly will include books, CDs and DVDs.

Showing through the day will be the Hugo, Martin Scorsese homage to film, based on Brian Selznick’s novel The Invention of Hugo Cabret. The film’s on between 10.30am to 12.30pm, and is followed by Tinker Tailor Solider Spy, which took John le Carré’s tale to the big screen. This will be shown from 2pm to 4pm.

For more information email library@plymouth.gov.uk or phone 01752 305923.

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Cast and MCs/singers required for short film to be screened at international film festival

D&CFilm — Fri, 11 May 2012 07:53:12 +0000

Booo tells the story of Ez, a 16-year-old aspiring grime artist

Filmmaker Kate Graham is shooting an independent short film in Devon with an Exeter Phoenix short film commission, and is need of a composer and a talented cast including MCs/singers.

The film, Booo, is a teen love story with a difference, and this bursary-awarded short film will premier at the Exeter Phoenix International Two Short Nights film festival.

The film is 8 Mile meets Fish Tank, with the stunning Exmoor landscape as a backdrop.

Booo tells the story of Ez, a 16-year-old aspiring grime artist, who’s inspired by Joe, a handsome local lad, to take part in an MCing competition. Yet, as the rest of Joe’s friends have always bullied Ez for living in a caravan, can she be sure Joe’s interest in her is genuine? Or when she gets to the competition, is Ez in for a heartbreaking surprise?

Shooting takes place during one week in August, in Devon.

Kate is looking for cast and a composer for the short, here are the roles:

Ez, a female aged between 15-20, is an aspiring MC/singer with a feisty attitude but fragile nature, who’s been bullied all her life. When Ez meets Joe, she finally gets the push she needs to show everyone just what she’s worth.

Whether you are an aspiring MC/singer who fancies being in a film, or an actress looking for an unusual role, get in touch. No acting experience required if you have the right look/attitude, just commitment.

Joe, male, 15-25, is a cheeky Devon lad who captures Ez’s heart, but whose intentions for her aren’t clear. He must make the choice between staying cool in front of his mates, and standing up for what he believes in. No acting experience required, just commitment.

Eva, a female, 45+, is Ez’s grandma, a wonderful woman who can see your whole future in your palm. She has just a small amount of screen time that makes a big impression.

The Two Bullies – male, 15-25 – are Joe’s best friends, and take great pleasure in making Ez’s life miserable. These are really fun roles to play. So whatever your acting ability, get in touch, whether you want to audition on your own or with a mate.

Singers/ MCs and girl and boy groups are needed for the film’s climactic scene, which takes place at a singing competition where singers and MC battle it out. Any singers / MCs / Girl or Boy Groups who fancy being in a film, and getting some publicity for your act, get in touch.

Also, a Grime Track is required for Ez’s main performance in the film. So any MCs / grime or hip hop artists/producers that have, or want to collaborate to create, something suitable, get in touch. The film will provide great exposure for your music.

For further information, or to register your interest in auditioning, email kategraham.email@gmail.com or find her on Facebook.

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Either you slack or you shoot: the pick of the week’s releases

Simon Roger Key — Fri, 11 May 2012 06:00:09 +0000

Jeff, Who Lives at Home: Jason Segel as the slacker-bum Jeff

I can’t say I’m a huge fan of Jason Segel. I’m not really convinced that he’s contributed anything worthwhile (as of yet) to the world of cinema. I’ve watched the occasional episode of How I Met Your Mother, but he’s not even the best thing in that. So, I was rather surprised by the trailer for his newest comedy, Jeff, Who Lives at Home.

Segel plays a 30-something loser, who lives in his mother’s basement and is looking to the universe for signs about what he, should ‘do’ with his life. Sounds amazing, right!? However, this does show some promise and what with me being a Kevin Smith fan, I do have a certain admiration for slacker-bum, characters.

How I Spent My Summer Vacation: Mel Gibson gets moody in Mexico

How I Spent My Summer Vacation is an action film about a gangster named Driver (Gibson), who is arrested on the wrong side of the border – Mexico. Driver’s last big score (naturally), is taken by the corrupt Mexican, police force and he’s quickly thrown in jail, which all sounds vaguely reminiscent of Payback, but with a smattering of Xenophobia: The Movie A.K.A Taken. The latter largely because it’ll feature Gibson, shooting almost every Mexican in Mexico, but don’t worry he’s definitely not a racist.

