Tuesday, 19 May 2015
Look no further than the new Magician's Nephew music video, which I directed (you know that thing about working with children and animals? Rubbish, they were total professionals, especially the pig).
Wrap your eyes around it here: https://youtu.be/XOAfUkGmmDQ
Disclaimer: I take no responsibility for what gets lodged in your subconscious.
Tuesday, 10 September 2013
Please drop by from 6pm and put some lung power behind cheering for Finders, Keepers - and enjoy a veritable banquet of short films by talented people!
Download full festival programme here: http://www.portobellofilmfestival.com/2013/programme2013.pdf
Monday, 12 August 2013
Lost In Mozart will get a public reading at an event on the first day of the British Urban Film Festival, 5th September, at the Channel 4 HQ on Horseferry Road, London. I urge you to put this date in your diaries.
The reading will be directed by Adriel Leff of Way Out films, and for those of you who were cool enough to check out Lost In Mozart on the stage - this isn't the same thing. The short screenplay focusses on a small part of the story and puts it under a microscope.
Saturday, 16 March 2013
Wednesday, 26 December 2012
Like rivulets of rain snaking down a windowpane, movies leave intricate and beautiful impressions in our minds. They’re fragile, because so many things can wipe them away (never wash your windows!), and they run a different course for everybody, but it’s fun to share.
Monday, 2 April 2012
In an update to my post from a couple of days ago, here's the documentary we shot when we restored the Blur lyric on Primrose Hill. Expertly shot by DoP Oliver Cross
It has drawn the attention of the official Blur behind the scenes string pullers, who added it to the official Blur site and Facebook today, giving us over a thousand views on its first day of being up on youtube.
Not bad for a story that basically ends with failure (thus far of course), but then we shouldn't have underestimated the British love of getting behind a good old failure.
This is one of which I'm increasingly proud.
Friday, 30 March 2012
Wednesday, 29 February 2012
Thursday, 5 January 2012
Friday, 11 November 2011
Tuesday, 1 November 2011
The trouble was not being able to play anything, or having the patience to learn properly. I remember during A-Levels trying to muscle in on a group of mates who were starting a band - surely they could do with a third guitarist? Right? I could learn as we go along. Their refusal was absolute, and not unfair.
For the past 18 months I've been in a band, of sorts. We've had bust ups and tantrums, there have been tears and a lot of laughs, and I know we're all extremely proud of what we've achieved.
One of the greatest thrills for me was seeing the snowballing of this 'band'. What started as me shutting myself off from the sun in a cafe basement three days a week, for months, writing, and re-writing without notion of an outlet, somehow sprouts into a company of actors, musicians, choreographers, lighting designers - dedicated, skilled people who believe in the potential of the play became involved from up and down the UK, until during our rehearsal before the first Tabernacle Theatre show I was standing behind the sound-desk watching 20 people making final preparations, including seven actors and a six-piece orchestra, three of whom came down from Edinburgh specially to do those four shows.
A few days before the first Tabernacle show, the Director of the youth club where I lived and worked for 8 years turned up to see if he could put to rest his fears about the play leading to some real trouble in the 'Endz'. They were fair concerns - he has to deal with the reality of the lives we're portraying on stage. He left satisfied that the message is an important, relevant, and necessary one. But that wasn't the best thing to come out of his visit - he brought with him a young man whom I've known since I started working at the youth club; a young man who somehow managed to fall through the cracks of the educational system, and subsequently had difficulty finding work. It just so happened we were in desperate need of assistants to help move the set between scenes - a job that requires some mental dexterity and sure-footedness (and as far as I can tell goes largely un-sung). He totally nailed it, and continued to do a fantastic job for all the actual shows (that's him carrying a piece of set in the picture above).