However, the trailer does have a certain charm and Gibson can most certainly handle action, and that grizzled voice-over just reminds me of Payback’s Porter, which was probably, Gibson’s last ‘great’ character. It’ll most likely be rubbish, but you never know…

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Cloning, infidelity and sex addiction – it can only be the latest DVD releases

D&CFilm — Thu, 10 May 2012 17:34:36 +0000

Shame: Michael Fassbender elevates potentially tawdry material into a different realm altogether in Steve McQueen's emotionally-devastating piece of work

Since surging to prominence with his riveting turn as IRA hunger striker Bobby Sands in Steve McQueen’s Hunger (2007) German/Irish actor Michael Fassbender has been on an incredible hot streak, with movies as diverse as Fish Tank, Inglourious Basterds and X-Men: First Class raising his profile yet further.

Shame (Momentum) sees Fassbender team up with Turner Prize-winner-turned-director McQueen once more, for an all-new study of a man in crisis. Brandon (Fassbender) is a handsome 30-something living in New York and balancing a demanding job with an active social life and an all-consuming sex-addiction.

When his wayward sister Sissy (Carey Mulligan, Drive) turns up at his apartment unannounced, Brandon’s painstakingly balanced lifestyle quickly collapses in on itself, plunging him into an existential crisis. Wracked with self-doubt and plagued with commitment issues, Brandon’s sex addiction spirals even further out of control and he starts to trawl the rougher end of town for gratification, with a nihilistic disregard for his own safety.

Fuelled by a characteristically compelling performance from the unstoppable Fassbender, Shame is a corrosive drama that makes no bones about its frequently gratuitous content. With a similarly intense supporting performance from Carey Mulligan, whose star is also in the ascendancy, Shame sets out its stall as an emotionally-devastating piece of work, and McQueen hits the target throughout. The fearless Fassbender elevates potentially tawdry material into a different realm altogether, with Brandon’s libidinous conquests rendered defiantly unsexy throughout. Graphic, intense and undeniably strange, Shame is another impressive notch for Fassbender’s Hollywood bedpost.

Clone: genetic fiddling sets in motion a disturbing chain of events

Originally known by the anatomically correct, if slightly off-putting, name ‘Womb’ Clone (Arrow Films) is the latest movie from up-and-coming Hungarian writer/director Benedek Fliegauf.

Set in an alternative future where human cloning is possible and widely used, ‘copies’ are viewed by society as second-class citizens, and although identical in every way, are ostracised by the ‘originals’ in society. After more than a decade in Tokyo, Rebecca (Eva Green, Casino Royale) returns to the village where she grew up to reconnect with her childhood best friend Tommy (Matt Smith, Doctor Who, in his feature film debut). The mutual attraction is still evident, but a tragic accident cuts short their budding romance, prompting Rebecca to conceive and give birth to Tommy’s genetic copy, setting in motion an increasingly disturbing chain of events.

French-born Eva Green has started to carve an unexpected niche for herself with quirky sci-fi-infused material, and recently earned plaudits for the apocalyptic romance Perfect Sense. Clone explores similar territory, albeit far less successfully, with the painfully slow pace and fitful dialogue doing the film few favours. Further, Rebecca’s bizarre motivations are never satisfactorily explained, rendering the trudge towards the inevitably queasy finale more than a little questionable. While Clone succeeds as an extended mood-piece, its uncomfortable narrative leaves a lot to be desired. I can only hope that the film received a better reception in Fliegauf’s native Hungary…

Four: Sean Pertwee is the tough off-duty cop in the dialogue-heavy crime drama

Improbably produced by Nina Wadia, who is probably best known for starring as Zainab Masood in Eastenders, gangland drama Four (High Fliers) tells the story of four very different individuals whose lives viciously collide on a bleak evening in a derelict warehouse.

An off-duty cop (played by Sean Pertwee, Dog Soldiers) has been hired by a shifty businessman (Craig Conway, Doomsday) to track down and kidnap the man having an affair with his wife, and bring him to the secluded location so vengeance can be enacted. However, when the young man (Martin Compston, The Disappearance of Alice Creed) is presented to him, the cuckolded husband struggles to work up the nerve to punish him, leaving the increasingly animated cop to demonstrate how he would behave in the same situation. The businessman’s resolve is tested even further when the cop reveals that he has a surprise up his sleeve – the wife (Kierston Wareing, Fish Tank) – who has also been kidnapped and brought to the warehouse. Suffice to say, nothing is quite what it seems, and things quickly take a turn for the worse…

Any dialogue-heavy crime drama set entirely in a warehouse is likely to court comparisons with Tarantino’s Reservoir Dogs, and Four goes one step further when Pertwee’s character actually namechecks the 1992 thriller and threatens to re-enact an iconic scene, albeit with tongue firmly in-cheek. Although Pertwee has found a quirky niche through his work with Neil Marshall (Dog Soldiers, Doomsday) his performance here lapses into cartoonish self-parody, and can’t disguise the badly underwritten dialogue. On the bright side, the highly watchable Kierston Wareing manages not to blot her copybook, and delivers a memorably foul-mouthed performance as the vivacious adulteress with her own agenda.

Although Four has a neat twist in the tail, it doesn’t make up for the sluggish narrative and unexpectedly weak dialogue. Sadly, despite an appealing cast and a grisly denouement, Four is a distinctly underwhelming proposition.

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Catch some sci fi online: watch The Water’s Edge

D&CFilm — Thu, 10 May 2012 07:00:19 +0000

The Water's Edge: watch the wonderfully shot sci-fi short online

The Water’s Edge, a sci-fi tale penned by Devon screenwriter Richard Standen, has had a successful run on the film festival circuit, and now you can watch it online.

The film, directed by Chris Thomas, is set in Britain after an alien invasion and follows Robert Stenuit’s (Mark Drake) survival as he avoids alien invasion and considers the salvation that water seems to provide.

According to our own reviewer Simon Roger Key, there’s some excellent cinematography and ‘the use of diegetic and non-diegetic sound is very impressive’. All of which cranks up the tension and atmosphere of the short.

Read Simon’s review, and see for yourself

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Avengers: chatty heroes assemble (review)

Simon Roger Key — Wed, 09 May 2012 07:40:28 +0000

Avengers Assemble: Mark Ruffalo as the Incredible Hulk, who delivers the film's funniest lines

After a record breaking $200 million opening-weekend in the US, it’s clear that despite my pleas and a mini-campaign across various social media platforms, that you, the millions, didn’t “Skip the Avengers” as instructed. In fact, you’ve obviously been attending in your droves. So, what with its sensationally-positive, critical-reception, I stumped up my own cash and begrudgingly stomped off to the nearest screening– while muttering curses under my breath.

The disdain felt – by this critic – for MARVEL’s comicbook adaptations is hardly secret. In one of my recent film previews, I called Joss Whedon’s film “awful-looking” and encouraged cinema goers to watch Werner Herzog’s Happy People, instead – a sentiment I stand by. But Whedon’s primary coloured spectacle isn’t the disaster I expected. However, just so we’re clear, neither is it the masterpiece that many are declaring it. Despite its box-office success, only a fool would argue that Whedon’s film is better than Sam Rami’s Spider-Man 2 or Bryan Singer’s X-Men 2 – the MARVEL benchmarks. I resist the temptation to compare it to Christopher Nolan’s Batman films because even if you combined all of MARVEL’s movies, they’d still pale in comparison.

Now, I shan’t bore you with a detailed synopsis. This site’s very own Sean Wilson provided a more than comprehensive description of the film’s narrative. I’ll cut straight to the chase. Avengers Assemble is not a 5* movie, heck, it’s not even a 4* film – it’s a 3* film! Whedon’s film may not be as honkingly bad as X-Men: First Class, Thor or even Ghost Rider, but that doesn’t make it a masterpiece. It’s just a better MARVEL film than we’ve become accustomed too. Quite simply, I think part of the reason behind the success of Avengers Assemble, is wrapped up in diminished expectations, but not just our low expectations from MARVEL films, but ‘Blockbusters’ in general. Watch the Pirates of the Caribbean films back-to-back and all of a sudden Howard the Duck looks likes Citizen Kane – and I’m fairly certain, despite being rather fond of the cigar-chewing duck, that it isn’t a masterpiece.

The most surprising thing about the Avengers was just how dull and bloated it actually was. The action sequences in general are ok – they’re the typical superhero fare. But there isn’t a really great action scene. The most memorable/enjoyable fights all take place between the good guys ie Iron Man (Robert Downey Jr) vs Thor (Chris Hemsworth) vs Captain America (Chris Evans) and Thor vs The Incredible Hulk (Mark Ruffalo).

The film’s finale turns into a rather generic fare, with standard doppelganger enemies, including Hollywood’s favourite villain – evil sausages from outer space! I’m not sure why Hollywood fixates upon space tentacles and sausages so much, because they really aren’t very threatening and they certainly don’t make for an engaging enemy. In all honesty, the conclusion reminded me of Skeletor’s invasion of Earth, in the Masters of the Universe. Although I’m certain that’s just coincidental, it isn’t a good thing when a multi-million dollar film, is comparable to Dolph Lundgren in a loin cloth – Eww!