The involvement of that young man from the South Kilburn estate was one of the greatest achievements of the whole production, but one I could never have predicted. And that's been the norm throughout this whole process; we prayed that God would be glorified through this show, and I believe He has used it for His glory. I've been constantly humbled by responses from people who find themselves moved because they find the play speaks to their own situation past or present. We joked nervously about the potential for negative reactions from members of the the actual estates featured in the play - but after the final show, two young guys both of whom in part inspired aspects of the characters in the play gave us their full and enthusiastic endorsement - which I count as the greatest praise Lost In Mozart has received.
There have been so many other great outcomes from producing this show, this blog entry is already long enough, but one of them is that Lost In Mozart will live on next year with a different theatre company who want to produce the play. I'll keep you posted on that one.
Friday, 30 September 2011
Tuesday, 13 September 2011
Filmed and edited by the very multi-talented J Hay
Friday, 9 September 2011
Tuesday, 30 August 2011
Our month-long run of Lost In Mozart at Edinburgh Fringe 2011 is over, and we're seriously proud of all we've achieved; an average of 31 people came per show, thats 619 people who've seem the show, and the real thrill has been how many of them stuck around to praise us afterwards, sometimes tearfully.
But it isn't over yet! 6th October Lost In Mozart opens in London's Tabernacle Theatre Notting Hill for four shows only - grander, louder, epic-er... Secure your tickets now at www.lostinmozart.com
And we'll be applying to the London show all the things we've learned over the past month. Now, I can't speak for anybody else, but here are the top three most important lessons I've learned:
3. Don't say your play 'is' West Side Story on the flyers – there is a danger people will take it literally.
2. Actors differ from normal humans in subtle ways one might only perceive after living with a herd of them for a month. They have sponge-like memories, and they can rave it up until 6am, sleep two hours then turn in a powerful performance (even if the rest of the day is then spent passed out on the floor of the venue bar...)
1. In order for the lighting desk to work, the Master fader has to be up, otherwise you will condemn your actors to the indignity of coming on stage in the pitch black and having to act anyway while wondering what's going on while you leg it upstairs to find a technician who'll come and show you what suddenly seems incredibly obvious.
“I saw Jeff leg it out the door and I thought 'that's it, he's f**ked off!' - Ray Sesay, AKA Tribal.
Friday, 1 July 2011
Sunday, 5 June 2011
Thursday, 19 May 2011
Lost In Mozart is an urban musical centring on two teenage photography students who form a powerful friendship across the warring postcode territories of the South Kilburn, and Mozart estates. The play is driven by grime rap lyrics, and by classical music courtesy of the lead character's secret obsession with the symphonies and concertos he uses to soundtrack an urban landscape many dismiss as bleak, but in which he perceives majestic beauty. It will be a spectacular show with live urban and classical music blended with stunning photography. In the coming weeks I'll share with you the audition, rehearsal, and design process until we've put the whole show together.
Arts Council England don't fund anything north of the border though, so we're still haemorrhaging our own savings to fund the 20 performance run in August at the Fringe. Not that it won't be worth every penny of course, but it would be lovely if some of you were to take pity on us, starving and sleeping rough for the sake of Art...
And that's where WeFund enters the picture
WeFund is a 'crowd funding' initiative based on funders leaping on board in response to incentives that money simply cannot buy, visit our WeFund page to frolic among the goodies on offer, including CDs and scripts signed by the creative team, and my pledge to write you a personal short story in return for your support.
The model is very 'Big Society', and I genuinely hope that crowd funding initiatives such as WeFund are the future for arts funding as well as for charitable works and projects that seek to relieve poverty and suffering; it asks us lay aside our doubts, greed, and cynicism, and to contribute with whatever we are personally able to sacrifice in the name of the bigger picture and greater good. So come on, represent Lost In Mozart, Big'up Society.
Saturday, 15 January 2011
Quick heads up of a nice short films event called ROTORELIEFS, where Ke11y_Cute, the cyber horror short film I wrote, directed by Ang Yee Sien, will be screened this Wednesday 19th Jan from 7pm.