One of the film’s other noticeable flaws is its juggling of its superheroes. But first, to give Whedon his due, he does do a commendable job of balancing out multiple characters, but only the ones who are popular. Both Hawkeye (Jeremy Renner) and Black Widow (Scarlett Johansson) are incidental characters ie the fat which could have been trimmed. These characters don’t just play second fiddle to Iron Man and Captain America – even Agent Coulson (Clark Gregg) gets more screen time than these dummies! What’s really irritating is that despite a strong introduction for Johansson’s Black Widow, where she’s ‘interrogated’ by some would-be murderers, it soon becomes apparent that she’s little more than window dressing, which is a shame considering Whedon’s penchant for female ass-kickers. It turns out Black Widow is little more than boobs and bum.

The film’s main strength lies in Whedon’s writing; whether that involves the collection of spandex rentboys bickering with one another or Loki (Tom Hiddleston) calling Black Widow, a “mewling quim” – which incidentally isn’t his first quim offence (see Firefly). In fact, these superheroes are at their very best when they’re stood around moaning at one another. You’ll forget the dull action sequences, but the dialogue will stick with you, which is something that can’t be said for the majority of comicbook films.

If Whedon’s film has a crowning achievement, then it’s delivering the definitive Hulk, to-date. Perhaps the character succeeds here because the film is an ensemble piece and not solely dependent upon that one character. But it beggars belief that MARVEL didn’t utilise the technology behind Gollum – motion capture – years ago. The film’s funniest moments are all delivered by Mark Ruffalo’s hulking behemoth; whether one-upping Thor or laying the smackdown on Loki.

I’ll be honest, I was surprised by just how much I smiled during Avengers Assemble, but the critical ovation it has received is undeserved – it’s just alright, nothing more nothing less. If you love MARVEL films, then it probably is a ‘classic’, but as far as the rest of us are concerned – pull the other one!

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Stoicism of the moor in Wingless Films’ Sons of Moorland

D&CFilm — Tue, 08 May 2012 07:00:41 +0000

Sons of Moorland: Wingless Films look to Dartmoor

The latest short from Wingless Films captures the stoicism of the moor.

Wingless Films is an active amateur film group based in Plymouth.

The latest short by these seemingly tireless filmmakers, Sons of Moorland, delves into the thoughts of a father under a tree in the wilds of Dartmoor.

The father and narrator is played by Rick Stear, whose photography among the landscapes of Dartmoor inspired the story, which was directed by Jim Elton and features Tom Menary.

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Vanessa Paradis on here latest flick Cafe De Flore

D&CFilm — Mon, 07 May 2012 08:47:56 +0000

Cafe De Flore: Jean-Marc Vallée’s emotive, mystical drama

Vanessa Paradis has never been pinned down to one label. Before she was an actress, she was a model and a singer, becoming globally famous at the age of 14 when her single Joe Le Taxi became a smash hit in 15 countries. But despite winning a French Cesar for her 1989 debut Noce Blanche, she’s turned down several major film offers over the years and taken prolonged sabbaticals from acting in order to focus on her music and raise two children with Johnny Depp (they’ve been a couple since the 1990s). In the last couple of years, however, she has picked up the pace again with film work and her starring role in Cafe De Flore may be a sign that Paradis, now 39, is about to enter the most fruitful phase of her acting career.

Jean-Marc Vallée’s emotive, mystical drama tells two parallel stories: one, set in present-day Montreal, depicts the break-up of a marriage and its devastating impact on Carole (Hélène Florent), who remains convinced that her bond with husband Antoine (Kevin Parent) was meant to last forever; the other is set in 1969 Paris, where single mother Jacqueline (Paradis) is raising a young son with Down’s Syndrome.

To call Jacqueline devoted is an understatement – she showers love and affection on Laurent (Marin Gerrier), enrolling him at a normal school, teaching him to defend himself from bullies and maintaining a steely determination that he’ll live past the norm of 25 years for a person with Down’s Syndrome.

But when he develops a close attachment to Veronique, another Down’s syndrome child, her maternal devotion comes under threat, leading to unforeseen consequences. It’s fair to say that Paradis is heartbreaking in the role and she was duly rewarded with a Best Actress prize at the 2012 Genies, Canada’s equivalent to the Oscars.

Congratulations on your award. Were you there to accept in person?
Thank you very much. I wasn’t but Jean-Marc Vallée, the director, went and accepted it on my behalf. He asked me to send a little note just in case I won. I thanked Jean-Marc and Marin, the little boy that plays opposite me, because if they’re giving me the prize, it’s really because of these two men. It’s the case in every movie that you’re only good if the people around you are good. That little boy added so much grace and so much humour to our little tandem.

Was it difficult finding a young actor to play your son?
It was by luck and by love that Jean-Marc found Marin, because he is the actual friend – boyfriend even – of Alice [Dubois], who plays Veronique in the movie. Alice’s parents had sent a tape of her to be considered for the movie and Marin was on that tape because he was playing with her. They’re pretty much in love with each other.

You’re known to be picky with film roles. Why did you choose to do Cafe De Flore?
It was so brilliantly written. It was a shock to read but such a beautiful script. I also loved the movies that Jean-Marc had done before and the fact that he offered me a character unlike any I’ve been offered before was irresistible.

She’s a tough and devoted mother. What did you make of Jacqueline?
She has set a goal in her life because she has nothing. There’s no husband, no family, no friends and no money – nothing but the love she has to give this little boy. It’s all about him for her and she lives with the threat of losing him so her goal is to make him strive and survive and be strong. She doesn’t do everything well – it’s actually the contrary – but she does everything from her heart.

Did you ask Jean-Marc why he wanted you for this role?
He didn’t want me for the role! He met with other actresses in France. But after I read the script, I called him and I think he could see that I was so into it. It was that conversation that made him choose me, I think.

What did your collaboration with Jean-Marc bring out in the character?
She’s so different from me so I had to erase a bunch of things. I couldn’t be seductive, sensitive, vulnerable. When Jean-Marc and I were looking for the voice of this woman, it became really clear at one point that she had to be very masculine. Because she is both the mom and the dad, we had to find the masculinity in her.

Without giving too much away, did you ever meet or talk to the actors who star in Cafe De Flore’s parallel storyline?
No, we only met when the movie was done. They started to shoot the Canadian part first, and then Jean-Marc came to Paris for a month of preparation. He brought a 20-minute edit of what they had just shot in Montreal so we got to see the other characters and also the tone and rhythm and level of emotion they were playing. We still had to find our bearings together but there was already a movie that we could relate to, even if our story in Paris has nothing to do with theirs… apparently.

Had you had experience of working with or knowing anyone with Down’s Syndrome prior to making Café De Flore?
No, it was the first time. And it was an amazing experience because Marin comes from such an amazing family. He has an older brother and a younger brother and the parents, Natalie and Christophe, are just unbelievable people – great parents and great human beings. This little boy was born with Down’s Syndrome. He was also born with an amazing personality, amazing intelligence and a sense of humour. It’s in his genes. It was beautiful spending time with them; we got along so well.

Were his parents there all the time?
No. It’s a tough thing for parents to leave their son in the hands of other people. It’s a big responsibility for us and they trusted us very much. They got to know us and then trusted us enough to leave their boy with us. They gave us shortcuts to what he likes, what he doesn’t like, what works, what doesn’t work.

How did he behave with you, the woman playing his mother?
He was great. That was my biggest fear because with Down’s Syndrome, most of the time there is a problem with assimilation, of processing new information. It’s quite a weird thing anyway for anybody – kids, grown-ups, Down’s Syndrome or not – to be in the scenes we were playing. It’s not a comedy, it’s tough, but he always knew that we were playing and when it was done, I was just Vanessa.

So you made him feel relaxed on set?
You know what? He made me feel relaxed. Everybody fell in love with this little boy on the set. He’s so funny and he’s a little angel. He’s a demon as well! He’s very stubborn so it wasn’t easy all the time.

Did you introduce your own children to him?
Yes. We had a few parties where we danced and ate fries and drank Coca-Cola. It was great.

Here’s the ‘official trailer’ to Cafe De Flore, but be warned there are two f-words in there…

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First glimpse of Eight Limbs Two Heads

D&CFilm — Mon, 07 May 2012 07:40:37 +0000

Eight Limbs Two Heads: imagination, childhood and growing up explored

Childhood imagination and growing up are featured in the new film by screenwriter Richard Standen and director Dan Haslam.

The story, Eight Limbs Two Heads – shot in Devon – is said to be based on films like Stand By Me and Home Alone, but the trailer has an air of Lord of the Flies.

As a group of three youngsters set off to fight the mythical monster in the woods, they stumble upon an eight limbed, two headed beast.

Here’s the trailer

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